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Del, Sonno Matteo. "Methods of Translation in Dante's Inferno." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019.
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Sabelström, Ellen. "Dantes två infernon : En adaptationsanalys av Den gudomliga komedin och tvspelet Dante's Inferno i relation till gymnasieelevers lärande." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-295301.
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Whitman, Isabelle M. "Dante, Damnation, and The Undead: How The Conception of Hell Has Changed in Western Literature from Dante's Inferno to The Zombie Apocalypse." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1997.
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Dante's Inferno defined hell in Western literature for centuries; it was a physical place for sinners, they were subjected to physical torments, and it was in the afterlife. Dante’s depiction was firmly rooted in Christian theology. However, as fears and morals change, ideas of hell evolve as well. With the popularity of the zombie and other apocalypse narratives, these ideas return to the notion of physical torment and earthly places. In poetry, novels, theater, television, and film, writers examine different interpretations of hell, punishment, and redemption as metaphors for modern sins. In Sartre’s Huis clos, hell is a windowless room, and the tortures are inflicted psychologically by other people. In Romero’s Living Dead films, hell comes to earth, and the torments are both physical and psychological. Joss Whedon’s Buffy the Vampire Slayer shows how hellish the common experiences of high school and growing up can be. Cormac McCarthy’s The Road examines hell as a lack of place, a relentless journey without end. In these and other works, the concept of hell is reinvented and replaced by new ideas, but the influence of the past iterations shapes the new landscapes.
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Denning, Laurie Langlois. "L. T. Meade's Avaricious Anomaly: Â Madame Sara, British Imperialism, and Greedy Wolves in The Sorceress of the Strand." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6848.
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L. T. Meade's Avaricious Anomaly: Madame Sara, British Imperialism, and Greedy Wolves in The Sorceress of the Strand. Laurie Langlois Denning, Department of English, BYU Master of Arts. Critics interested in the prolific late Victorian author L.T. Meade have primarily focused on her work as an author of girls' stories and novels for young people, which enjoyed fantastic commercial success in her lifetime but fell into obscurity after her death. Recent scholarship on her detective fiction shows Meade's significant contributions to the genre as well as her engagement with social and political discourse. Scholars have noted ways that Meade's popular series, The Sorceress of the Strand, contributes to the New Woman debate and expresses anxiety over the British imperial project. This project examines Meade's villain in the series as a social anomaly that functions to interrogate the greed at the heart of imperialism. Examining the series' conclusion and the unusual nature of its ending sheds new light on Meade's contribution to debate over empire at the fin de siécle. Meade's fascinating villain, Madame Sara, is doggedly pursued by two detective figures--one is considered the top forensic specialist in the British police force and the other is the head of a business fraud agency--but the detectives are never able to bring Madam Sara to justice. Instead, it is a wolf that finally defeats the brilliant criminal mastermind. Why a wolf? Madam Sara's unusual demise serves as a deus ex machina that invites the reader to consider the Dante symbolism embedded in the text. Other critics see Meade's ending as reinforcing the empire; however, given the Dante imagery that has Madam Sara symbolizing a greedy imperial force, Meade's series indicts imperial greed and warns British citizens about failure to apprehend the evil in empire.
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Signorelli, Valentina. "Cinematic infernos : digital technologies and the remediation of Dante's Infernal imagery through the cinematic screen (2005-2015)." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3375/cinematic-infernos-digital-technologies-and-the-remediation-of-dante-s-infernal-imagery-through-the-cinematic-screen-2005-2015.
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In 2015 we celebrated the 750th anniversary of Dante Alighieri’s birth. In light of the popularity of Dante’s imagery, channelled through a variety of the arts and across national contexts for more than seven centuries, this study explores practices of adaptation and remediation of Dante’s Inferno through the cinematic screen in 2005-2015 as well as its relationship with digital technologies. Despite our understanding of Dante and the screen being enriched by the contribution of several scholars such as Antonella Braida, Luisa Calé, Dennis Looney and Nick Havely, amongst others, very little has been written about the aesthetic, social and political impact of digital technologies on cinematic adaptations of the infernal imagery. In order to fill this gap in knowledge, this study investigates the remediate power of digital technology by simultaneously exploring its involvement and its impact. This includes an examination of film production, conservation, circulation and reception. In order to do so, I scrutinise the following three key case studies: Milano Film’s Inferno (ITA,1911), Pier Paolo Pasolini’s Salò – 120 Days of Sodom (ITA, 1975) and David Cronenberg’s Cosmopolis (CAN, FR, ITA, POR, 2012). This multi-disciplinary approach offers a theoretical revision of the theory of adaptation, shifting from the enduring centrality of the ‘reference text’ to a more intermedial awareness of the pivotal role played by the cinematic screen. This enables an exploration of the cultural, political and social impact of Dante’s inspired infernal imagery in the 21st century.
