Marx’s Inferno reconstructs the major arguments of Karl Marx’s Capital and inaugurates a completely new reading of a seminal classic. Rather than simply a critique of classical political economy, William Roberts argues that Capital was primarily a careful engagement with the motives and aims of the workers’ movement. Understood in this light, Capital emerges as a profound work of political theory. Placing Marx against the background of nineteenth-century socialism, Roberts shows how Capital was ingeniously modeled on Dante’s Inferno, (...) and how Marx, playing the role of Virgil for the proletariat, introduced partisans of workers’ emancipation to the secret depths of the modern “social Hell.” In this manner, Marx revised republican ideas of freedom in response to the rise of capitalism. Combining research on Marx’s interlocutors, textual scholarship, and forays into recent debates, Roberts traces the continuities linking Marx’s theory of capitalism to the tradition of republican political thought. He immerses the reader in socialist debates about the nature of commerce, the experience of labor, the power of bosses and managers, and the possibilities of political organization. Roberts rescues those debates from the past, and shows how they speak to ever-renewed concerns about political life in today’s world. (shrink)

Punishment misunderstood -- The ratchet effect in theory -- The mixed signs in suffering -- The legal punishers -- The legally punished -- The punitive impulse in American society -- The law against itself -- Coda : the psychology of punishment.

This chapter contains sections titled: Dante's Mission The Journey Begins Vestibule (Ante‐Hell): The Indecisive Neutrals Upper Hell: Sins of Unrestrained Desire (the Wolf) River Styx, Walls of the City of Dis Lower Hell: Sins of Malice Leading to Violence (the Lion) Lower Hell: Sins of Malice Leading to Fraud (the Leopard) Dante's Existential Lessons in Hell.

Por que a experiência visionária perturba a filosofia (crítica)? Experimentando uma anarqueologia como procedimento de leitura, argumento que a relação entre filosofia e magia no curso da história ocidental pode ser encenada como uma peça paradoxal. Da mesma maneira que a filosofia racionalista conjura a magia, simultaneamente, tais saberes estiveram presentes de modo polifônico nos bastidores da encenação ilustrada. Para conjurar o demônio é necessário antes evocá-lo. Evoco, assim, o itinerário das viagens aos infernos ao qual certa visão xamanística de (...) alma grega fecunda possibilidades para ensaiarmos um tipo de filosofia pré e pós crítica, onde a experiência visionária aparece posteriormente como pedra no sapato ao pensamento ilustrado, científico e humano. Exemplifico tal questão recorrendo à visão paradoxal de Immanuel Kant quando analisa as experiências visionárias de Emmanuel Swedenborg. Ao reconhecer contemporaneamente a nossa herança legítima como filhos da razão, será preciso reencarnar o lugar bastardo dos sonhos e da mediunidade exorcizada. (shrink)

The discipline of business ethics traditionally has paid too much attention to articulating and applying the moral law and has devoted too little thinking to the nature and consequences of evil for our souls. For purposes of this discussion, I shall limit myself to Dante’s vision of evil as a diminution of human being. On his journey through hell, Dante encounters the shades—people who, through their own actions, have rendered themselves less than fully human. This paper concentrates especially on the (...) various types of fraud andtheir psychic effects as portrayed by Dante in his book Inferno. (shrink)

