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Journal articles on the topic 'Divine Commedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

Shahbazi, Mohammadreza, and Maryam Jamali. "RATIONALISM IN DANTE'S DIVINE COMMEDY AND ARDAVIRAF." IJASOS- International E-journal of Advances in Social Sciences 2, no. 4 (2016): 101. http://dx.doi.org/10.18769/ijasos.50926.

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2

Jongeneel, E. "Art and Divine Order in the Divina Commedia." Literature and Theology 21, no. 2 (2007): 131–45. http://dx.doi.org/10.1093/litthe/frm008.

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3

Morrison, Tessa. "The Paradox of the Divine Architecture in Dante’s La Divina Commedia." International Journal of the Humanities: Annual Review 8, no. 2 (2010): 295–310. http://dx.doi.org/10.18848/1447-9508/cgp/v08i02/42834.

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4

Rivera Recio, Leonardo. "El simbolismo del vuelo en la "Divina Commedia"." Philologia Hispalensis 1, no. 6 (1991): 381–418. http://dx.doi.org/10.12795/ph.1991.v06.i01.31.

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5

Alfie, Fabian R., Dante Alighieri, and Stanley Appelbaum. "The "Divine Comedy": Selected Cantos / La divina commedia: Canti scelti. A Dual-Language Book." Italica 79, no. 3 (2002): 411. http://dx.doi.org/10.2307/3656104.

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6

Alighieri (book author), Dante, Tommaso di Salvo (book editor), and Andrea Fedi (review author). "La Divina Commedia." Quaderni d'italianistica 12, no. 1 (1991): 143–45. http://dx.doi.org/10.33137/q.i..v12i1.10516.

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7

Macneil, Anne. "The Divine Madness of Isabella Andreini." Journal of the Royal Musical Association 120, no. 2 (1995): 195–215. http://dx.doi.org/10.1093/jrma/120.2.195.

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Nel giorno, che sublime in bassi mantiIsabella imitava alto furore;Estolta con angelici sembiantiEbbe del senno altrui gloria maggiore;Alhor saggia tra 'I suon, saggia tra i cantiNon mosse piè, che non sorgesse Amore,Né voce aprì, che non creasse amanti,Né riso fè, che non beasse un core.Chi fu quel giorno a rimirar feliceDi tutt'altro quaggiù cesse il desio,Che sua vita per sempre ebbe serena.O di Scena dolcissima Sirena,O de' Teatri Italici Fenice,O tra Coturni insuperabil Clio.Gabriello ChiabreraIn the spring of 1589, the commedia dell'arte company known as the Gelosi travelled to Florence

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8

Lagerfeld, Steven. "Editor's Comment: Diving In." Wilson Quarterly (1976-) 36, no. 4 (2012): 3. http://dx.doi.org/10.2307/wilsonq.36.4.3.

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9

Ward, Graham. "John Milbank's Divina Commedia." New Blackfriars 73, no. 861 (1992): 311–18. http://dx.doi.org/10.1111/j.1741-2005.1992.tb07248.x.

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10

Choi, Cheul, and Seungkwon Lee. "The Correlation between Dnte Alighieri La Divina Commedia and The opera [Il Triticco] of Giacomo Puccini." Jounal of Cultural Exchange 9, no. 3 (2020): 281–97. http://dx.doi.org/10.30974/kaice.2020.9.3.12.

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11

Corbin, Ian Marcus. "“...An End and a Beginning...” Richard Kearney on Welcoming Divine Strangers and Writing Divine Words." Religion and the Arts 14, no. 5 (2010): 534–45. http://dx.doi.org/10.1163/156852910x529313.

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AbstractHow ought one talk about a God who is, strictly speaking, ineffable? Even further, how could one ever dare to speak with dogmatic authority about such a God? This essay takes up one recent exploration of these topics— Richard Kearney’s Anatheism: Returning to God After God. The essay argues that while Kearney expresses legitimate concerns about the ethical and epistemological pitfalls of what he calls “dogmatic theism,” these dangers are not equally present in all iterations of religious dogma. Further, in some instances dogma might even contribute to the project of hospitality to the

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12

Rus, Martijn. "La sottie : une divina commedia." Poétique 140, no. 4 (2004): 429. http://dx.doi.org/10.3917/poeti.140.0429.

