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if ($a.is_logged_in() && $viewedUser.is_current_user()) { $('body').addClass('profile-viewed-by-owner'); } $socialProfiles = []</script><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://columbia.academia.edu/TeodolindaBarolini","location":"/TeodolindaBarolini","scheme":"https","host":"columbia.academia.edu","port":null,"pathname":"/TeodolindaBarolini","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="ProfileCheckPaperUpdate" data-props="{}" data-trace="false" data-dom-id="ProfileCheckPaperUpdate-react-component-1804fa77-7cda-4069-a103-c29f3253e97b"></div> <div id="ProfileCheckPaperUpdate-react-component-1804fa77-7cda-4069-a103-c29f3253e97b"></div> <div class="DesignSystem"><div class="onsite-ping" id="onsite-ping"></div></div><div class="profile-user-info DesignSystem"><div class="social-profile-container"><div class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Teodolinda Barolini" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/2383834/748702/1077811/s200_teodolinda.barolini.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Teodolinda Barolini</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://columbia.academia.edu/">Columbia University</a>, <a class="u-tcGrayDarker" href="https://columbia.academia.edu/Departments/Italian/Documents">Italian</a>, <span class="u-tcGrayDarker">Faculty Member</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Teodolinda" data-follow-user-id="2383834" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="2383834"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">done</span>Following</button></div></div><div class="user-stats-container"><a><div class="stat-container js-profile-followers"><p class="label">Followers</p><p class="data">2,790</p></div></a><a><div class="stat-container js-profile-followees" data-broccoli-component="user-info.followees-count" data-click-track="profile-expand-user-info-following"><p class="label">Following</p><p class="data">1,039</p></div></a><div class="js-mentions-count-container" style="display: none;"><a href="/TeodolindaBarolini/mentions"><div class="stat-container"><p class="label">Mentions</p><p class="data"></p></div></a></div><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">A member of the Accademia Nazionale dei Lincei (2018), Accademia Olimpica (2015), American Academy of Arts & Sciences (2001), American Philosophical Society (2002), Barolini received her B.A. in classics in 1972 from Sarah Lawrence College and her Ph.D. in Italian and comparative literature from Columbia in 1978. She taught at the University of California at Berkeley and New York University before returning to Columbia University in 1992 as Chair of the Department of Italian.<br /><br />Barolini's research focuses on thirteenth- and fourteenth- century Italian literary culture. She has written widely on Dante, Petrarch, Boccaccio, and the medieval lyric, including: Dante's Poets: Textuality and Truth in the 'Comedy' (Princeton, 1984; Italian trans. Il miglior fabbro: Dante e i poeti della "Commedia," Bollati Boringhieri, 1993); The Undivine Comedy: Detheologizing Dante (Princeton, 1992; Italian trans. La Commedia senza Dio: Dante e la creazione di una realtà virtuale, Feltrinelli, 2003); Dante and the Origins of Italian Literary Culture (Fordham, 2006; Italian trans. Il secolo di Dante: Viaggio alle origini della cultura letteraria italians, Bompiani, 2012). Barolini's commentary to Dante's lyrics, with notes by Manuele Gragnolati, was published by Rizzoli in 2009: Rime giovanili e della 'Vita Nuova'. The revised and expanded English translation of the commentary, with translations of Dante's poems by Richard Lansing, appeared in 2014: Dante's Lyric Poetry: Poems of Youth and of the 'Vita Nuova' (U. of Toronto Press).<br /><span class="u-fw700">Phone: </span>212-854-2312<br /><b>Address: </b>510 Hamilton Hall <br />Mail Code 2832 <br />Columbia University <br />New York, NY 10027<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://unifi.academia.edu/GiancarloGarfagnini"><img class="profile-avatar u-positionAbsolute" border="0" alt="" src="//a.academia-assets.com/images/s200_no_pic.png" /></a></div><div 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Poeti, scrittori, critici per Giorgio Ficara. Milano: La Nave di Teseo, 2022. Pp. 127-51.</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dante begins Paradiso by prioritizing the ancient philosophical problem of the One and the Many. ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dante begins Paradiso by prioritizing the ancient philosophical problem of the One and the Many. The first terzina contains in nuce the core concerns of Dante's Paradiso, both philosophically and narratologically.