"In this new translation of its first canticle, Hell, the precise meaning of the original is allowed to come across without recourse to literalness or loss of poetic feel. In addition, the novel use of tetrameters ensures the lively rhythms of the original are captured better than by using the more traditional blank verse. Similar novelty may be found in the redesign of forty-two of Gustave Doré’s original engravings to convey a striking vision of a stark, bleak and desolate Hell; there are also two new maps of both Hell and Dante’s universe. With nearly a hundred pages of notes to help the reader who is unfamiliar with Dante and his world, this is a translation that can be readily understood by anyone ..." publisher's blurb.
"Tom Simone's translation is simply superb. Of all the translations with which I am familiar, this is the one that is the most faithful to what's there in the Italian: no frills, no poetic sallies, no choosing a word because it brings the line closer to iambic pentameter—just unadulterated Dante with good old Anglo-Saxon words and in highly readable prose." —Peter Kalkavage, St. John's University
Explore an insightful account of the reception of Mesopotamia in modern cinema In Reception of Mesopotamia on Film, Dr. Maria de Fátima Rosa explores how the Ancient Mesopotamian civilization was portrayed by the movie industry, especially in America and Italy, and how it was used to convey analogies between ancient and contemporary cultural and moral contexts. Spanning a period that stretches from the beginning of the 20th century to the present day, the book explores how the Assyrian and Babylonian elites, particularly kings, queens, and priestesses, were perceived and represented on screen by filmmakers. A focus on the role played by Ancient Near Eastern women and on the polytheistic religion practiced in the land between the rivers will be provided. This book also offers an insightful interpretation of the bias message that most of these films portray and how the Mesopotamian past and Antiquity brought to light and stimulated the debate on emerging 20th century political and social issues. The book also offers: A thorough introduction to the Old Testament paradigm and the romanticism of classical authors A comprehensive exploration of the literary reception of the Mesopotamian legacy and its staging Practical discussions of the rediscovery, appropriation, and visual reproduction of Assyria and Babylonia In-depth examinations of cinematic genres and cinematographic contexts Perfect for students of the history of antiquity and cinematographic history, Reception of Mesopotamia on Film is also an invaluable resource for anyone with an interest in reception studies.
"Inferno" tells the story "of those who have rejected spiritual values", of those who are lost and are unable to find the right way to salvation. It describes each sin and the corresponding punishment. It differentiates between Purgatory and Hell by presenting people begging for forgiveness and others willing to justify their sins. "Inferno" represents the Christian soul who gets to see what it really is to commit a sin and what is to be expected in the afterlife. "Inferno" is the first part of Dante Alighieri’s medieval poem "The Divine Comedy" which was written in the period 1308-1320. It depicts the nine circles of Hell and Dante’s journey through them. Dante Alighieri was an Italian poet, philosopher, language and political theorist, born in Florence in 1265. He is one of the best known poets of the Middle Ages and his masterpiece "The Divine Comedy" is considered to be a representative of the medieval world-view. "The Divine Comedy" and "The New life" were written in vernacular, i.e. the speech variety that was used in everyday life. This made the literature accessible to most people and this is mainly why Dante is called "The father of Italian language". Dante’s life was divided by poetry and politics and the relationships between secular and religious authority were topics which were often depicted in his literary works.
Dante's Divine Comedy is widely considered to be one of the most significant works of literature ever written. It is renowned not only for its ability to make truths known but also for its power to make them loved. It captures centuries of thought on sin, love, community, moral living, God's work in history, and God's ineffable beauty. Like a Gothic cathedral, the beauty of this great poem can be appreciated at first glance, but only with a guide can its complexity and layers of meaning be fully comprehended. This accessible introduction to Dante, which also serves as a primer to the Divine Comedy, helps readers better appreciate and understand Dante's spiritual masterpiece. Jason Baxter, an expert on Dante, covers all the basic themes of the Divine Comedy, such as sin, redemption, virtue, and vice. The book contains a general introduction to Dante and a specific introduction to each canticle (Inferno, Purgatorio, and Paradiso), making it especially well suited for classroom and homeschool use.