Combining time travel with certain kinds of supertask, this paper proposes a novel model for Hell. Temporally-closed spacetimes allow otherwise impossible opportunities for material kinds of damnation and reveal surprising limitations on metaphysical objections to Hell. Prima facie, eternal damnation requires either infinite amounts of time or time for the damned to speed-up arbitrarily. However, spatiotemporally finite ‘time travel’ universes can host unending personal torment for infinitely many physical beings, while keeping fixed finite limits on rates of temporal passage. Such (...) ‘Hilbert's Inferno’ spacetimes suggest neither materialism nor the finitude of time and space need forbid Hell. A material Hell can be spatiotemporally finite yet eternal for its inhabitants. Hilbert's Inferno also sheds light on Hell's location and accessibility, and shows that some spacetimes are intrinsically better suited to punishment than reward. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dante's Inferno as Poetic Revelation of Prophetic TruthWilliam FrankeIDante's Inferno demands to be understood as the culmination of a series of visits to the underworld in ancient epic tradition. Dante's most direct precedent is Aeneas's journey to meet his father in Hades, as told by Virgil in Book VI of the Aeneid. Aeneas's voyage is modeled in turn on Odysseus's encounter with shades of Hades in Book (...) XI of the Odyssey. The epic quest in each of these models pivots, in various ways, on a visit to the world of the dead, a discensus ad inferas, as a climactic episode at its center. However, Dante makes this episode the general framework of the whole poem: from beginning to end, Dante's poem represents a voyage through the world beyond the grave. In this respect, Dante's Inferno, and indeed the whole Divine Comedy, is conceived primarily as an expansion of the ancient epic motif of the katabasis or "going down" of the protagonist to the underworld for a revelation of his destiny from beyond the threshold of death. Like Virgil, Dante interprets history prophetically, finding in it the essential pattern of things to come. But this projection now reaches to an eschatological future beyond history altogether—to an uncannily dynamic realization of eternity.The other world that is visited by Dante asserts itself unequivocally as ultimate reality. It is not just some shadowy world of bloodless phantasms like the shades that approach Odysseus, nor is it vacuous and inane, as are Virgil's "houses void and empty realms of Dis" ("domos Ditis vacuas et inania regna," Aeneid VI.269). This "other" world shows up as even more vivid than the world of ordinary sense-perception by virtue of a strikingly realistic, indeed surrealistic imagery. Dante heightens the [End Page 252] mythological topos of the visit to the underworld that he inherited from Virgil and Homer to a level where it represents the true essence of life on this earth transposed into a transcendent dimension. The world of the dead is not just one in a series of episodes befalling the protagonist but rather the final and definitive experience that reveals the true meaning of all possible experiences and thereby the meaning of the world as a whole. This is perhaps implicit and incipient in Homer and Virgil, since the journey to the underworld in each case encloses a revelation that illuminates the meaning of everything else and orients the protagonist's subsequent life in the world up to his death. But Dante's other world is more than the place for a miraculous glimpse into the true meaning of life: it is itself the vera vita, the "true life."Of course, Virgil had interpreted the whole of Roman history through the optics of prophecy, but his prophetic history was directly disclosed only in privileged moments within his poem. Dante's entire poetic narrative transpires in an eschatological dimension of existence; it thereby aspires to reveal beyond the limits of history a full-blown vision of eternity—that is, history as projected into the eternal worlds that it prefigures. While at the level of content Dante expands the theme of a visit to the underworld into an entire poem of epic proportions, more deeply, at the level of genre and in terms of its mode, Dante's whole poem is prophetic in character. History and narrative become in themselves prophetic rather than only forming a background for prophecy and framing it.The descent to the world of the dead—a symbol for the place of revelation of the meaning of life—is a thematic issue that runs as a thread through each of the epic works that have been mentioned so far. But in Dante it becomes the central axis of a poem that emerges in its entirety as religious revelation, and Dante greatly intensifies the self-conscious grasp of this function of poetry. His work represents an unprecedentedly powerful reflection on poetry as revelation in the mode of prophecy, for the customary literary means of poetic expression are now revealed in their intrinsically prophetic potency. From the Aeneid Dante could learn... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dante's Inferno as Poetic Revelation of Prophetic TruthWilliam FrankeIDante's Inferno demands to be understood as the culmination of a series of visits to the underworld in ancient epic tradition. Dante's most direct precedent is Aeneas's journey to meet his father in Hades, as told by Virgil in Book VI of the Aeneid. Aeneas's voyage is modeled in turn on Odysseus's encounter with shades of Hades in Book (...) XI of the Odyssey. The epic quest in each of these models pivots, in various ways, on a visit to the world of the dead, a discensus ad inferas, as a climactic episode at its center. However, Dante makes this episode the general framework of the whole poem: from beginning to end, Dante's poem represents a voyage through the world beyond the grave. In this respect, Dante's Inferno, and indeed the whole Divine Comedy, is conceived primarily as an expansion of the ancient epic motif of the katabasis or "going down" of the protagonist to the underworld for a revelation of his destiny from beyond the threshold of death. Like Virgil, Dante interprets history prophetically, finding in it the essential pattern of things to come. But this projection now reaches to an eschatological future beyond history altogether—to an uncannily dynamic realization of eternity.The other world that is visited by Dante asserts itself unequivocally as ultimate reality. It is not just some shadowy world of bloodless phantasms like the shades that approach Odysseus, nor is it vacuous and inane, as are Virgil's "houses void and empty realms of Dis" ("domos Ditis vacuas et inania regna," Aeneid VI.269). This "other" world shows up as even more vivid than the world of ordinary sense-perception by virtue of a strikingly realistic, indeed surrealistic imagery. Dante heightens the [End Page 252] mythological topos of the visit to the underworld that he inherited from Virgil and Homer to a level where it represents the true essence of life on this earth transposed into a transcendent dimension. The world of the dead is not just one in a series of episodes befalling the protagonist but rather the final and definitive experience that reveals the true meaning of all possible experiences and thereby the meaning of the world as a whole. This is perhaps implicit and incipient in Homer and Virgil, since the journey to the underworld in each case encloses a revelation that illuminates the meaning of everything else and orients the protagonist's subsequent life in the world up to his death. But Dante's other world is more than the place for a miraculous glimpse into the true meaning of life: it is itself the vera vita, the "true life."Of course, Virgil had interpreted the whole of Roman history through the optics of prophecy, but his prophetic history was directly disclosed only in privileged moments within his poem. Dante's entire poetic narrative transpires in an eschatological dimension of existence; it thereby aspires to reveal beyond the limits of history a full-blown vision of eternity—that is, history as projected into the eternal worlds that it prefigures. While at the level of content Dante expands the theme of a visit to the underworld into an entire poem of epic proportions, more deeply, at the level of genre and in terms of its mode, Dante's whole poem is prophetic in character. History and narrative become in themselves prophetic rather than only forming a background for prophecy and framing it.The descent to the world of the dead—a symbol for the place of revelation of the meaning of life—is a thematic issue that runs as a thread through each of the epic works that have been mentioned so far. But in Dante it becomes the central axis of a poem that emerges in its entirety as religious revelation, and Dante greatly intensifies the self-conscious grasp of this function of poetry. His work represents an unprecedentedly powerful reflection on poetry as revelation in the mode of prophecy, for the customary literary means of poetic expression are now revealed in their intrinsically prophetic potency. From the Aeneid Dante could learn... (shrink)