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="19f280def87e0014e38b8b9884b8725c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":112165200,"asset_id":115880522,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/112165200/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="115880522"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="115880522"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 115880522; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="114155899"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/114155899/Dante_and_Aristotle_on_Voluntary_and_Involuntary_Action"><img alt="Research paper thumbnail of Dante and Aristotle on Voluntary and Involuntary Action" class="work-thumbnail" src="https://attachments.academia-assets.com/110927903/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/114155899/Dante_and_Aristotle_on_Voluntary_and_Involuntary_Action">Dante and Aristotle on Voluntary and Involuntary Action</a></div><div class="wp-workCard_item"><span>Textual Cultures 16.2</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Nicomachean Ethics 3.1 is a text of great significance for Dante's meditation on the will. Aristo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nicomachean Ethics 3.1 is a text of great significance for Dante's meditation on the will. Aristotle offers two examples of involuntary action in Nicomachean Ethics 3.1; the first surfaces in Inferno 5 and the second in Paradiso 3. In Inferno 5, Dante uses Aristotle's first example of involuntary action (a wind that carries us against our will), imposing it onto a context, the pursuit of carnal pleasure, in which the action was not in fact involuntary, but was willfully experienced as such. In Paradiso 3-5, Dante uses Aristotle's second example of involuntary action (powerful men who carry us off against our will), importing it into a context in which violence occurs, but the victims of violence are nonetheless held to have behaved voluntarily. Dante thus disrupts the Aristotelian analysis, revealing the fault line between Aristotle on voluntary and involuntary action and the Christian doctrine of free will.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6a28135dd39f7f17c58ad0739a9e46e5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":110927903,"asset_id":114155899,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/110927903/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="114155899"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="114155899"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 114155899; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Books" id="Books"><h3 class="profile--tab_heading_container">Books by Teodolinda Barolini</h3></div><div class="js-work-strip profile--work_container" data-work-id="99130291"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/99130291/The_Undivine_Comedy_30_Years_Later"><img alt="Research paper thumbnail of The Undivine Comedy: 30 Years Later" class="work-thumbnail" src="https://attachments.academia-assets.com/100298487/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/99130291/The_Undivine_Comedy_30_Years_Later">The Undivine Comedy: 30 Years Later</a></div><div class="wp-workCard_item"><span>Conference Columbia University</span><span>, 2022</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="84271adffdc6205b7a95082176db185d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100298487,"asset_id":99130291,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100298487/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="99130291"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="99130291"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 99130291; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="99129745"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/99129745/Dantes_Multitudes_History_Philosophy_Method"><img alt="Research paper thumbnail of Dante's Multitudes: History, Philosophy, Method" class="work-thumbnail" src="https://attachments.academia-assets.com/100298057/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/99129745/Dantes_Multitudes_History_Philosophy_Method">Dante's Multitudes: History, Philosophy, Method</a></div><div class="wp-workCard_item"><span>Notre Dame UP</span><span>, 2022</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9cb764c0a12604c7fc3e9f4ba4c2170b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100298057,"asset_id":99129745,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100298057/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="99129745"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="99129745"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 99129745; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="14206938"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/14206938/Dantes_Poets_Textuality_and_Truth_in_the_Comedy"><img alt="Research paper thumbnail of Dante's Poets: Textuality and Truth in the Comedy" class="work-thumbnail" src="https://attachments.academia-assets.com/38237015/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/14206938/Dantes_Poets_Textuality_and_Truth_in_the_Comedy">Dante's Poets: Textuality and Truth in the Comedy</a></div><div class="wp-workCard_item"><span>Dante's Poets: Textuality and Truth in the Comedy. Princeton UP.</span><span>, 1984</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5ac790e43f31cacc7e63093afc9adf9c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38237015,"asset_id":14206938,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38237015/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="14206938"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="14206938"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 14206938; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="50106687"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/50106687/The_Undivine_Comedy_Detheologizing_Dante"><img alt="Research paper thumbnail of The Undivine Comedy: Detheologizing Dante" class="work-thumbnail" src="https://attachments.academia-assets.com/68216172/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50106687/The_Undivine_Comedy_Detheologizing_Dante">The Undivine Comedy: Detheologizing Dante</a></div><div class="wp-workCard_item"><span>The Undivine Comedy: Detheologizing Dante. Princeton UP.