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Full-Text Articles in Ancient, Medieval, Renaissance and Baroque Art and Architecture

Staging Dante Today: A Three-Day Residency Of Teatro Delle Albe At The University Of Pennsylvania, Giulio Genovese Dec 2019

Staging Dante Today: A Three-Day Residency Of Teatro Delle Albe At The University Of Pennsylvania, Giulio Genovese

Bibliotheca Dantesca: Journal of Dante Studies

Giulio Genovese reports on last spring’s visit from Marco Martinelli and Ermanna Montanari, founders of the Teatro delle Albe in 1983. They shared their experience with Dante Alighieri and his relationship with the city of Ravenna. The Teatro delle Albe staged the “Inferno” (2017) and the “Purgatorio” (2019), and they will celebrate the 700th anniversary of Dante’s death in 2021 with a new performance.


My Dante. A Conversation With Theodore Cachey On American Dante Studies, Theodore J. Cachey Jr., Natale Vacalebre Dec 2019

My Dante. A Conversation With Theodore Cachey On American Dante Studies, Theodore J. Cachey Jr., Natale Vacalebre

Bibliotheca Dantesca: Journal of Dante Studies

Theodore J. Cachey Jr. is one of the major representatives of the new American Dante Studies. This article proposes a conversation with the scholar on various aspects of his work and personal experience in the American Dante studies between the 1980s and recent years.


Dante Translating, Robin Kirkpatrick Dec 2019

Dante Translating, Robin Kirkpatrick

Bibliotheca Dantesca: Journal of Dante Studies

This essay is intended as a discussion document. Its argument is that translation does not involve a search for conclusive authority but is rather a performative act, engaging the reader of a translation as well as its author in close critical engagement with the text. This may be said even in considering the translation of Dante’s Commedia—a work which all too often is thought to aim at final, definitive utterance.


“A Simple Sucking Of The Teeth:” Beckett, Dante And The “Risus Purus”, Scott Annett Dec 2019

“A Simple Sucking Of The Teeth:” Beckett, Dante And The “Risus Purus”, Scott Annett

Bibliotheca Dantesca: Journal of Dante Studies

Samuel Beckett’s “Dante postcards” record the first three smiles to be found in the Purgatorio. In doing so, Becket draws attention to a gesture that has recently received significant critical attention within Dante studies. These postcards suggest Beckett’s alertness to the complexity of face to face encounters within the Commedia, while also providing an opportunity to consider the extent to which facial expressions are significant within Beckett’s own writing. In this essay, I argue that the postcards can be read alongside Beckett’s early novels, in particular, Murphy (English 1938, French 1947) and Watt (English 1953, French ...


Materiality And Textuality: Editing And Rewriting The Lyric Dante In History, Laura Banella Dec 2019

Materiality And Textuality: Editing And Rewriting The Lyric Dante In History, Laura Banella

Bibliotheca Dantesca: Journal of Dante Studies

The paper presents the MaTeLDa project (Materiality and Textuality: Editing and Rewriting the Lyric Dante in History, Università degli Studi di Padova, 2018-2020), which offers an interdisciplinary study of how Dante was received and ‘canonized’ in late medieval and early modern Italy. MaTeLDa envisages the analysis of a selection of Dante’s texts in material contexts, and of specific instances of the circulation and reception of his lyric poetry, thereby laying the basis for a better understanding of medieval and early modern authoriality; the qualities of books as ‘textual objects;’ and the ways in which context, form, and annotation in ...


“La Guerra De La Pietate:” Dante’S Definition Of Moral Subject In The ‘Inferno’, Thomas Rendall Dec 2019

“La Guerra De La Pietate:” Dante’S Definition Of Moral Subject In The ‘Inferno’, Thomas Rendall

Bibliotheca Dantesca: Journal of Dante Studies

Although a pun on the word pietà has been widely recognized in Virgil’s rebuke to Dante for pitying the diviners and sorcerers in Inferno20, the possibility of a double meaning for the word in the poem’s statement of the subject in Canto 2 has generally been ignored. That a pun is present, however, is supported by the source for this passage in the meeting between the hero and his father in Book 6 of the Aeneid—a context in which the word’s Latin root meaning “filial piety” is clearly implied. By the Early Middle Ages “duty to ...


"Sonus Qui Non Est Vox:" Sound And Voice In The Body Politic, Alison Cornish Dec 2019

"Sonus Qui Non Est Vox:" Sound And Voice In The Body Politic, Alison Cornish

Bibliotheca Dantesca: Journal of Dante Studies

From the knocking on the gate after Macbeth’s murder of Duncan to the sound of Ugolino’s teeth on the skull of his enemy, the suicide’s violent excretion of words and blood, Calvino’s “king who listens,” the Sicilian bull and the heavenly talking eagle, this essay considers the difference between the sound made by a voice and sounds that are merely instrumental or artificial as a feature of the body politic indicative of tyranny or justice.


Music And The Act Of Song In Dante’S ‘Purgatorio’ And ‘Paradiso’, Kevin Brownlee Dec 2018

Music And The Act Of Song In Dante’S ‘Purgatorio’ And ‘Paradiso’, Kevin Brownlee

Bibliotheca Dantesca: Journal of Dante Studies

The present paper explores the relation between the vernacular words used to designate the Act of Song, and the inscribed texts of the Sung Music itself, by considering a set of key cases first in Purgatory and then in Paradise. It focuses on important moments of structural and literary transition, at the same time as showing how sung sacred texts relate to each other (and to other kinds of passages) in important functional ways. I examine how song works in five key moments of the protagonist’s journey: the exit from the final terrace of the Purgatorial mountain, and the ...