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13

Gauchet, Marcel, and René Rémond. "Comment l'Europe divise la France." Le Débat 136, no. 4 (2005): 4. http://dx.doi.org/10.3917/deba.136.0004.

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14

Pittard, John. "Worship and The Problem of Divine Achievement." Faith and Philosophy 38, no. 1 (2021): 65–90. http://dx.doi.org/10.37977/faithphil.2021.38.1.5.

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Gwen Bradford has plausibly argued that one attains achievement only if one does something one finds difficult. It is also plausible that one must attain achievement to be worthy of “agential” praise, praise that is appropriately directed to someone on the basis of things that redound to their credit. These claims pose a challenge to classical theists who direct agential praise to God, since classical theism arguably entails that none of God’s actions are difficult for God. I consider responses to this challenge and commend a view according to which God’s loving character is not necessitated b

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15

Sciacovelli, Antonio Donato. "Il trionfo dellocus purgatoriusnella divina commedia." Verbum 3, no. 1 (2001): 19–27. http://dx.doi.org/10.1556/verb.3.2001.1.1.

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16

Melzi, Robert C. "Review: La Cumegia (La Divina Commedia)." Forum Italicum: A Journal of Italian Studies 19, no. 2 (1985): 340–41. http://dx.doi.org/10.1177/001458588501900212.

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17

Shapiro, Marianne, and Sergio Corsi. "Il "modus digressivus" nella "Divina Commedia"." Italica 67, no. 2 (1990): 231. http://dx.doi.org/10.2307/478602.

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18

Viglionese, Paschal C., and Amilcare A. Iannucci. "Forma ed evento nella "Divina Commedia."." Italica 63, no. 3 (1986): 313. http://dx.doi.org/10.2307/478635.

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19

Vallone (book author), Aldo, and Amilcare A. Iannucci (review author). "Strutture e modulazioni nella Divina Commedia." Quaderni d'italianistica 11, no. 2 (1990): 332. http://dx.doi.org/10.33137/q.i..v11i2.10597.

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20

Landa, Kristina. "Il problema della traduzione e il “linguaggio dell‟ineffabile” nella Commedia di Dante in rapporto alla traduzione russa del poema." Translationes 6, no. 1 (2014): 93–107. http://dx.doi.org/10.1515/tran-2015-0007.

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Riassunto Il presente articolo tratta del ―linguaggio dell‘ineffabilità‖ di Dante Alighieri alla luce della teoria della traduzione, e di alcune strutture di questo linguaggio nella traduzione russa della Divina Commedia di M.L. Lozinskij. Molti hanno scritto sul linguaggio di Dante come mezzo d‘espressione delle verità mistiche. Eppure non esiste un lavoro critico in cui questo tema si studi dal punto di vista della scienza traduttiva. Il nostro obiettivo è dimostrare l‘importanza del tema della ―traduzione‖ delle verità divine nel linguaggio umano per la poetica dantesca e scoprire come tale

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21

Licciardello, Nicola. "Matelda: Il Nuovo Inizio e il Tantra di Dante1." Revista de Italianística, no. 23 (May 12, 2014): 3. http://dx.doi.org/10.11606/issn.2238-8281.v0i23p3-34.

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Il testo rivisita la funzione del personaggio di Matelda nel Paraíso terrestre della Divina Commedia, avendo come base le teorie del buddismo tantrico. In virtù di questa analisi Matelda diventa la personificazione della bella natura vergine che inizia Dante alla purezza dell’amore divino e all’oblio del male.

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22

Took, J. F., and Pompeo Giannantonio. "Endiadi: Dottrina e poesia nella 'Divina Commedia'." Modern Language Review 81, no. 2 (1986): 498. http://dx.doi.org/10.2307/3729769.