</span><span>, 1992</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">NE THINKS of strange things reading the Commedia: that Dante's spires of poetic life-terza rima-b...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">NE THINKS of strange things reading the Commedia: that Dante's spires of poetic life-terza rima-bear a resemblance to modern science's spires of biological life, DNA; that his long obsession with the new is echoed in current research on the brain, which shows that the new things that we live actually become who we are. Dante is no naturalist, but he is the ultimate realist, preoccupied with rendering reality-even surreality-in language, "sì che dal fatto il dir non sia diverso." It is to Erich Auerbach that we owe the profound insight that Dante's content was finally ruptured by its form, his theology imperiled by his mimetic genius. I have endeavored in what follows to show some of the paths trodden by a master of mimesis, some of the ways in which Dante's poetic adventuring is indeed, according to his own lights, Ulyssean-a journey "di retro al sol, del mondo sanza gente."</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3b03c219855e35b74887d97dcfeb5079" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68216172,"asset_id":50106687,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68216172/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="50106687"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="50106687"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50106687; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Materials from Books" id="Materials from Books"><h3 class="profile--tab_heading_container">Materials from Books by Teodolinda Barolini</h3></div><div class="js-work-strip profile--work_container" data-work-id="99129936"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/99129936/Dantes_Multitudes_Table_of_Contents"><img alt="Research paper thumbnail of Dante's Multitudes Table of Contents" class="work-thumbnail" src="https://attachments.academia-assets.com/100298195/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/99129936/Dantes_Multitudes_Table_of_Contents">Dante's Multitudes Table of Contents</a></div><div class="wp-workCard_item"><span>Notre Dame UP</span><span>, 2022</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d450f64c18e8102312934f3311692236" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100298195,"asset_id":99129936,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100298195/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="99129936"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="99129936"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 99129936; 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Contini considera Bonagiunta «1 autcntico trapiantatore dei modi siciliani in Toscana» (i960, I. p. 2,8) Su Bonagiunta nella Commedia si vedano Shaw 1936, Simonelli 1968, Ciccuto 1982, Martinez 1983 Ricerche liriche 79 Capitolo secondo piu grande. Guinizzelli conclude sottolineando, piuttosto gratuitamente, che un'analoga situazione esisteva anche in Italia, dove simili sconsiderati ritenevano che Guittone fosse il poeta supremo, fino a che la verita finalmente prevalse (notiamo, in questo momento 6i estrema sog gettivita, 1 insistenza di Dante su «il ver», ripetuto due volte nel girp di sei versi); «0 frate», disse, «questi ch'io ti cerno col dito», e addito un spirto innanzi, «fu miglior fabbro del parlar materno.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dacadc83a2c3bcddfece475aca640d4e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31996463,"asset_id":4650250,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31996463/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="4650250"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="4650250"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4650250; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4650250]").text(description); $(".js-view-count[data-work-id=4650250]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4650250; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='4650250']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dacadc83a2c3bcddfece475aca640d4e" } } $('.js-work-strip[data-work-id=4650250]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":4650250,"title":"Il miglior fabbro: Dante e i poeti della Commedia","translated_title":"","metadata":{"publisher":"Bollati Boringhieri","grobid_abstract":"Capitolo prima ^ La priority della scuola siciUana e stabilita dal T)e vulgari eloquentia I xn 2. 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Guinizzelli conclude sottolineando, piuttosto gratuitamente, che un'analoga situazione esisteva anche in Italia, dove simili sconsiderati ritenevano che Guittone fosse il poeta supremo, fino a che la verita finalmente prevalse (notiamo, in questo momento 6i estrema sog gettivita, 1 insistenza di Dante su «il ver», ripetuto due volte nel girp di sei versi); «0 frate», disse, «questi ch'io ti cerno col dito», e addito un spirto innanzi, «fu miglior fabbro del parlar materno.","publication_date":{"day":null,"month":null,"year":1993,"errors":{}},"publication_name":"Il miglior fabbro: Dante e i poeti della 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prima ^ La priority della scuola siciUana e stabilita dal T)e vulgari eloquentia I xn 2. Contini considera Bonagiunta «1 