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Possamai, Jackeline Maria Beber. "Leitura do limbo de Dante." Florianópolis, SC, 2007. http://repositorio.ufsc.br/xmlui/handle/123456789/90585.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em LiteraturaMade available in DSpace on 2012-10-23T12:38:35Z (GMT). No. of bitstreams: 1 241100.pdf: 484013 bytes, checksum: 7798097572bf82ad8815ba70b0533269 (MD5)
O Limbo, presente no Canto IV do Inferno da Divina Comédia constitui um elemento novo, introduzido por Dante à luz das concepções religiosas de seu tempo. O presente trabalho propõe uma leitura desse Limbo, enfatizando os aspectos que lhe são inerentes, como a sua localização, a sua descrição como um lugar estático, os suspiros reinantes e a existência de um castelo que abriga os grandes pensadores e poetas da Antigüidade. Essa diversidade de elementos torna o Canto IV um momento particular na viagem de Dante pelo Inferno, além de enfatizar questões ligadas à religião católica, entre elas o batismo como elemento essencial para a salvação da alma. Ainda dentro dessa pesquisa, aborda-se a questão da intertextualidade favorecida pela presença de muitos personagens da mitologia clássica e os seus autores. A trajetória do peregrino Dante através do Limbo permite-lhe a sua distinção entre os expoentes máximos da literatura clássica.
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CAVALCANTE, Acilon Himercírio Baptista. "O inferno dantesco e o inferno digital: jogo, fantasia e realidade." Universidade Federal do Pará, 2011. http://repositorio.ufpa.br/jspui/handle/2011/7836.
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Esta dissertação trata dos parâmetros possíveis entre o Inferno de Dante e a Cibercultura, através dos resultados de uma pesquisa desenvolvida por em três pontos: A Imagem do Infeno, legado da narrativa dantiana expressa ao longo dos séculos por artistas em diferentes estilos, mas dotados de elementos singulares propostos pelo autor florentino. A Cibercultura e seus conceitos: o ciberespaço, a imagem digital, a cultura de convergência e as transformações em curso que essa cultura produz na sociedade. E por último, a fantasia possível entre os conceitos e a imagem do inferno medieval com o mundo contemporâneo, através da atualização dos mesmos presentes no Inferno do projeto de hipernarrativa que se desenvolve tendo como base em tais definições.
This essay is about possible parameters delined between Dante’s Infero and the Cyberculture, thru a research developed in three aspects: Hell’ image, a legacy from dantian narrative and expressed by diferent artists among the centuries, with diferent styles, but wicht adopted the same elements propouseds by the florentian author. The Cyberculture’s concepts, as ciberspace, digital image, convergence culture and the recent transformations in society. At last, the phantasia possible between Medieval Inferno and the contemporary World, beyond the hypernarrative project for those definitions.
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Oliveira, Maria do Ceu Diel de. "Imagens do inferno : lugares da memoria, palavras de Dante." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251982.
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Orientador: Milton Jose de AlmeidaAnexo folhas de desenho
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Sanguiné, Milene Gomes Sacco. "Expressões do inferno e tecnologias do imaginário: de Dante a Godard." Pontifícia Universidade Católica do Rio Grande do Sul, 2008. http://hdl.handle.net/10923/2239.
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Previous issue date: 2008The following dissertation analyses index sequences that reffers to Dante’s work, beginning with the cinematographic translation of the poem “Divina Commedia” called “Our Song”, by J-L Godard. On the path between these two works, the visual universe of “Hell” had several translations based on the imaginary of the time they were produced. Each work has innumerable pieces of the ones preceded; in a phenomenon Cañizal calls Abyss Perspective. In order to study the image trajectory, we used the concept of imaginary discussed by authors such as Maffesoli, Durand, Machado da Silva and the concept of Collateral Experience discussed by Peirce.