Dante, Liszt, And The Alienated Agony Of Hell, Tekla Babyak Dec 2018

Dante, Liszt, And The Alienated Agony Of Hell, Tekla Babyak

Bibliotheca Dantesca: Journal of Dante Studies

Dante Alighieri’s Inferno portrays Hell as an alienated realm in which the doomed spirits must spend eternity in isolation and regret. The Hungarian composer Franz Liszt (1811–1886) responded to this work with his Dante Symphony (1857) based on the Inferno and Purgatorio, in which he gave musical form to Dante’s textual expressions of agony. Throughout this two-movement work, Liszt offers a musical translation of the theological and emotional world portrayed in Dante’s Divina Commedia. This article examines Liszt’s evocations of silence, memory, regret, and redemption in the Dante Symphony. These evocations are enhanced by Liszt ...


Nineteenth- And Twentieth-Century Musical Adaptations Of Dante’S ‘Commedia’: ‘Dante’S Greatest Hits’, Maria Ann Roglieri Dec 2018

Nineteenth- And Twentieth-Century Musical Adaptations Of Dante’S ‘Commedia’: ‘Dante’S Greatest Hits’, Maria Ann Roglieri

Bibliotheca Dantesca: Journal of Dante Studies

Composers through the centuries have tried to depict Dante’s Commedia in music, using Dante’s verses, characters, and design for Hell, Purgatory, and Heaven, and their compositions. This paper looks at some of the trends in musical adaptations of the Commedia and also some of the “greatest hits”—in the author’s opinion. Works by James Norton, Patric Standford, Jacob ter Veldhuis, David Denniston, Franz Liszt, Donald Martino, Tod Machover, Anita Saij, Allik and Mulder, and Theodore Wiprud are discussed.


Conversations With Francesca: Tchaikovsky, Liszt, And Wagner (And Zandonai And Granados And Rachmaninov) Go To Hell, Jess Tyre Dec 2018

Conversations With Francesca: Tchaikovsky, Liszt, And Wagner (And Zandonai And Granados And Rachmaninov) Go To Hell, Jess Tyre

Bibliotheca Dantesca: Journal of Dante Studies

Tchaikovsky completed his tone poem Francesca da Rimini in 1876, during the period he was attending the premiere of Wagner’s Ring Cycle at Bayreuth. Critics of the work drew comparisons with the Tetralogy and faulted what seemed to be Tchaikovsky’s derivative inspiration. Indeed, the composer him-self acknowledged Wagner’s influence. In this paper, I set aside influence to consider intertextual dialogues between Tchaikovsky’s work and others by Liszt, Zandonai, Rachmaninov, and not Wagner’s Ring, but Tristan und Isolde. Drawing upon theories by Klein and Peirce, I examine parallelisms of topic, melodic contour, tonal motion, and timbral ...


Singing For Dante In ‘Purgatorio’ 30–31, Helena Phillips-Robins Dec 2018

Singing For Dante In ‘Purgatorio’ 30–31, Helena Phillips-Robins

Bibliotheca Dantesca: Journal of Dante Studies

This essay investigates types of sociality enacted through song, as depicted in Dante’s Earthly Paradise. The first section of the essay argues that the singing of Psalm 30 (In te, Domine, speravi) in Purgatorio 30 is a way of enacting a particular mode of compassion. In the second section of the essay I argue that Dante’s depiction of Psalm 30—together with his depiction of the antiphon sung in Purgatorio 31, the Asperges me—invites a devotional response from the reader. The sociality of prayer can involve not only the characters, but also the readers of the Commedia ...


“Temprando Col Dolce L’Acerbo”: Instrumental And Vocal Polyphony In The ‘Commedia’, Francesco Ciabattoni Dec 2018

“Temprando Col Dolce L’Acerbo”: Instrumental And Vocal Polyphony In The ‘Commedia’, Francesco Ciabattoni

Bibliotheca Dantesca: Journal of Dante Studies

This essay tracks the historical-musicological context of the lemma “organi” / “organo” as it appears in Purg. 9.144 and Par. 17.44. Drawing from medieval treatises and monks’ descriptions such as Raban Maur, Notkerus Balbulus, Baldric of Dol, Aelred of Rievaulx, and Wulstan, the author uses intertextual evidence to show that Purg. 9.144 (“quando a cantar con organi si stea”) evokes a great pipe organ as was found in some medieval churches. The essay also argues that Par. 17.43–44 (“come viene ad orecchia / dolce armonia da organo”) should be understood as a polyphonic organum that serves the ...


Ironizing Ugolino, David Heinsen Dec 2018

Ironizing Ugolino, David Heinsen

Bibliotheca Dantesca: Journal of Dante Studies

This article analyzes an adaptation of Canto 33 of the Inferno, a musical setting of Count Ugolino composed by Gaetano Donizetti (1828). The composition is first presented within the frame of its contemporaneous aesthetic, one that treats Ugolino as a pathos-inspired tale of human suffering. Donizetti’s composition, however, fails to align itself to this tragic reading due to structural contradictions that prevent the listener from sympathizing with the musical agent. To address this divergence, the article extends the most recent theories of musical narrative by Byron Almén and Michael Klein to propose an ironic reading of the work, essentially ...


Masterpieces Of Italian Literature In Translation, Silvia Valisa Jan 2010

Masterpieces Of Italian Literature In Translation, Silvia Valisa

Silvia Valisa

No abstract provided.