autcntico trapiantatore dei modi siciliani in Toscana» (i960, I. p. 2,8) Su Bonagiunta nella Commedia si vedano Shaw 1936, Simonelli 1968, Ciccuto 1982, Martinez 1983 Ricerche liriche 79 Capitolo secondo piu grande. Guinizzelli conclude sottolineando, piuttosto gratuitamente, che un'analoga situazione esisteva anche in Italia, dove simili sconsiderati ritenevano che Guittone fosse il poeta supremo, fino a che la verita finalmente prevalse (notiamo, in questo momento 6i estrema sog gettivita, 1 insistenza di Dante su «il ver», ripetuto due volte nel girp di sei versi); «0 frate», disse, «questi ch'io ti cerno col dito», e addito un spirto innanzi, «fu miglior fabbro del parlar materno.","owner":{"id":2383834,"first_name":"Teodolinda","middle_initials":null,"last_name":"Barolini","page_name":"TeodolindaBarolini","domain_name":"columbia","created_at":"2012-08-27T02:47:17.018-07:00","display_name":"Teodolinda Barolini","url":"https://columbia.academia.edu/TeodolindaBarolini","email":"SnZrZ0E3UGRyaTJIUkdHcnFZTnNLSjNWRVRoVTBzRExqTjVRVm9OQklGdz0tLWd0Z1U4T3FTRUtLVGFpMmZ2Tm11WkE9PQ==--937d7910322f8f9c9b9cd8c2315a7249b8facce1"},"attachments":[{"id":31996463,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/31996463/thumbnails/1.jpg","file_name":"Il_miglior_fabbro_3.pdf","download_url":"https://www.academia.edu/attachments/31996463/download_file","bulk_download_file_name":"Il_miglior_fabbro_Dante_e_i_poeti_della.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/31996463/Il_miglior_fabbro_3.pdf?1738090594=\u0026response-content-disposition=attachment%3B+filename%3DIl_miglior_fabbro_Dante_e_i_poeti_della.pdf\u0026Expires=1738623229\u0026Signature=C7Tm3KLz8IZlUD0Fuuc0e7pGAu0SrjpN8kvSXca~sF8Hs3qeTmAlR7a3UMguJ-FC3vfEtSheXpDjh70oNeFKOjdPiWF4RSiuW63stdEurgdz4zuZrDaBGRvODi1k-9OuairTyJ2NaGLPaa5pafyWSq8Lm-UBkzWK0PYi9YVWhfnkKId3PaL66lXqVVcraqzwcvFlmF6hlbZloW1tMBwN2ZRYNrY2Z3f7o7TXqQqlhI-dGZajdDooeN6gvz9QgNBkdjba8gaENjAEPwF1Z312WrZQTbBWvPhxc-YZ1Rv7U2XWQ~cDxFGR7C2-07tJ8TVpituIk~1fED5pYEQY7sr1Yw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"},{"id":31996462,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/31996462/thumbnails/1.jpg","file_name":"Il_miglior_fabbro_2.pdf","download_url":"https://www.academia.edu/attachments/31996462/download_file","bulk_download_file_name":"Il_miglior_fabbro_Dante_e_i_poeti_della.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/31996462/Il_miglior_fabbro_2-libre.pdf?1390942568=\u0026response-content-disposition=attachment%3B+filename%3DIl_miglior_fabbro_Dante_e_i_poeti_della.pdf\u0026Expires=1738623229\u0026Signature=C5VHYB0uYdsz~igQjuEkCwgUayyJfRhCHXvgX-G~L2sLUymqZq2unFmHhzHgDisB79Ivhm2Y5bu7ByZvDRzTlBgVpNzp~4LM8nNtSoF7sjeUYPG8esEo8Jgqh1RBB5R02Ei04fp~ZSHjn6UW~SQDyPFn3gadudYhnAyE7b0QhAPmNItUZaEEmQzIgwrMEX94Es081EnP7Let9IaAecmrU0UbDo5yBYlyui7e-EryvVILvU77FjpdNdlyACVppxrs-g7wOU-8cPgv~gPEZJ3HLsB5vo1WUqg81hSU0l-ITGPDNlRz4Te5Q0Ab5j1EPjPpDDkg3-6qCiBCKP9hz0EIhg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"},{"id":31996458,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/31996458/thumbnails/1.jpg","file_name":"Il_miglior_fabbro_1.pdf","download_url":"https://www.academia.edu/attachments/31996458/download_file","bulk_download_file_name":"Il_miglior_fabbro_Dante_e_i_poeti_della.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/31996458/Il_miglior_fabbro_1-libre.pdf?1390942567=\u0026response-content-disposition=attachment%3B+filename%3DIl_miglior_fabbro_Dante_e_i_poeti_della.pdf\u0026Expires=1738623229\u0026Signature=GlPEEij0jqq9gWVd67GDS0zXlhtXJliPT201U3NUoHFZ5dUv05lkuKhcK3uKfAyjKFGnqD3S2xEtpzZtGZSdRcRd~lMsQAXY~14j5kMMhjraeKIfjVDxcu1WE77sfXPDtOlqHu3RPan6WfrOZUDhgPKLCXx~InMlruo37SAcf5pgLPO6jV5j3EpBsN-Znx79X25~u2b1qR5e4CaRT4Q7XpfI0e8~XvVnaacC28wM8aekkbxtuVhct9Tpkqc8NFuetQse-gEkGmtEH4iBNvwYDiRi3MbV-I~AAXwMeW~QOHmXSEUMhcjsrqDcNChApUOuVvV0fc0jiwTg4zQ5SpJS6A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"},{"id":31996466,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/31996466/thumbnails/1.jpg","file_name":"Il_miglior_fabbro_4.pdf","download_url":"https://www.academia.edu/attachments/31996466/download_file","bulk_download_file_name":"Il_miglior_fabbro_Dante_e_i_poeti_della.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/31996466/Il_miglior_fabbro_4-libre.pdf?1392463094=\u0026response-content-disposition=attachment%3B+filename%3DIl_miglior_fabbro_Dante_e_i_poeti_della.pdf\u0026Expires=1738623229\u0026Signature=SNphPJKLWqYV0gLCDFzqJ59Iuq1ufDbqnsCSEKVLGR9nn2kQ1bZkCZ4QZJmcyLaHib45Yjmjo28d0bqiE7rEy-zLBO3fqOBMho18Frm1-zPr15lOKawq6IhCXOlI2iPTYj-tSAtNdigt-LW1oWrXTPMk78fbhYih-n3fh67JDb9RD3nZP8X81ivqKsZNf~tspiPU2b598I73H3i0lMFe8gDuCHcKWwqo0cT54qj2kITGC0UEOxaaCpGez0e1TE3uHyei47ebLICHEXNmmyXtbXjz5QamzBAwE7OhN9UDWC~OQtrVaF8lfmTL24cWdJa6Ynwzr94S~yInGqm3gyy7CQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); 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22 cm. -(Studi e strumenti) Contiene bibliogr.: p. 237-262 I. BAROLINI, Teodolinda 1. ALIGHIERI, Dante. Divina Commedia. Figure di poeti CDD 851.1 162 2. Virgilio: «Poeta fui» 204 3. Stazio: «Per te poeta fui» 213 4. Dante: «ritorner6 poeta» 227 Appendice: I poeti dell'opera dantesca 237 Bibliografia 263 Indice degli autori, dei personaggi e delle opere 273 Indice analitico A 7 I Nota del traduttore</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7d6f9693e014630fc5b3031fd3bf9674" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64087504,"asset_id":43773975,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64087504/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43773975"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43773975"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43773975; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="43773973"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43773973/Miglior_fabbro_ch_3"><img alt="Research paper thumbnail of Miglior fabbro ch 3" class="work-thumbnail" src="https://attachments.academia-assets.com/64087506/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43773973/Miglior_fabbro_ch_3">Miglior fabbro ch 3</a></div><div class="wp-workCard_item"><span>Il miglior fabbro</span><span>, 1993</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">sione Dante cerca di indicare non solo una poesia marziale, ma. una poesia carica della militanza...