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23

Acél, Zsuzsanna. "Sopra un aspetto florále della divina commedia." Verbum 3, no. 1 (2001): 51–69. http://dx.doi.org/10.1556/verb.3.2001.1.4.

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24

Franco, Charles. "Review: Forma ed evento nella Divina Commedia." Forum Italicum: A Journal of Italian Studies 22, no. 1 (1988): 145–47. http://dx.doi.org/10.1177/001458588802200134.

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25

Ploom, Ülar. "On the Poetic of the Double Point and Circle in Dante’s Paradiso 30 and in Desmond Hogan’s Short Story “The Last Time”." Studia Metrica et Poetica 6, no. 1 (2019): 79–93. http://dx.doi.org/10.12697/smp.2019.6.1.03.

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This essay discusses the interaction of the divine point of light and Beatrice as the unattainable point of revelation for Dante in Paradiso 30. The two points with their respective circles of understanding and expression form a powerful figure which calls for conceptualisation both in the context of Canto 30 but also the whole of the Divina Commedia. Despite the different epochs, ideologies and contexts, a striking similarity as to the poetic of the double point and circle may be found also in Hogan’s text.

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26

LEHOUX, DARYN. "Why does Aristotle think bees are divine? Proportion, triplicity and order in the natural world." British Journal for the History of Science 52, no. 3 (2019): 383–403. http://dx.doi.org/10.1017/s0007087419000165.

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AbstractConcluding his discussion of bee reproduction in Book 3 ofGeneration of Animals, Aristotle makes a famous methodological pronouncement about the relationship between sense perception and theory in natural history. In the very next sentence, he casually remarks that the unique method of reproduction that he finds in bees should not be surprising, since bees have something ‘divine’ about them. Although the methodological pronouncement gets a fair bit of scholarly attention, and although Aristotle's theological commitments in cosmology and metaphysics are well known, scholars have almost

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27

Lim, Daniel. "NATURAL DIVINE CAUSATION, CAUSAL EXCLUSION, AND OVERDETERMINATION: COMMENT ON MIKAEL LEIDENHAG." Zygon® 56, no. 2 (2021): 434–46. http://dx.doi.org/10.1111/zygo.12688.

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28

Trigano, Shmuel. "Comment se pose la question des attributs divins ?" Pardès 60, no. 1 (2017): 11. http://dx.doi.org/10.3917/parde.060.0011.

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29

Balducci, Marino Alberto. "Nobile e ignobile simbolismo islamico nella Divina Commedia." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 20 (December 20, 2020): 3–30. http://dx.doi.org/10.24917/20811853.20.1.

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Rozpatrując zagadki "Boskiej Komedii", można przyjąć, że kultura muzułmańska była dobrze znana Dantemu, przede wszystkim poprzez dzieła takie jak "Księga Drabiny Mahometa", "Podróże Marco Polo" czy prace Riccolda z Montecroce. Islam jest uznawany za zagrożenie, a jednak podziwiany w wizji Dantego. Miłość jest postrzegana jako kluczowy element chrześcijaństwa, jest to caritas i obejmuje ona każdy aspekt życia człowieka, utrzymując go w harmonii. Według Dantego Mahomet nie rozumiał tej koncepcji, dlatego stworzył nowy rodzaj wiary. Zgodnie z wizją "Boskiej Komedii" Mahomet znalazł się w piekle,

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30

Iannucci (book author), Amilcare A., and Lucandrea Ballarini (review author). "Forma ed evento nella Divina Commedia." Quaderni d'italianistica 10, no. 1-2 (1989): 345–46. http://dx.doi.org/10.33137/q.i..v10i1-2.10456.

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31

Marmura, Michael E. "Ghazali's Chapter on Divine Power in the Iqtiṣād". Arabic Sciences and Philosophy 4, № 2 (1994): 279–315. http://dx.doi.org/10.1017/s0957423900001259.

