Paradiso 2’s sustained direct address warns readers unprepared for its complexities to “turn back to see your shores again…for perhaps losing me, you would be lost,” but then offers the “other few” who crave “the bread of angels” the promise of a marvel that would rival the deeds of the mythological hero Jason. I will argue that, by appearing to impose this choice on its readers, this direct address in fact activates the craving for the bread of angels (for who, (...) by obeying the interpretive imperative to make such a decision, would not also be one who thereby does choose to pursue the bread that is promised in return for this obedience?). In other words, the very act of interpreting the representation of readers as divided into those who are capable of allegorical interpretation and those who are not constructs and activates the will of a single readership for the Divine Comedy and, consequently, challenges us to provide an articulation of what it means even to read or to misread the Divine Comedy. (shrink)

This essay discusses five main topoi in the Divine Comedy through which teachers might encourage students to explore the question of the Divine Comedy’s treatment of philosophy. These topoi are: (1) The Divine Comedy’s representations in Inferno of noble pagans who are allegorically or historically associated with philosophy or natural reason; (2) its treatment of the relationship between faith and reason and that relationship’s consequences for the text’s understanding of the respective authoritativeness of theology (...) and philosophy; (3) representations in the Divine Comedy that relate to the question of the practical value of philosophical (not to mention theological) speculation; (4) the text’s treatment of the respective merits of practical and contemplative activities; and (5) its implicit defense of philosophy’s authority with respect to ethical and political questions. (shrink)

The films of Bruno Dumont are tied to unwatchability, austerity, and a post-theological seriousness. Recently, however, Dumont has taken a surprising turn towards comedy; and yet these comedies are not without the post-theological despair that characterizes his earlier films. Taking Dumont's comedy seriously, this article frames Dumont's comedic turn not as a deviation but rather as a realignment that requires retroactive reconsideration of his oeuvre's post-theological orientation. We interrogate the philosophical implications of laughter in Dumont's work and argue (...) that it suggests a new trajectory for the post-theological project. The work of Georges Bataille anchors our analysis of violent laughter, while Jean-Luc Nancy's post-theology structures our central argument. We read Nancy's post-theology into the construction of space and subjectivity in Dumont's earlier works, which characterize both human characters and the landscapes they inhabit with a pervasive sense of depthlessness or blankness. These features of absence often lead spectators to project emotions onto Dumont's characters, but we stress this blankness as foregrounding the essential unknowingness of the subject – something which also drives Bataille's notion of laughter. For Bataille, laughter is rooted in nonknowledge, it is a non-productive expenditure that exposes the limits of human existence. It is this horizon of death and nothingness that drives Dumont's comedies. Understood through post-theological laughter, Dumont's comedic films and TV series provide new ways of accounting for the death of God. This laughter in turn operates retroactively to productively reframe post-theological violence in his work. In short, this article contends that none of Dumont's films are meant to be taken seriously. Confronting the ethical and philosophical implications of Dumont's comedic turn, this article investigates the implications of reading his oeuvre through this divinely absurdist, post-theological comedic lens and articulates a theory of post-theology that foregrounds the radicality of laughter. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Uncanonical Dante: The Divine Comedy And Islamic PhilosophyPaul A. CantorThe distorted notions of invisible things which Dante and hisrival Milton have idealized, are merely the mask and the mantlein which these great poets walk through eternity enveloped anddisguised. It is a difficult question to determine how far theywere conscious of the distinction which must have subsisted intheir minds between their own creeds and that of the (...) people.Dante at least appears to wish to mark the full extent of it byplacing Riphaeus, whom Virgil calls justissimus unus, inParadise, and observing a most heretical caprice in hisdistribution of rewards and punishments.—Percy Shelley, A Defence of PoetryIThe case of Dante provides an excellent opportunity to open up the question of the Western canon. In one sense, Dante is the perfect example of a canonical author. His name is one of the few certain to appear on anybody’s short list of the truly central authors in the Western literary tradition. But in another sense Dante can be regarded as uncanonical. In his own day he was widely suspected of being heretical in his religious views, 1 and a careful reading of his works does indeed raise serious doubts about his being the pillar of orthodoxy he is often taken to be today. 2 Out of this interplay between the canonical and the noncanonical Dante, I hope to show that the issue of the Western canon is more complicated than either its defenders or its attackers generally present it.In discussing the issue of the canon, it is important to sort out at the [End Page 138] beginning what we do and do not mean by the term. A canonical work may merely be a work that has been accepted into the literary canon, one that has become a touchstone in the reading and teaching of literature. But the term canonical can suggest something else, that the work is orthodox and somehow represents a central authoritative position in Western culture. The word canonical is so loaded with religious connotations that it is difficult to separate the relatively neutral first meaning of the term from the loaded second meaning. Dante is a case in point. When people refer to him as a canonical author, they usually do not simply mean that he is widely read and taught. Most discussions of Dante today treat him as representing an authoritative cultural moment in the Western tradition, as the supreme embodiment of the medieval mind. Viewed that way, Dante becomes an emblem of everything contemporary critics of the Western canon bitterly hate and reject. The reason they feel that they must attack authors like Dante and displace them from the center of literary study is that these authors have come to stand for orthodoxy and thus seem to enforce the hegemony of Western culture.Critics who wish to champion various forms of non-Western culture have a particular axe to grind with canonical authors like Dante. The contemporary debate over the Western canon seems to be premised on a sharp opposition between Western and non-Western cultures, as if they were complete and irreconcilable antitheses, and even wholly unrelated. One of the principal charges against the Western canon is that it is Eurocentric, that it remains confined within a narrow orbit of European ideas and beliefs, thus excluding all other views of the world. A corrolary of the idea of Eurocentrism is the concept of Orientalism, developed by Edward Said. 3 Said argues that throughout its history, the Occident has defined itself in opposition to the Orient, basing its elevated self-image on a debased vision of the cultural Other. In Said’s argument, the Occident views itself as rational as opposed to an irrational Orient, as emotionally disciplined in contrast to an emotionally uncontrolled Orient, and as masculine over against a feminine Orient.In medieval Europe the Orient was chiefly represented by the Muslim world, and one does not have to look far in medieval literature to find the kinds of orientalist stereotypes about which Said writes. The French Song of Roland contains excellent examples, but even the Divine Comedy seems to... (shrink)