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">sione Dante cerca di indicare non solo una poesia marziale, ma. una poesia carica della militanza morale epolitica necessaria aUa salvaguardia della vita etica della societa intera. Da questo punto di vista, possiamo comprendere come H Convivio possa associate un poeta politico, Bertran, a una virtu sociale come la liberalita; quanto alia successiva caratterizzazione di questo trovatore, sembra che Dante abbia deciso che Bertran non fosse in realta mosso da «probitas», che la sua ricerca. di «salus» fosse divenuta invece una ricerca di scisma. I poeti d'amore, naturalmente, inseguono «venus», almeno all'inizio, ma come i loro coUeghi politici possono aspirare aUa terza categoria, creata daUa fu^oiig deUe prime due: nella lirica d'amore, col suo itinerario protetto ma estesd nella misura in cui ora e diretto a Dio e non alia donna, viene trasfusi una nuova moralita sociale. Nella Commedia, dunque, i massimi espo4 nenti delle prime due categorie sono difficili da classificare, poiche sond indicatori ^ una transizione alia terza: Sordello e 'quasi epico', Fol quet e poeta amoroso presentato in un alone politico. Comprendiam. inoltre perche Folquet non possa essere considerato un vero poeta ^de rettitudine; ndUo stesso modo in cui, nella Commedia, la parola «hon, stum» e associata alia poesia classica o 'epica', cosl la terza categoria «directio voluntatis», diviene una categoria per poeti epici. Sebbe" originariamente formulata per adattare liriche morali, come Doilia reca, che pimtano in direzione della Commedia, la poesia della «direct' voluntatis » eccede in ultima analisi ogni classificazione lirica, servend invece a definite I'ultima mossa del poeta. 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Poeti, scrittori, critici per Giorgio Ficara. Milano: La Nave di Teseo, 2022. Pp. 127-51.</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dante begins Paradiso by prioritizing the ancient philosophical problem of the One and the Many. ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dante begins Paradiso by prioritizing the ancient philosophical problem of the One and the Many. The first terzina contains in nuce the core concerns of Dante's Paradiso, both philosophically and narratologically.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="19f280def87e0014e38b8b9884b8725c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":112165200,"asset_id":115880522,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/112165200/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="115880522"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="115880522"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 115880522; 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Aristo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nicomachean Ethics 3.1 is a text of great significance for Dante's meditation on the will. Aristotle offers two examples of involuntary action in Nicomachean Ethics 3.1; the first surfaces in Inferno 5 and the second in Paradiso 3. In Inferno 5, Dante uses Aristotle's first example of involuntary action (a wind that carries us against our will), imposing it onto a context, the pursuit of carnal pleasure, in which the action was not in fact involuntary, but was willfully experienced as such. In Paradiso 3-5, Dante uses Aristotle's second example of involuntary action (powerful men who carry us off against our will), importing it into a context in which violence occurs, but the victims of violence are nonetheless held to have behaved voluntarily. Dante thus disrupts the Aristotelian analysis, revealing the fault line between Aristotle on voluntary and involuntary action and the Christian doctrine of free will.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6a28135dd39f7f17c58ad0739a9e46e5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":110927903,"asset_id":114155899,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/110927903/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="114155899"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="114155899"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 114155899; 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Princeton UP.