George Eliot and Italy: Literary, Cultural and Political Influences from Dante to the Risorgimento
Reprinted from Dante Studies , 99 , Reprinted from Dante Studies , , 63? Leo, Ulrich. Reprinted from Medieval Studies, 13 , Levine, Peter. Macdonald, Ronald. Manescalchi, Romano. VI, Marchesi, Simone. Martinez, Ronald L. Martinez, Ronald. Reprinted from Modern Language Notes , 1 , Mazzeo , J. Reprinted from Romanic Review , 47 , Reprinted from Traditio , 14 , Mazzotta, Giuseppe. Reprinted from MLN , 1 , Reprinted from Diacritics , 2 , Reprinted from Rivista di studi italiani , 1: 1 , McDougal, Stuart Y.
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Pertile, Lino. Reprinted from Lectura Dantis, 13 , Peters, Edward M. Reprinted from Mediaeval Studies, 34 , Picone, Michelangelo. Pike, David. Quint, David.
American Dante Bibliography for | Dante Society
Raffa, Guy P. Reeves, Marjorie.
Reynolds, Mary T. Reprinted from Sewanee Review, 76 , Richardson, Brian. Cachey Jr. Robey, David.
- NASSAU 2006: Proceedings of the 4th Nassau Mössbauer Symposium held in Garden City, New York, USA, 13–14 January 2006.
- Main content.
- Modular Mix: 12 Knitted Mitered Squares to Mix & Match;
- Front matter.
- God after Metaphysics: A Theological Aesthetic?
- ISBN 13: 9780312176518.
- Saint Maybe.
Roglieri, Maria Ann. Roush, Sherry. Scott, John A. Seriacopi, Massimo. Edits and introduces marginal and interlinear glosses from two Commedia manuscripts now in the Biblioteca Medicea Laurenziana in Florence, one dated Pluteo Shapiro, Marianne.
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- Bibliographic Information!
- The Divine Comedy I: Inferno?
- Andrew Thompson;
- Romola by George Eliot!
- George Eliot.
Warner, Lawrence. Wenzel, Siegfried. Reprinted from Modern Language Review, 60 , Wetherbee, Winthrop. Wilhelm, James J. Reprinted from Paideuma, 2 , Williamson, Edward. Reprinted from 76th Annual Report of the Dante Society, 76 , Wilson, Robert.
Italians with white mice
Translated by Robert Hollander and Jean Hollander. New York: Doubleday, Reviewed by:. Dino S.
europeschool.com.ua/profiles/meqobena/wuda-ligar-gratis-online.php Cervigni , Annali d'italianistica 20 : Domenico De Robertis. Florence: Le Lettere, Applebaum, Stanley. Fiesole: Cadmo, Olivia Holmes , Rivista di Studi Italiani , 20 , Dante e i segni. Saggi per una storia intellettuale di Dante Alighieri Naples: Liguori, Simon Gilson , in Modern Language Review , 97 , He does indicate the prominence of Inferno as what most people associate with Dante. I think he recognises, like anyone who deals with the reception of Dante, that Inferno has this kind of priority for readers. In a sense that was the case from the Middle Ages onwards. For instance, the first mention of Dante by an English writer, Chaucer, identifies him as an expert on hell.
He saw him as a major, and somewhat daunting, precedent for writing in the vernacular. Chaucer is, of course, writing out of a culture in England which is at least trilingual — English, Anglo-Norman and Latin all had some status — and Chaucer, writing in English, is very conscious of going into areas which had not been explored before by the vernacular.
And so he saw Dante as a precedent for making big claims on behalf of writing poetry in the vernacular; he saw Dante as someone who one might want to follow in certain ways but slightly subvert in others.
Literary, Cultural and Political Influences from Dante to the Risorgimento
He takes a sceptical view about making big pronouncements about the hereafter and about damnation. It does have its limitations. Yes, there is a risk when accepting the Griffiths and Reynolds collection, excellent as it is, as the dominant model for Dante in English. Although they do include one Caribbean author, Derek Walcott. Walcott — following the precedent of T S Eliot, who had already made great claims for Dante in relation to modernism — began by writing work that in some ways imitated Dante by looking, for example, at one of the most popular episodes in the Commedia , the story of the doomed lovers, Paolo and Francesca, in Canto Five of the Inferno.
One might argue that several other Caribbean writers have conducted their own dialogues with Dante, too — the Jamaican Lorna Goodison for example, or the Guyanese novelist Wilson Harris, who reinvented Paradiso in his novel called Carnival from So the influence really is global. They provide a perspective of impact that goes in several important further directions. The structuring of the collection leads to the more popular and contemporary media, so part three focuses on Dante in the cinema and multimedia.
They deal with Dante in performance, which of course implies wider accessibility. Much like Dante writing in the vernacular Italian rather than Latin. Contemporary appropriation seems to follow that trend of accessibility. For example, the essay by Amilcare Iannucci focuses on the importance of the popularisation of the Commedia.