La Divine Comédie est le récit poétique d'une vision, d'une expérience surnaturelle qui se fait toujours plus intense, et que le langage peine toujours davantage à traduire. La mission de Dante consiste à rapporter cette vision. La question que nous pose la Divine Comédie réside dans la différence entre l'intraduisible et l'indicible: y a-t-il un intraduisible dicible? Ou en d'autres termes : quelle est, au-delà du topos de l'indicible poétique, et au-delà de la figure rhétorique de la prétérition, (...) la signification conceptuelle de l'expression du "dire" dans la Divine Comédie? (shrink)

Review of Andreas Kablitz’s Poetics of Redemption: Dante’s Divine Comedy. Renaissance Quarterly 76 (2024):1566-1568.

Argues that the analysis of movement and its correlative procession in the Divine Comedy is fundamental to an understanding of how Dante generates meaning in his poetic text.

The article presents the results of an interview in a student’s group on the problem of the fall into sin based on the discussion at the seminar of Dante's «divine Comedy». The authors consider human as an image and likeness of God, who creates himself, choosing between good and harm. There were changes in the perception of the structure of Inferno: the number of circles of hell in the minds of young people interviewed decreased: all respondents do not (...) see sin in unbelief, three-quarters of respondents − in gluttony, half − in lust. The inter-pretation of heresy and fraud as ways to promote their projects is relevant. The effect of absolute rejection of violence, contemptuous attitude to treachery is revealed. The authors believe that secularization has touched only the first five circles of Hell, but at the bottom everything is still the same. (shrink)

_Argues that the analysis of movement and its correlative procession in the Divine Comedy is fundamental to an understanding of how Dante generates meaning in his poetic text._.

I discuss Dante’s understanding that human existence is “ordered by two final goals” and how, for Dante, this understanding defines philosophy’s and revelation’s respective scopes of authority in guiding human conduct. Specifically, I show that, although Dante subordinates our earthly beatitude to spiritual beatitude in a way that seems to suggest the subordination of the authority of philosophy to that of revelation, he in fact limits philosophy’s scope to an arena in which its authority is not only legitimate but also (...) crucial to the cultivation of the higher, spiritual beatitude of human activity. (shrink)