</span><span>, 1984</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5ac790e43f31cacc7e63093afc9adf9c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38237015,"asset_id":14206938,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38237015/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="14206938"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="14206938"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 14206938; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="50106687"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/50106687/The_Undivine_Comedy_Detheologizing_Dante"><img alt="Research paper thumbnail of The Undivine Comedy: Detheologizing Dante" class="work-thumbnail" src="https://attachments.academia-assets.com/68216172/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50106687/The_Undivine_Comedy_Detheologizing_Dante">The Undivine Comedy: Detheologizing Dante</a></div><div class="wp-workCard_item"><span>The Undivine Comedy: Detheologizing Dante. Princeton UP.</span><span>, 1992</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">NE THINKS of strange things reading the Commedia: that Dante's spires of poetic life-terza rima-b...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">NE THINKS of strange things reading the Commedia: that Dante's spires of poetic life-terza rima-bear a resemblance to modern science's spires of biological life, DNA; that his long obsession with the new is echoed in current research on the brain, which shows that the new things that we live actually become who we are. Dante is no naturalist, but he is the ultimate realist, preoccupied with rendering reality-even surreality-in language, "sì che dal fatto il dir non sia diverso." It is to Erich Auerbach that we owe the profound insight that Dante's content was finally ruptured by its form, his theology imperiled by his mimetic genius. I have endeavored in what follows to show some of the paths trodden by a master of mimesis, some of the ways in which Dante's poetic adventuring is indeed, according to his own lights, Ulyssean-a journey "di retro al sol, del mondo sanza gente."</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3b03c219855e35b74887d97dcfeb5079" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68216172,"asset_id":50106687,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68216172/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="50106687"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="50106687"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50106687; 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Contini considera Bonagiunta «1 autcntico trapiantatore dei modi siciliani in Toscana» (i960, I. p. 2,8) Su Bonagiunta nella Commedia si vedano Shaw 1936, Simonelli 1968, Ciccuto 1982, Martinez 1983 Ricerche liriche 79 Capitolo secondo piu grande. Guinizzelli conclude sottolineando, piuttosto gratuitamente, che un'analoga situazione esisteva anche in Italia, dove simili sconsiderati ritenevano che Guittone fosse il poeta supremo, fino a che la verita finalmente prevalse (notiamo, in questo momento 6i estrema sog gettivita, 1 insistenza di Dante su «il ver», ripetuto due volte nel girp di sei versi); «0 frate», disse, «questi ch'io ti cerno col dito», e addito un spirto innanzi, «fu miglior fabbro del parlar materno.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dacadc83a2c3bcddfece475aca640d4e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31996463,"asset_id":4650250,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31996463/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="4650250"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="4650250"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4650250; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4650250]").text(description); $(".js-view-count[data-work-id=4650250]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4650250; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='4650250']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dacadc83a2c3bcddfece475aca640d4e" } } $('.js-work-strip[data-work-id=4650250]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":4650250,"title":"Il miglior fabbro: Dante e i poeti della Commedia","translated_title":"","metadata":{"publisher":"Bollati Boringhieri","grobid_abstract":"Capitolo prima ^ La priority della scuola siciUana e stabilita dal T)e vulgari eloquentia I xn 2. Contini considera Bonagiunta «1 autcntico trapiantatore dei modi siciliani in Toscana» (i960, I. p. 2,8) Su Bonagiunta nella Commedia si vedano Shaw 1936, Simonelli 1968, Ciccuto 1982, Martinez 1983 Ricerche liriche 79 Capitolo secondo piu grande. Guinizzelli conclude sottolineando, piuttosto gratuitamente, che un'analoga situazione esisteva anche in Italia, dove simili sconsiderati ritenevano che Guittone fosse il poeta supremo, fino a che la verita finalmente prevalse (notiamo, in questo momento 6i estrema sog gettivita, 1 insistenza di Dante su «il ver», ripetuto due volte nel girp di sei versi); «0 frate», disse, «questi ch'io ti cerno col dito», e addito un spirto innanzi, «fu miglior fabbro del parlar materno.","publication_date":{"day":null,"month":null,"year":1993,"errors":{}},"publication_name":"Il miglior fabbro: Dante e i poeti della 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prima ^ La priority della scuola siciUana e stabilita dal T)e vulgari eloquentia I xn 2. 