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The theological foundations of Ghazali's causal theory are fully expressed in the chapter on the attribute of divine power in his al-Iqtiṣād fi al-I'tiqād (Moderation in Belief). The basic doctrine which he proclaims and argues for is that divine power, an attribute additional to the divine essence, is one and pervasive. It does not consist of a multiplicity of powers that produce a multiplicity of effects, but is a unitary direct cause of each and every created existent. In a defense of the doctrine of kasb (acquisition), Ghazali argues (a) that power in all animate creatures is created direc

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32

Tirino, Mario, and Lorenzo Di Paola. "La Divina parodia. Un’analisi socioculturale di Dante. La Divina Commedia a fumetti di Marcello Toninelli." Dante e l'Arte 5 (November 11, 2018): 105. http://dx.doi.org/10.5565/rev/dea.108.

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33

Simonis, Annette. "Dantes Divina Commedia und Vita Nuova in Graphic Novels des 21. Jahrhunderts." Deutsches Dante-Jahrbuch 94, no. 1 (2019): 57–88. http://dx.doi.org/10.1515/dante-2019-0004.

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Riassunto Tra le adattazioni popolari delle opere dantesche nel XX e XXI secolo sono soprattutto i fumetti e le Graphic Novels a riscuotere il maggior successo. Il presente contributo si concentra su tre esempi scelti della ricezione produttiva della Vita Nuova e della Commedia nel fumetto, tutti pubblicati dopo il 2000. Si mostrerà come le adattazioni recenti non coltivino soltanto il riferimento intertestuale all’opera dantesca, ma si rifacciano anche a una tradizione plurisecolare di ricezione transmediale della Commedia nelle arti figurative, ricavando da questa ricca fonte impulsi fondame

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34

Davis, John A. "How Many Italies? Reconciliation, the Risorgimento and Italy's North South Divide." European Review 20, no. 4 (2012): 505–13. http://dx.doi.org/10.1017/s1062798712000075.

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Italy is a critical point of reference for studying the strengths and limits of strategies of reconciliation in divided European societies, one that demonstrates the validity of Iván Zoltán Dénes’ introductory comment that the presence of ‘divided, sometimes antagonistic, communities in officially unified nations seems to be the rule in Europe’.

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35

Korman, S. "Reviews of exhibitions. Sandro Botticelli. Pittore della Divina Commedia." Renaissance Studies 15, no. 4 (2005): 538–44. http://dx.doi.org/10.1111/1477-4658.00380.

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36

Steigerwald, Jörn. "Himmlische Klänge: Die Paradiso-Cantica in Dantes Divina Commedia." Zeitschrift für Literaturwissenschaft und Linguistik 43, no. 3 (2013): 47–63. http://dx.doi.org/10.1007/bf03379880.

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37

Steigerwald, Jörn. "Himmlische Klänge: Die Paradiso-Cantica in Dantes Divina Commedia." Zeitschrift für Literaturwissenschaft und Linguistik 43, no. 171 (2013): 47–63. http://dx.doi.org/10.1007/bf03377196.

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38

Whitehead, Patrick. "Examining the Scientist – Practitioner Divide in Psychology." International Journal of Transactional Analysis Research & Practice 11, no. 2 (2020): 3–13. http://dx.doi.org/10.29044/v11i2p3.

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Using transactional analysis models of ego states (Berne 1961, 1964), the author proposes a typology of scientists and diagrams twelve types based on integrated ego states, contaminated Adult, and single ego state with dual exclusion. The typology is presented as the latest in what could be called the psychology of science, whose exemplars include Thomas Kuhn (1962/2012) and Abraham Maslow (1969). Psychology of science is differentiated from philosophy and theory of science, and existing research into the personality of scientists is explored. Of major importance is the apparent divide between

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39

Ardissino, Erminia. "Dante e i nomi di Dio per perifrasi." Forum Italicum: A Journal of Italian Studies 55, no. 2 (2021): 296–315. http://dx.doi.org/10.1177/00145858211022643.