Translations across symbolic forms necessarily involve shifts and transformations of meaning due to the logic of the medium. They challenge us to examine fundamental metaphors as an aspect of design reasoning, particularly in relation to the construction of spatial relationships and meanings. They also involve the exploration of diagrams as a way of moving from the space of linguistic description to architectural space where topology and visual image are tightly interfaced. In this paper, Terragni's unrealized design for a monument to (...) Dante, which projects The Divine Comedy into an architectural schema is examined as a case study. The Divine Comedy is treated as an expanded body of work that includes, in addition to the original text, a multitude of paintings, as well as Terragni's project. The paper draws a distinction between transformations of meaning that arise of necessity due to the internal logic of symbolic forms and transformations which manifest specific design intentions. The Divine Comedy with its compositional, numerological, and descriptive attributes forms the program for the architectural project. Nevertheless, as in any project, the program does not, in itself, generate architecture. This paper shows that in the Danteum project three major operations are involved in design synthesis. The first inflects the familiar metaphor of the column as a body. The second uses recursive 'extreme to mean ratio' proportions to establish nesting, repetition and scaling, and through these a sense of unity. The third uses a pattern of overlapping squares so as to create a dialogue between strongly differentiated interiors and transitional zones. These operations in conjunction with the compositional and narrative aspects of the poem interpreted as program make the translation from linguistic space to architectural space possible. Thus, in this case, design formulation is not based on a single metaphor, but rather on a system of metaphors working together to bring physical elements, spatial relationships and design operations within a coherent framework of design reasoning. (shrink)

The classical is defined by Gadamer, following and adapting Hegel, as “self-significant” and “self-interpretive”. By its power of interpreting itself, the classic reaches into the present and addresses it. In so doing, the classical precedes, encompasses and anticipates latter-day interpretations within its own already-in-progress self-interpretation: “the classical preserves itself precisely because it is significant in itself and interprets itself; that is, it speaks in such a way that it is not a statement about what is past — documentary evidence that (...) still needs to be interpreted — rather, it says something to the present as if it were said specifically to it”. This suggests specifically how the hermeneutic theory of the classic finds in the instance of the Commedia as classic, with its highlighting of the address to the reader, an exceptionally acute and self-conscious instantiation. Moreover, Dante has purposefully woven an ideal of the poetic classic as resistant to time together with his model of Christian salvation and resurrected life in the cantos of Purgatory recounting his meeting with the first-century Roman poet, Statius. Statius’ remark that “poet” is “the name that most endures and honors” (“il nome che più dura e che più onora” — XXI. 85) gestures towards a trans-historical value in literature parallel to the eternal truth of the word of the gospel. This parallelism achieves lapidary form when Statius gives credit for his discovery of enduring, preserving, saving value in both the literary and the religious domains at once to that greatest of classical authors, in Dante’s view, Virgil, to whom he says: “Per te poeta fui, per te cristiano” (“Through you I became poet, through you Christian”). Purgatorio XXI-XXII intimates that poiesis is fundamentally a way through which humans may participate in immortality. Though immortality is certainly a gift from the transcendent Lord of life, it does not come as an object wrapped up neatly for humans in a package. It comes, or rather is given, through their own making, through an active involvement with what transforms them in their own activity of self-transcendence. (shrink)

The argument of this paper is that the Aristotelian analysis of justice and related concepts provides the best framework for understanding the structure and importance of justice in Dante’s Commedia. After giving a synopsis of the principle features of Aristotle’s account of justice in Book 5 of the Nicomachean Ethics, I consider a few scenes from the Inferno, the Purgatorio, and the Paradiso, showing how the punishments and rewards Dante describes are based on the Aristotelian analysis of justice. Finally, I (...) show that Dante, following Aristotle’s views on the metaphysics of the human person, recognizes that argument alone is inadequate to the task of educating the reader on the proper care of the soul, and that Dante’s effective use of images, makes the abstract Aristotelian concept of justice vivid and attractive, and its opposite repulsive. (shrink)

This paper maintains that, for all his ethical interests, his philosophical and theological essays, political treatises and linguistic studies, Dante was primarily a poet; a poet who, moreover, believed that poetry could change the world, and that the Comedy must be read, first, as a poem. This is not a trivial point, because the Comedy remains a text that is endlessly fascinating to philosophers and theologians as well as moralists who read it for its philosophy, theology and ethics (...) and who sometimes fail to see that a poet's imagination, even one as egregiously rational as Dante's, is synthetic rather than analytic. This paper offers an examination of the moral universe of the Comedy, paying particular attention to his presentation of the virtues. It endeavours to show how Dante's entry into the moral universe is by way of beauty through the operation of love, and considers how, for Dante, the inevitability of beauty, when properly understood, opens out on to truth and goodness, which, in turn, fold back upon beauty as the Beatific Vision is reached. (shrink)