Este trabalho analisa uma sucessão de índices que remetem à obra de Dante, tendo como elemento desencadeador uma tradução cinematográfica do poema “Divina Comédia”, chamada “Nossa Música”, feita pelo cineasta J-L Godard. No trajeto entre as duas obras, o universo visual do “Inferno” teve incontáveis traduções do imaginário da época em que foram produzidas. Cada obra contém fragmentos das que as antecederam, fenômeno a que Cañizal chama de Perspectiva em Abismo. Para estudar o fenômeno aplicado à trajetória das imagens, usou-se concepções de imaginário de autores como Maffesoli, Durand e Machado da Silva e da Experiência Colateral de Peirce.
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Hambrick, Donald John. "Aristotle transfigured, Dante and the structure of the inferno and the purgatorio." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0026/NQ36554.pdf.
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Hanson, Tammy S. "Overcoming Sin: Comparing Dante’s Inferno and the New Testament to Cormac McCarthy’s Outer Dark and Child of God." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2157.
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There are many textual and thematic similarities between Dante’s Inferno and Cormac McCarthy’s Outer Dark. There are also significant textual similarities between the New Testament and McCarthy’s third novel, Child of God. Juxtaposing Outer Dark and Child of God to Inferno and the New Testament, respectively, suggests a common trope that redemption requires characters’ name and repent of sin.
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Sanguin?, Milene Gomes Sacco. "Express?es do inferno e tecnologias do imagin?rio : de Dante a Godard." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2008. http://tede2.pucrs.br/tede2/handle/tede/4360.
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Previous issue date: 2008-12-22Este trabalho analisa uma sucess?o de ?ndices que remetem ? obra de Dante, tendo como elemento desencadeador uma tradu??o cinematogr?fica do poema Divina Com?dia, chamada Nossa M?sica, feita pelo cineasta J-L Godard. No trajeto entre as duas obras, o universo visual do Inferno teve incont?veis tradu??es do imagin?rio da ?poca em que foram produzidas. Cada obra cont?m fragmentos das que as antecederam, fen?meno a que Ca?izal chama de Perspectiva em Abismo. Para estudar o fen?meno aplicado ? trajet?ria das imagens, usou-se concep??es de imagin?rio de autores como Maffesoli, Durand e Machado da Silva e da Experi?ncia Colateral de Peirce.
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Ferrier, Esther. "Deutsche Übertragungen der Divina Commedia Dante Alighieris, 1960-1983 Ida und Walther von Wartburg, Benno Geiger, Christa Renate Köhler, Hans Werner Sokop : Vergleichende Analyse, Inferno XXXII, Purgatorio VIII, Paradiso XXXIII /." Berlin ; New York : W. de Gruyter, 1994. http://books.google.com/books?id=5i5ZAAAAMAAJ.
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Lane, Emily. "Hell On Earth: A Modern Day Inferno in Cormac McCarthy's The Road." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1127.
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Cormac McCarthy's The Road and Dante's the Inferno contain textual and thematic comparisons. While the Inferno creates a world that exhibits the worst fears of the medieval Catholic subconscious of Dante's time, The Road paints a world of the darkest fears of the current American subconscious. Both texts reflect a critical dystopia that speculates on human spirituality and offers a critique of society through a tour of sin and suffering in a desolate setting.
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Caland, Fabienne Claire. "Seuils, passages, parole : Les lieux initiatiques dans "The lord of the rings" (Tolkien), "Paradise lost" (Milton) et "Inferno" (Dante)." Limoges, 1999. http://www.theses.fr/1999LIMOA015.
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Le voyage que ce soit dans l'espace, le temps ou la hierarchie sociale, est l'un des themes fondamentaux de la litterature. Pour mettre en evidence la relation intime entre l'etre et sa traversee, trois types de voyage ont retenu notre attention : proposes par tolkien, milton et dante, les voyages litteraires issus de la culture judeo-chretienne nous entrainent du xiveme siecle pour le poeme de dante au xxeme siecle pour le roman de tolkien. Ils ne peuvent toutefois se resumer en une lutte entre le bien et le mal ; ils sont davantage une peregrination, le parcours personnel et universel de neophytes sur la voie de l'initiation. Or, le fait d'etudier le caractere initiatique de the lord of the rings, paradise lost et inferno permet de delimiter des sequences precises en etapes evolutives pour l'individu en partance. Mais etudier ce qui se deroule entre les voyages, aller au coeur de l'espace liminal, de l'espace intermediaire, mene a une reflexion sur l'essence meme du voyage. En effet, c'est dans le lieu liminal, dans ces seuils, dans ces passages que l'essentiel se trouve : l'etre est confronte a la parole dangereuse, a celle qui dit tout, qui peut tout, qui pervertit et annihileles differences. Apprendre a dominer le verbe en maitrisant l'espace etrange et etranger, comprendre les etres qui l'habitent ou le traversent, savoir faire la distinction de la parole pernicieuse et la parole salvatrice, c'est l'enjeu du voyageur. C'est peut-etre la sa veritable quete.
