Richard Neuse here explores the relationship between two great medieval epics, Dante's Divine Comedy and Chaucer's Canterbury Tales. He argues that Dante's attraction for Chaucer lay not so much in the spiritual dimension of the Divine Comedy as in the human. Borrowing Bertolt Brecht's phrase "epic theater," Neuse underscores the interest of both poets in presenting, as on a stage, flesh and blood characters in which readers would recognize the authors as well as themselves. As spiritual autobiography, both poems challenge the traditional medieval mode of allegory, with its tendency to separate body and soul, matter and spirit. Thus Neuse demonstrates that Chaucer and Dante embody a humanism not generally attributed to the fourteenth century. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1991.
Accepting Dante's prophetic truth claims on their own terms, Teodolinda Barolini proposes a "detheologized" reading as a global new approach to the Divine Comedy. Not aimed at excising theological concerns from Dante, this approach instead attempts to break out of the hermeneutic guidelines that Dante structured into his poem and that have resulted in theologized readings whose outcomes have been overdetermined by the poet. By detheologizing, the reader can emerge from this poet's hall of mirrors and discover the narrative techniques that enabled Dante to forge a true fiction. Foregrounding the formal exigencies that Dante masked as ideology, Barolini moves from the problems of beginning to those of closure, focusing always on the narrative journey. Her investigation--which treats such topics as the visionary and the poet, the One and the many, narrative and time--reveals some of the transgressive paths trodden by a master of mimesis, some of the ways in which Dante's poetic adventuring is indeed, according to his own lights, Ulyssean.
In the four and a half centuries since Machiavelli’s death, no single and unanimously accepted interpretation of his ideas has succeeded in imposing itself upon the lively debate over the meaning of his works. Yet there has never been any doubt about the fundamental importance of Machiavelli’s contribution to Western political theory.The Portable Machiavelli brings together the complete texts of The Prince, Belfagor, and Castruccio Castracani, newly translated by Peter Bondanella and Mark Musa especially for this volume. In addition, the editors include an abridged version of The Discourses; a play, The Mandrake Root, in its entirety; seven private letters; and selections from The Art of War and The History of Florence.
In Canto XVIII of Paradiso, Dante sees thirty-five letters of Scripture - LOVE JUSTICE, YOU WHO RULE THE EARTH - 'painted' one after the other in the sky. It is an epiphany that encapsulates the Paradiso, staging its ultimate goal - the divine vision. This book offers a fresh, intensive reading of this extraordinary passage at the heart of the third canticle of the Divine Comedy. While adapting in novel ways the methods of the traditional lectura Dantis, William Franke meditates independently on the philosophical, theological, political, ethical, and aesthetic ideas that Dante's text so provocatively projects into a multiplicity of disciplinary contexts. This book demands that we question not only what Dante may have meant by his representations, but also what they mean for us today in the broad horizon of our intellectual traditions and cultural heritage.
This collection – to be issued in three volumes – offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante. The volume has its origin in a series of thirty-three public lectures held in Trinity College, the University of Cambridge (2012-2016) which can be accessed at the Cambridge Vertical Readings in Dante’s Comedy website.
The Thirteenth, Greatest of Centuries by James Joseph Walsh, first published in 1907, is a rare manuscript, the original residing in one of the great libraries of the world. This book is a reproduction of that original, which has been scanned and cleaned by state-of-the-art publishing tools for better readability and enhanced appreciation. Restoration Editors' mission is to bring long out of print manuscripts back to life. Some smudges, annotations or unclear text may still exist, due to permanent damage to the original work. We believe the literary significance of the text justifies offering this reproduction, allowing a new generation to appreciate it.