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22 cm. -(Studi e strumenti) Contiene bibliogr.: p. 237-262 I. BAROLINI, Teodolinda 1. ALIGHIERI, Dante. Divina Commedia. Figure di poeti CDD 851.1 162 2. Virgilio: «Poeta fui» 204 3. Stazio: «Per te poeta fui» 213 4. Dante: «ritorner6 poeta» 227 Appendice: I poeti dell'opera dantesca 237 Bibliografia 263 Indice degli autori, dei personaggi e delle opere 273 Indice analitico A 7 I Nota del traduttore</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7d6f9693e014630fc5b3031fd3bf9674" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64087504,"asset_id":43773975,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64087504/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43773975"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43773975"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43773975; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="43773973"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43773973/Miglior_fabbro_ch_3"><img alt="Research paper thumbnail of Miglior fabbro ch 3" class="work-thumbnail" src="https://attachments.academia-assets.com/64087506/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43773973/Miglior_fabbro_ch_3">Miglior fabbro ch 3</a></div><div class="wp-workCard_item"><span>Il miglior fabbro</span><span>, 1993</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">sione Dante cerca di indicare non solo una poesia marziale, ma. una poesia carica della militanza...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">sione Dante cerca di indicare non solo una poesia marziale, ma. una poesia carica della militanza morale epolitica necessaria aUa salvaguardia della vita etica della societa intera. Da questo punto di vista, possiamo comprendere come H Convivio possa associate un poeta politico, Bertran, a una virtu sociale come la liberalita; quanto alia successiva caratterizzazione di questo trovatore, sembra che Dante abbia deciso che Bertran non fosse in realta mosso da «probitas», che la sua ricerca. di «salus» fosse divenuta invece una ricerca di scisma. I poeti d'amore, naturalmente, inseguono «venus», almeno all'inizio, ma come i loro coUeghi politici possono aspirare aUa terza categoria, creata daUa fu^oiig deUe prime due: nella lirica d'amore, col suo itinerario protetto ma estesd nella misura in cui ora e diretto a Dio e non alia donna, viene trasfusi una nuova moralita sociale. Nella Commedia, dunque, i massimi espo4 nenti delle prime due categorie sono difficili da classificare, poiche sond indicatori ^ una transizione alia terza: Sordello e 'quasi epico', Fol quet e poeta amoroso presentato in un alone politico. Comprendiam. inoltre perche Folquet non possa essere considerato un vero poeta ^de rettitudine; ndUo stesso modo in cui, nella Commedia, la parola «hon, stum» e associata alia poesia classica o 'epica', cosl la terza categoria «directio voluntatis», diviene una categoria per poeti epici. Sebbe" originariamente formulata per adattare liriche morali, come Doilia reca, che pimtano in direzione della Commedia, la poesia della «direct' voluntatis » eccede in ultima analisi ogni classificazione lirica, servend invece a definite I'ultima mossa del poeta. Solo i poeti epici, nel sens dantesco del termine, coniugano eros e impegno sociale, fondendo. ricerca di «salus» e quella di «venus» nella ricerca di«virtus», dive tando in tal modo poeti della rettitudine.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="51df0f359657b19f783237bb032f05c2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64087506,"asset_id":43773973,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64087506/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43773973"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43773973"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43773973; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="43773974"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43773974/4_Miglior_fabbro_Appendix"><img alt="Research paper thumbnail of 4 Miglior fabbro Appendix" class="work-thumbnail" src="https://attachments.academia-assets.com/64087507/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43773974/4_Miglior_fabbro_Appendix">4 Miglior fabbro Appendix</a></div><div class="wp-workCard_item"><span>Il miglior fabbro</span><span>, 1993</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Rajna 1915 dimostra che, per Dolce, la piu probabile fonte dell'aggettivo «divina» era il Cesano ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Rajna 1915 dimostra che, per Dolce, la piu probabile fonte dell'aggettivo «divina» era il Cesano di Claudio Tolomei, pubblicato da Gabriele Giolito negli stessi anni dell'edizione Dolce della Commedia. Okte alia sua fun2ione descrittiva, I'aggettivo ha un'appropriata, se non intenzionale risonanza intertestuale nell'evocare il riferimento della Tehaide al poema virgiliano come «divinam Aeneida».</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="753585fdc75ac94d8c5716cca4e83b32" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64087507,"asset_id":43773974,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64087507/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43773974"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43773974"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43773974; 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Nella colonna centrale si indica la collocazione della rima nella Vita Nuova e la redazione che viene riprodotta o eventuale altro autore, in quella a destra il numero di pagina.)