Whether art is to be considered a proper locus theologicus, and if so, how is the question that guides an exploration of the interaction between art and theology on the theme of Christ’s descent into hell. For the exploration the difference in the way the descent is represented in East and West is relevant, since in the East this episode of the passion of Christ has developed into the representation of the resurrection. How is this development to be evaluated theologically? (...) As representative of the Western theology Thomas Aquinas is used. An analysis of two texts shows that he does not only consider the descent into hell a christological, but also a soteriological event and even primarily so and that, although his views have not changed over the years, the argumentation for these views has. The interaction between theology and art reveals that the various types in the East embody different theological insights and problems, while the interaction between art and theology reveal the importance of the nexus mysteriorum. (shrink)

Abstract:The Inferno's central conflict is between us readers and God. When fictional characters captivate us, we are normally free to enjoy their charms. Not so Dante's sinners. If we feel bad for these characters, it cannot be because they are sympathetic—after all, God put them in Hell—but because we are naive. But is this sympathy really naive? This article reconsiders the Ugolino episode as a paradigm for the Inferno's ethical contradictions. In a poem that reminds us that crimes (...) often create the circumstances for victimization, perhaps sympathizing with the damned is the most ethical reading of all. (shrink)

En el canto XIII del Inferno, en el bosque de los suicidas, Pier della Vigna dice que, al momento de su muerte, él, que era justo, se volvió injusto contra sí mismo. Esta afirmación da lugar a la pregunta de si el suicida puede ser injusto consigo mismo y cómo Dante puede afirmarlo. En este artículo, se investiga esto desde: 1) la caracterización de la justicia en el tratado filosófico de Dante, Convivio, 2) algunos pasajes del Purgatorio en los (...) que Dante desarrolla su teoría de la acción, y 3) un pasaje de la Ética nicomáquea de Aristóteles en el que se cuestiona si el suicida es injusto consigo mismo. (shrink)

L’articolo si concentra sull’opera per nastro magnetico “La voce dall’Inferno”. Inizialmente concepita come opera radiofonica, composta da Edoardo Torricella e Salvatore Sciarrino, vuole presentare attraverso le sonorità possibili con l’elettronica un approccio al mondo dei dannati che ne risvegli i rumori e le voci, l’acustica del luogo e le presenze. Su questi elementi si concentrerà anche il mio articolo, partendo dallo studio di un otologo sulla Commedia, ci si sposterà a questioni filosofiche ed estetiche che riguardano il rapporto tra (...) la voce e lo spazio, tra la voce e il rumore e l’utilizzo dell’elettronica applicata alla voce. In modo particolare però si cercherà di concentrare l’attenzione, attraverso l’ascolto dell’opera, su di una tematica: come la voce influisca sulla percezione emotiva dell’ambiente sonoro. My essay focuses on the work for tape “La voce dall’Inferno”. Initially conceived as a radio opera, composed by Edoardo Torricella e Salvatore Sciarrino, “La voce dall’Inferno” wants to show through the sounds the world of damned with their noises, voices and their presence in that place. The electronic sounds and the possibilities open by record, freezing, generator and synthesis play an important role in the development and the aesthetic of the opera. On this elements will focus my article. We’ll move to philosophical and aesthetic issues that concern the relationship between voice and space, voice and noise, and the use of electronic instruments. In particular try to focus on a theme by listening to the opera: how the voice influences the emotional perception of the soundscape. (shrink)