"There is no greater sorrow than to be mindful of the happy time in misery." Dante Alighieri's Inferno, the first Canticle in the epic poetic masterpiece The Divine Comedy, is now available in an exquisite hardcover edition featuring a striking cover and distinctive interior design elements, making it ideal for fiction lovers, fans of horror and allegorical literature, and book collectors. Each collectible volume will be the perfect addition to any well-appointed library. Harper Muse Classics: The Gothic Chronicles Collection presents Dante's Inferno: Presents the fascinating and haunting allegory of a narrator (Dante himself, guided by the ancient Roman poet Virgil) who journeys through the nine concentric circles of Hell, each level increasing in despair and wickedness Explores such universal themes as the necessity for piety, the ramifications of sin, the inherent dangers of fame, the tension between this world and the afterlife, the eternal value of love, and the permanence of storytelling as an art form Is ideal for fans of Dante, lovers of literary allegory and classic literature, and people who love the darker side of fiction and poetry Whether you're buying this as a gift or as a self-purchase, this remarkable edition features: Beautiful foil-accented hardcover Distinctive decorative interior pages featuring pull quotes distributed throughout Part of a 4-volume horror collection including Bram Stoker's Dracula, Oscar Wilde's The Picture of Dorian Gray, and a volume of Edgar Allan Poe's best-known short stories. On Good Friday eve in the year 1300, a traveler (the narrator, Dante himself) loses his way and wanders into a dark mysterious wood, where he happens upon the ghost of the ancient Roman poet Virgil. Virgil promises to help Dante find his way back to the top of the mountain (Heaven), but first they must traverse the nine levels of Hell. As each concentric circle increases in horror and wickedness, the traveler encounters monsters (human and otherwise) and other fantastical creatures as he comes to understand the various sins of humanity such as lust, gluttony, heresy, and violence toward others. Transformed by his harrowing experience, Dante reaches his mountain-top destination as the sun rises on Easter morning. Dante's Inferno is part of a four-volume collection that includes Bram Stoker's Dracula, Oscar Wilde's The Picture of Dorian Gray, and a volume of Edgar Allan Poe's best-known short stories.
This first volume of Robert Durling's new translation of The Divine Comedy brings a new power and accuracy to the rendering of Dante's extraordinary vision of Hell, with all its terror, pathos, and humor. Remarkably true to both the letter and spirit of this central work of Western literature, Durling's is a prose translation (the first to appear in twenty-five years), and is thus free of the exigencies of meter and rhyme that hamper recent verse translations. As Durling notes, "the closely literal style is a conscious effort to convey in part the nature of Dante's Italian, notoriously craggy and difficult even for Italians." Rigorously accurate as to meaning, it is both clear and supple, while preserving to an unparalleled degree the order and emphases of Dante's complex syntax. The Durling-Martinez Inferno is also user-friendly. The Italian text, newly edited, is printed on each verso page; the English mirrors it in such a way that readers can easily find themselves in relation to the original terza rima. Designed with the first-time reader of Dante in mind, the volume includes comprehensive notes and textual commentary by Martinez and Durling: both are life-long students of Dante and other medieval writers (their Purgatorio and Paradiso will appear next year). Their introduction is a small masterpiece of its kind in presenting lucidly and concisely the historical and conceptual background of the poem. Sixteen short essays are provided that offer new inquiry into such topics as the autobiographical nature of the poem, Dante's views on homosexuality, and the recurrent, problematic body analogy (Hell has a structure parallel to that of the human body). The extensive notes, containing much new material, explain the historical, literary, and doctrinal references, present what is known about the damned souls Dante meets --from the lovers who spend eternity in the whirlwind of their passion, to Count Ugolino, who perpetually gnaws at his enemy's skull--disentangle the vexed party politics of Guelfs and Ghibellines, illuminate difficult and disputed passages, and shed light on some of Dante's unresolved conflicts. Robert Turner's illustrations include detailed maps of Italy and several of its regions, clearly labeled diagrams of the cosmos and the structure of Hell, and eight line drawings illustrating objects and places mentioned in the poem. With its exceptionally high standard of typography and design, the Durling-Martinez Inferno offers readers a solid cornerstone for any home library. It will set the standard for years to come.