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Borsali, Youssef. "Traduzione del primo canto dell'inferno dantesco in arabo." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7500/.
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In this thesis, I have chosen to translate from Italian into Arabic Canto I of the Inferno, from Dante Alighieri’s epic poem the Divine Comedy (La Divina Commedia) because it’s a masterpiece in both Italian and world literature. Also I have selected it for its artistic value and the universal themes that it depicts. In fact, my purpose in translating this great work into Arabic is to extol the cultural and universal aspects that can be common to human beings everywhere.
My paper is written in Arabic and has six sections: A brief introduction on Dante’s life, an introduction to the Divine Comedy, a summary of Canto 1 of the Inferno and its analysis, Canto I of the Inferno in Italian, its translation into Arabic and finally a comment on the translation.
The first part -a summary of Dante’s life was presented.
The second part of my paper is an introduction to the Divine Comedy, the allegorical epic poem, consisting of three parts: The Inferno (Hell), Purgatorio (Purgatory), and Paradiso (Paradise).
The third part is a summary and analysis of Canto 1 of the Inferno, Dante’s most renowned verses.
The analysis of Canto highlights the everlasting conflict of man– sinning and giving in to temptation but then trying to repent and search for his soul’s salvation. He reflects on sin, existence, truth, God, love and salvation in his struggle through the dark and gloomy forest which symbolizes conflict and temptations man may succumb to. The influence of Christianity and the Middle ages here shows his commitment to religion and faith. Moreover, his meeting of Virgil, who guides him to the mountain during his journey to salvation, reflects the positive impact of Virgil’s philosophy on Dante.
The fourth part presents the Italian version of Canto 1 of the Inferno.
The fifth section of my paper is the translation of Canto 1 of the Inferno from Italian to Arabic. Translating an excerpt of Dante’s masterpiece was not an easy task: I had to consult several critique texts besides the Italian source text with explanations, and also some English versions to overcome any translation difficulties. As a student of translation, my goal was to be faithful in relaying to the Arabic audience the authenticity of Dante’s work, his themes, passions and aesthetic style.
Finally, I present a conclusion including a comment on the translation and the bibliography of the sources I have consulted.
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Smith, Michael Bennet 1979. "Disparate measures: Poetry, form, and value in early modern England." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11182.
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xi, 198 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.In early modern England the word "measure" had a number of different but related meanings, with clear connections between physical measurements and the measurement of the self (ethics), of poetry (prosody), of literary form (genre), and of capital (economics). In this dissertation I analyze forms of measure in early modern literary texts and argue that measure-making and measure-breaking are always fraught with anxiety because they entail ideological consequences for emerging national, ethical, and economic realities. Chapter I is an analysis of the fourth circle of Dante's Inferno . In this hell Dante portrays a nightmare of mis-measurement in which failure to value wealth properly not only threatens to infect one's ethical well-being but also contaminates language, poetry, and eventually the universe itself. These anxieties, I argue, are associated with a massive shift in conceptions of measurement in Europe in the late medieval period. Chapter II is an analysis of the lyric poems of Thomas Wyatt, who regularly describes his psychological position as "out of measure," by which he means intemperate or subject to excessive feeling. I investigate this self-indictment in terms of the long-standing critical contention that Wyatt's prosody is "out of measure," and I argue that formal and psychological expressions of measure are ultimately inseparable. In Chapter III I argue that in Book II of the Faerie Queene Edmund Spenser figures ethical progress as a course between vicious extremes, and anxieties about measure are thus expressed formally as a struggle between generic forms, in which measured control of the self and measured poetic composition are finally the same challenge Finally, in my reading of Troilus and Cressida I argue that Shakespeare portrays persons as commodities who are constantly aware of their own values and anxious about their "price." Measurement in this play thus constitutes a system of valuation in which persons attempt to manipulate their own value through mechanisms of comparison and through praise or dispraise, and the failure to measure properly evinces the same anxieties endemic to Dante's fourth circle, where it threatens to infect the whole world.
Committee in charge: George Rowe, Chairperson, English; Benjamin Saunders, Member, English; Lisa Freinkel, Member, English; Leah Middlebrook, Outside Member, Comparative Literature
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Martin, Zora. "Choose to Avoid Tragedy." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1135.