The argument of this paper is that the Aristotelian analysis of justice and related concepts provides the best framework for understanding the structure and importance of justice in Dante’s Commedia. After giving a synopsis of the principle features of Aristotle’s account of justice in Book 5 of the Nicomachean Ethics, I consider a few scenes from the Inferno, the Purgatorio, and the Paradiso, showing how the punishments and rewards Dante describes are based on the Aristotelian analysis of justice. Finally, I (...) show that Dante, following Aristotle’s views on the metaphysics of the human person, recognizes that argument alone is inadequate to the task of educating the reader on the proper care of the soul, and that Dante’s effective use of images, makes the abstract Aristotelian concept of justice vivid and attractive, and its opposite repulsive. (shrink)

In Boccacio's Decameron, Cervigni sees a parodic echo of the circles of Dante's Divine Comedy, and asks whether Bocaccio envisions the voyage of the brigata as similar to Dante the Pilgrim's journey toward the center, first the abysmal center of Lucifer, then towards the highest center, God.

In an intricate play on Dante’s Divine Comedy, this book engages questions of religion and philosophy through the aporetic dynamics of love and power, locating its discussions in the midst of, and in between the spheres of a genuine philosophy of multiplicity.

In lieu of an abstract, here is a brief excerpt of the content:Kenneth R. Seeskin THE COMEDY OF THE GODS IN THE ILIAD "... no animai but man ever laughs." Aristotle, De Partibus Animalium, 673a8-9 No reader of the Iliad can fail to be struck by the great extent to which social relations among the gods resemble those which obtain among men. Zeus, the oldest and strongest of the Olympian deities, rules as an absolute monarchor patriarch. The "council" meetings (...) over which he presides are not unlike those which occur on earth. Like Agamemnon, he must assert his authority from time to time; and, like any mortal king, he must deal with problems relating to jealousy, adultery, dishonesty, and revenge. To the extent that the gods differ from mortal heroes, those differences are similar to the ones which separate mortal heroes and commoners. The gods occupy the highest place on the scale of excellence, beauty, and social status, mortals with divine ancestry occupy the next position, and so on down the line. Although the above picture is accurate in many respects, there is something about it which is bound to leave one cold, for, unlike his mortal heroes, Homer's gods often appear as clowns. One need only recall scenes like Hephaestus' bumbling attempt to wait on the other immortals (1.584 ff.), Hera's seduction of Zeus (14.157 ff.), or the famous theomachy (21.385 ff.) to see that, ironically, humans frequendy are more dignified than the gods they are trying to please. It was scenes like these which caused Longinus, in his essay On the Sublime, to remark that Homer appears to have made his men gods and his gods men (sec. 9). Now any long story is bound to contain comic relief. But for many authors (Shakespeare, for instance), comic relief is supplied by those whose social status is lower than that of the main characters, e.g., grave diggers, nightwatchmen, country bumpkins, or pettythieves. As Aristotle argued in the Poetics (sec. 2 and 5), comedy is an imitation of men worse than the average. In Book 2 of the Iliad, Homer does use Thersites 295 296Philosophy and Literature for comic effect; yet this scene is noteworthy for being the only one in the book which supports Aristotle's contention. In practically every other case, comedy is supplied by characters better than the average: it is supplied by the gods. Moreover, in the few cases where mortal aristocrats are involved in comic situations (e.g., the rambling speeches of Nestor), the teasing tends to be extremely mild. Farce and slapstick are reserved almost exclusively for the inhabitants of Olympus. Plato, for one, was outraged by passages where the gods look ridiculous and wanted them excised from the text. Not surprisingly, there is a tradition of modern scholars who feel a similar sense of outrage. Walter Leaf, for example, maintained that the theomachy is poorly written and thus not the work of Homer.1 Gilbert Murray argued that several of the scenes in question are in bad taste, exemplify the spirit of Milesian skepticism, and, again, are not the work of Homer.2 Wilamowitz constructed an elaborate theory which claimed that these passages are the work of a later rhapsode who probably was associated with Archilochus.3 Finally, George Calhoun, who exposed the flaws of those just mentioned, concluded that such passages show the influence not of a later period of skepticism but of an earlier, less refined period and were composed merely to please Homer's audience.4 Since it is not my purpose to enter the long debate over the authorship and unity of the text, let me state the guiding assumptions of this essay dogmatically. First, the passages in question are not interpolated and serve important artistic functions. Second, for whatever reason Homer decided to include them, their presence raises profound moral and religious questions. From the outset, it is clear that any anthropomorphic conception of the gods will have to fail in one important respect. The gods are immortal, humans are not. Thus even the lowliest human can do something which no god can—risk his life. For all of their quarrels, deceptive schemes, and forays into the thick of the fighting, the gods are... (shrink)