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Il saggio studia le perifrasi (stranamente poco considerate dalla critica) che nella Commedia vengono impiegate per indicare Dio. Si sa che sul nome di Dio Dante interviene ben due volte, legandolo alla questione della prima parola umana, ma nel poema c’è anche una ricca varietà di perifrasi usate per indicare la divinità. Da un regesto di queste figure retoriche si ricavano le caratteristiche che Dante assegna al divino con qualche originalità. La trattazione discute anzitutto i fondamenti biblici e teologici delle opzioni poetiche di Dante, confrontando in particolare le perifrasi su Dio con

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40

Rogers, Katherin. "Saving Eternity (and Divine Foreknowledge and Free Will): A Reply to Hasker." Roczniki Filozoficzne 70, no. 1 (2022): 79–89. http://dx.doi.org/10.18290/rf2201.5.

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William Hasker and I disagree over whether or not appealing to a particular understanding of divine eternity can reconcile divine foreknowledge with libertarian human freedom. Hasker argues that if God had foreknowledge of a particular future choice, that choice cannot be free with libertarian freedom. I hold, to the contrary, that, given a certain theory of time—the view that all times exist equally—it is possible to reconcile divine foreknowledge with libertarian freedom. In a recent article, “Can Eternity be Saved? A Comment on Stump and Rogers”, Hasker makes it clear that one of the fundam

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41

Marti, Kevin. "L'Eden Della Nuova Poesia: Saggi sulla "Divina Commedia.". Pasquale Sabbatino." Speculum 70, no. 1 (1995): 199–201. http://dx.doi.org/10.2307/2864763.

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42

Balfour, Mark, John C. Barnes, and Jennifer Petrie. "Word and Drama in Dante: Essays on the 'Divina Commedia'." Modern Language Review 90, no. 2 (1995): 467. http://dx.doi.org/10.2307/3734621.

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43

Holtus, Günter. "Heinz Willi Wittschier,Dantes «Divina Commedia».Einführung und Handbuch.Erzählte Transzendenz." Zeitschrift für romanische Philologie (ZrP) 122, no. 4 (2006): 835–37. http://dx.doi.org/10.1515/zrph.2006.835b.

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44

Brague, Elghouini. "Visione di Dante Alighieri Delle Crociate Attraverso la Divina Commedia." Studies and Research 5, no. 11 (2013): 348–59. http://dx.doi.org/10.12816/0001181.

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45

MILLER, CHARLOTTE. "JOHN FLAXMAN'S WORKING COPY OF DANTE'S DIVINA COMMEDIA." Italian Studies 58, no. 1 (2003): 75–87. http://dx.doi.org/10.1179/007516303790557417.

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46

Mineo (book editor), Nicolò, and Mary Alexandra Watt (review author). "Letture Classensi. Costruzione narrativa e coscienza profetistica nella Divina Commedia." Quaderni d'italianistica 21, no. 2 (2000): 170–71. http://dx.doi.org/10.33137/q.i..v21i2.9410.

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47

Trione (book author), Fortunato, and Simona Lorenzini (review author). "La Poetica dell’Affetto. Estetica religiosa nella Divina Commedia." Quaderni d'italianistica 38, no. 1 (2018): 255–58. http://dx.doi.org/10.33137/q.i..v38i1.31176.

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48

Barnes (book editor), John C., Jennifer Petrie (book editor), and Antonio Franceschetti (review author). "Word and Drama in Dante. Essays on the "Divina Commedia"." Quaderni d'italianistica 15, no. 1-2 (1994): 307–8. http://dx.doi.org/10.33137/q.i..v15i1-2.10281.

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49

Delmay (book author), Bernard, and Anna-Sophie Tamm (review author). "I personaggi della Divina Commedia: Classificazione e regesto." Quaderni d'italianistica 10, no. 1-2 (1989): 340. http://dx.doi.org/10.33137/q.i..v10i1-2.10448.

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50

Hale, John K. "TRADUTTORE TRADITORE?: The Value of English Versions of the DIVINA COMMEDIA." Forum Italicum: A Journal of Italian Studies 19, no. 1 (1985): 120–39. http://dx.doi.org/10.1177/001458588501900108.

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