Thomas S. Eliot’s eyes on Dante Alighieri

Thomas E. Eliot devoted several essays to Dante Alighieri, declaring that he considered the Italian poet the most universal of all poets of the continent. Dante’s recourse to visual images to enunciate very abstract philosophical and theological themes, finds its counterpart in Eliot’s use of the ‘objective correlative’ to evoke in the reader sensory experiences. Purpose of the present paper is to investigate about the influence exerted by the author of the “Divine Comedy” on the great innovator of the English literary landscape of the 20th century, utilizing to that purpose the scripts by T.S. Eliot himself.

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Parodia e ironía como subversión de la tradición en el “Viaje a la oscura ciudad de Cacodelphia”

Acta Poética ◽

10.19130/iifl.ap.2021.2.18127 ◽

2021 ◽

Vol 42 (2) ◽

pp. 147-167

Author(s):

Eridania González Treviño ◽

Keyword(s):

20Th Century ◽

Dante Alighieri ◽

Narrative Structure ◽

Divine Comedy ◽

General Context ◽

The Novel ◽

Literary Canon ◽

The Divine Comedy ◽

Leopoldo Marechal

This research presents an analysis of the dialog between parody and irony, as a gender and a literary modality respectively, through its subversion function in the “Seventh book (Journey the dark city of Cacodelphia)” of the novel Adán Buenosayres by the argentinean writer Leopoldo Marechal. This study starts with an introductory approach to the general context of the novel, where narrative structure, the positioning of the modern man as the hero of the 20th century are discussed, along with the implicit parody in the “Journey to the dark city of Cacodelphia” and its predominant irony, both as subversive elements of transgression of the represented literary canon, in this case by the “Hell” of the Divine comedy by Dante Alighieri.

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A busca pela eternidade: aproximações entre Murilo mendes e Dante Alighieri.

Revista Épicas ◽

10.47044/2527-080x.2021vne4.132149 ◽

2021 ◽

Vol E4 (2021) ◽

pp. 132-149

Author(s):

João Victor Santos

Keyword(s):

Comparative Literature ◽

20Th Century ◽

Dante Alighieri ◽

Theoretical Framework ◽

Divine Comedy ◽

The Other ◽

The Divine Comedy ◽

The Relationship

With the intention of studying the relationship between Being and Eternity, the present study sought to bring together As metamorfoses, by Murilo Mendes, and The divine comedy, by Dante Alighieri. With the support of texts such as those by Carvalhal (1986) and Nitrini (2015), we used Comparative Literature as a theoretical framework in order to compare the lyric verses of one and the epics verses of the other, in order to analyze how it was the process of receiving the Italian work by the Brazilian. Based on Lucchesi (2013), for whom the dantesque comedy is seen in a diluted way in 20th century Brazilian poets, we undertook the appreciation of murilian verses and raised hypotheses about how they would associate with Italians through thematic and sonorous relationships imagery. With that, we were able to conclude that As metamorfoses absorbs traces of The divine comedy and is different from it, managing to maintain the balance between influence and originality.

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Medieval Interpretation of Phonation Through the Divine Comedy, by Dante Alighieri

Otolaryngology ◽

10.1177/01945998211073056 ◽

2022 ◽

pp. 019459982110730

Author(s):

Martha Borraccini ◽

Matteo Marinini ◽

Michele Augusto Riva

Keyword(s):

Middle Ages ◽

Dante Alighieri ◽

Medical Knowledge ◽

Divine Comedy ◽

Word Formation ◽

Medieval Period ◽

Vocal Cords ◽

The Divine Comedy ◽

And Function ◽

Dual Functions

The anatomic and medical knowledge of people throughout history is unexpectedly evident in some of the poems and texts written by intellectuals of the time. This article attempts to understand the conception of laryngology in the Middle Ages by analyzing the Divine Comedy, written by the Italian poet Dante Alighieri (1265-1321) at the beginning of the 14th century. In the text, Dante mentions the throat several times. He recognizes that the larynx has the dual functions of allowing respiration (dead souls recognize that the poet is alive through movement of his throat when breathing) and speech (souls with their throat cut cannot speak). However, Dante does not seem to know of the existence of vocal cords, thinking that it is the tongue that allows for word formation. In general, Dante’s poem indicates that the anatomy and function of the throat were known during the medieval period, although this knowledge was not precise.

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Siete voi qui, ser Brunetto?». I volti di Brunetto Latini: rappresentazione e autorappresentazione

Italianistica Debreceniensis ◽

10.34102/italdeb/2017/4642 ◽

2017 ◽

Vol 23 ◽

pp. 96-107

Author(s):

Noemi Ótott

Keyword(s):

Dante Alighieri ◽

Divine Comedy ◽

Point Of View ◽

Republican Rome ◽

The Divine Comedy ◽

The Creation

As in portrait (attributed to Giotto) of Brunetto Latini and Dante Alighieri, history has tended to pair the two poets, who were both exiled from their native Florence. The role played by Brunetto Latini in Florence’s history paralleled that of the orator Cicero in Republican Rome and Dante, his student, was Florence’s Virgil. The famous “Brunetto’s Song” (Canto XV of Inferno) has generated many controversies, determined and justified by an uninterrupted and secular reflection. The encounter between the protagonist-traveler and his master has great importance also from the point of view of the creation of The Divine Comedy. But the old florentine intellectual does not only appear in this canto: in fact, he is the author and, at the same time, the protagonist of the famous opera Il Tesoretto, a didactic-allegorical poem written in volgare. In my study I focus on the figure of Brunetto Latini and on his representation by Dante. At first I examine the protagonist Latini: how he appears in the canto and what his part is in The Divine Comedy. Then I concentrate on the author Latini and I try to identify the poet’s voices in the texts and descriptions according to the context.

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