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Shakespeare's ideas about free will and moral choice, as illustrated in his play Macbeth, may have been influenced by Dante's Inferno. Dante was known to Shakespeare's contemporaries, and therefore most likely to the Bard himself. Current literature has not conclusively addressed this topic, and a focused examination is important, because it offers both an additional perspective on free will in Inferno, and adds to the understanding of free will in Macbeth.
Read at face value, Macbeth seems to bear no responsibility for his actions because they were preordained by the fates. Dante believed in free will, and Macbeth bears more than one similarity to his Commedia. Read through a Dantean lens, Macbeth has free will - even if choosing not to exercise it. Through the mere contemplation of the four reasons for not killing Duncan, Macbeth recognizes that he has the choice whether to become a traitor, with the consequences of suffering contrapasso damnation. But Macbeth elects to disregard the wisdom passed down in Dante's Commedia, and knowingly commits a heinously immoral act.
Shakespeare uses his predecessor Dante as a tool to advocate for human agency and moral choices in a text that would otherwise be fatalistic. Both then and now, Shakespeare sought to influence his audiences' understanding of their own free will. One first has to believe in possessing free will, in order to use it to make the best possible choices. Dante and Shakespeare reaffirm our possession of free will to help us avoid individual and societal tragedies.
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Fletcher, Kathryn DeWitt. "Geographies of the underworld." Thesis, Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/24613.
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Thesis (M. S.)--Literature, Communication, and Culture, Georgia Institute of Technology, 2008.Committee Chair: Michael Nitsche, Ph.D.; Committee Member: Celia Pearce, Ph.D.; Committee Member: Eugene Thacker, Ph.D.; Committee Member: T. Hugh Crawford, Ph.D.
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Chida, Nassime Jehan. "Local Power in Dante's Inferno." Thesis, 2019. https://doi.org/10.7916/d8-40hk-mq47.
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This study explores the historical content of Dante’s Inferno by confronting his representations of local power both with those of his contemporaries and of modern historiography. It shows the originality and nuance of Dante’s vision of local power, in particular the concept of tyranny and the rise of signoria in the cities of the north eastern part of Italy and of Romagna. The final chapter attends to Dante’s response to the judicial concept of family co-responsibility. Dante’s representation of local power is examined by focusing on Ezzelino da Romano and Obizzo II d’Este in Inferno 12, Guido da Montefeltro in Inferno 27 and Ugolino della Gherardesca in Inferno 32 and 33.
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Almeida, Pedro Caiado Baltazar Ribeiro de 1987. "A ilustração da Divina Comédia e António Carneiro." Master's thesis, 2013. http://hdl.handle.net/10451/8483.
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Tese de mestrado, Desenho, Universidade de Lisboa, Faculdade de Belas Artes, 2013The Divine Comedy is one of the most illustrated literary works of all time, however, and within this vast subject, there are few records of illustration about this text in Portugal. This study aims to explore the possibilities of the illustration of Hell through a technique that until now has been poorly investigated, and to solve the problems faced in its use. Hell was shown in its entirety for the first time in Portugal by António Carneiro, through forty-two drawings. This project also intends to publicize his drawing project and to further enrich a little the existing studies of this work which, unfortunately and so far, have received little attention and few publications. This existing documentation, allowed us to address issues relating to the origin, motives and methods used by António Carneiro, and to establish a connection with the end result of these drawings which, along with several other works of the various illustrators of Dante, constituted the support of this research. This work placed its emphasis on the strategies of representation with the aim of providing a different view, looking for expressive techniques appropriate to the illustration of Hell, and, like António Carneiro, to contribute to the illustration of the Divine Comedy. It is argued that the intention of António Carneiro when he completed the forty-two drawings of Hell was to later illustrate the Divine Comedy through paintings, but this project would ultimately never materialize. However, the intentions of António Carneiro are unclear and this study suggests some particular difficulties regarding the lack of information. In this study, the aesthetic and expressive potentials of the technique of frottage are discovered, which according to the research conducted here, has never been used to illustrate the Divine Comedy, or, from what is known, as a strategy to illustrate other works
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Danihelková, Tereza. "Zobrazení Pekla v díle vybraných nizozemských malířů 15. a 16. století." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-408898.
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This diploma thesis is focused on presenting selected artwork with the theme of Hell, which were made in 15. and 16. century. The focus will be on placing this artworks into whole artworks of selected painters. Also to compare it between each other and try to prove how was the tradition of this theme affected by political situation, customer and how was it affected by literature.