Il saggio mette a confronto tre fra le traduzioni più importanti della Commedia curate da poeti americani negli anni 2000, prendendo in analisi le loro strategie e tecniche traduttive e i conseguenti risultati estetici. La base del confronto sono le intenzioni traduttive dichiarate dai poeti-traduttori, il modo in cui hanno cercato di porle in pratica, e l’interpretazione dei loro risultati alla luce della teoria dei translation studies recente. Le idee di Lawrence Venuti sulle «versioni dei poeti» e su come leggere (...) una traduzione, specialmente in un contesto di world literature, sono risultate particolarmente utili nel caso dei tentativi di questi poeti-traduttori di riscrivere un testo poetico autonomo, e di trasportare la complessità della poesia di Dante, potentemente padroneggiata, attraverso due tradizioni letterarie diverse. (shrink)

SOUZA, E.. Catábases: estudos sobre as viagens aos infernos na antiguidade. São Paulo. Annablume Clássica.

The relation between the moral account of the capital vices and the philosophical analysis of the passions of the human soul undergoes an important turning point from the 11th century onwards during the recovery of medical knowledge in the medieval West. In this wave of fervour towards a physiological approach in the investigation of the nature of man, the vice of acedia - as described by the Christian moral tradition - and the melancholic temperament - the result of a millenary (...) reworking and technicalisation of medical knowledge - found a point of contact in the passion of sadness. If authors such as Albert the Great and Thomas Aquinas, following the Christian heritage, characterised acedia as an escalation of the passion of sadness, the medical tradition from Hippocrates and Galen to Avicenna and Constantine recognised sadness as one of the most distinctive manifestations of the melancholic temperament. The aim of this study is to demonstrate, by retracing some aspects of this interweaving of traditions after the year 1000, how Dante’s description of the sinners of acedia in Canto VII of the Inferno takes up the legacy of this hybridisation between the Christian description of acedia and the physiological description of melancholy. (shrink)

Leonard Peikoff brought into Objectivist epistemology the doctrine that what is asserted arbitrarily cannot be true or false. In 2008 the author gave a detailed critique of the doctrine; it has not received a published response. But there have been restatements by Harry Binswanger, Ben Bayer, and Gregory Salmieri. Their re-presentations do not refute any old arguments; their new arguments make the doctrine worse. The doctrine is being used to justify ignoring known possibilities, and to “prove” that the current president (...) of the United States has a parrot's mind in a human body. Its public retraction is overdue. (shrink)

By exposing itself as fiction, Dante’s poetry becomes true. Especially the Malebolge stages a relentless self-critique by Dante of his prophetic voice and the presumption of a human poet who imitates divine prophecy through merely human counterfeits. This self-deconstruction opens the poem to being informed from above and beyond itself by an authority not its own: divine grace can work the revelation of truth directly within interpretive acts of readers focused on the “doctrine hiding beneath the veil of the strange (...) verses.” The apex (or nadir) of infernal irony is that Dante’s Inferno becomes prophetic revelation of truth by undermining its own merely human claim to be capable of delivering just such revelation. (shrink)

ABSTRACT The aim of this paper is to identify the verbal-ideological conditions in which Judeo-Christin values in tension in the conceptualization of hell are installed as Western collective memory even out of the religious segment and, this way, frame a cosmovision. Theoretically, the discussion is preponderantly based on a dialogic reading (BMV Circle) of the Halbwachian notion of collective memory and on a socio-cognitivist approach to polysemy. Methodologically, apocrificity is used as a resource to trace de conceptual path constituting the (...) semiosis of hell in dialog with canonical texts. The paper demonstrates that hell, by compressing the transit between cultures and by permeating Christian values in other fields of ideological creation, activates a moral-causal domain that, at the same time, defers to these values and denies their religious principles, making the sacred and sublime also prosaic. The sacred/prosaic ambivalence that occurs not alternatively, but simultaneously, as typical of the dialogic tension, frames a collective structure of memory. (shrink)

A review of Tim Lawrence's Love Saves the Day: A History of American Dance Music Culture.