</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fe13fba62b8c0c1edba3d08b6f8ea48a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38271914,"asset_id":14333125,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38271914/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="14333125"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="14333125"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 14333125; 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Si tratta di un esercizio che trovo difficile, come ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dante nella mia vita I versi che amo di più? Si tratta di un esercizio che trovo difficile, come ho sempre trovato difficile, per esempio, indicare il mio colore preferito (ma sarebbe, comunque, un verde, come il verde delle vesti e delle ali angeliche, »verdi come fogliette pur mo nate«, con qualche svolta verso il »dolce color d'orïental zaffiro«). Meditando, ho capito infine che le domande sono personali e che, quindi, anche la risposta dev'essere personale. Quali sono i versi che mi hanno dato maggior conforto nella vita? Da una parte sono i versi sublimi sia di forma sia di concetto, per esempio »s'aperse in nuovi amor l'etterno amore«, il verso che ho fatto incidere sulla tomba del mio primo marito. Un altro esempio sono i versi con cui ho dedicato il mio primo libro a mio padre, Antonio Barolini, morto mezzo secolo fa nel lontano gennaio 1971: »forse non pur per lor, ma per le mamme, / per li padri e per li altri che fuor cari«. Ed è mio padre che, con l'aiuto di T. S. Eliot, mi ha per primo fatto scoprire Dante, quando avevo tredici anni. Ero incantata dal »Love Song of J. Alfred Prufrock«, che recitavo ad alta voce, ma mi trovai ancora più incantata dai versi italianicitati senza indicarne l'origineche sono posti in epigrafe al testo di Eliot. Li portai a mio padre, che mi disse che erano di Dante. Scrivendo in questo tempo, nel gennaio del 2021, durante la grande pandemia che ha travolto le nostre vite, penso soprattutto all'amore, e ricordando sempre che »se, rivolto, inver' di lei si piega, / quel piegare è amor«, mi piego agli struggenti versi dell'amore umano, un amore che Dante sa meglio di ogni altro cogliere con la squisita semplicità delle »corte parole«, e cioè dei pronomi: »a me non dole / di te omai«, »Ver' me si fece, e io ver' lui mi fei«, e (forse il più bello) »qual fosti meco, e qual io teco fui«.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3e83f54908402740f42e5421284781c3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":71772988,"asset_id":56341188,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/71772988/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="56341188"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="56341188"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 56341188; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="59023407"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/59023407/Dante_and_Cecco_dAscoli_on_Love_and_Compulsion_The_Epistle_to_Cino_Io_sono_stato_the_Third_Heaven"><img alt="Research paper thumbnail of Dante and Cecco d'Ascoli on Love and Compulsion: The Epistle to Cino, Io sono stato, the Third Heaven" class="work-thumbnail" src="https://attachments.academia-assets.com/73152483/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/59023407/Dante_and_Cecco_dAscoli_on_Love_and_Compulsion_The_Epistle_to_Cino_Io_sono_stato_the_Third_Heaven">Dante and Cecco d'Ascoli on Love and Compulsion: The Epistle to Cino, Io sono stato, the Third Heaven</a></div><div class="wp-workCard_item"><span>Romanic Review, 2021, rpt. in revised form in Dante's Multitudes, Notre Dame UP, 2022, pp. 243-65.</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Arguing that Dante ultimately views compulsion in the erotic sphere as part and parcel of compuls...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Arguing that Dante ultimately views compulsion in the erotic sphere as part and parcel of compulsion in the properly philosophical sphere, aka determinism, this article traces Dante's variable thinking on this core issue as he veers from a moralistic view in the Vita Nuova to a more "scientific" view in the third epistle and again to a moralistic view in the Commedia (whose circle of lust boasts, in the wind that buffets the lustful, an example of compulsion borrowed from Nicomachean Ethics 3.1). The philosopher and astrologer Cecco d'Ascoli is a contemporary witness to the philosophical importance of these issues: in his philosophical poem Acerba, Cecco attacks Dante's love poetry for harboring deterministic belief.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="79f747e4a77f16cd70c8ad6b46207092" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":73152483,"asset_id":59023407,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/73152483/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="59023407"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="59023407"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 59023407; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="50829041"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/50829041/Il_Limbo_di_Dante_e_lequit%C3%A0_di_accesso_Non_Cristiani_bambini_e_i_criteri_di_inclusione_ed_esclusione"><img alt="Research paper thumbnail of Il Limbo di Dante e l'equità di accesso: Non-Cristiani, bambini, e i criteri di inclusione ed esclusione" class="work-thumbnail" src="https://attachments.academia-assets.com/68696176/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50829041/Il_Limbo_di_Dante_e_lequit%C3%A0_di_accesso_Non_Cristiani_bambini_e_i_criteri_di_inclusione_ed_esclusione">Il Limbo di Dante e l'equità di accesso: Non-Cristiani, bambini, e i criteri di inclusione ed esclusione</a></div><div class="wp-workCard_item"><span>Italianistica </span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Riassunto · Questo saggio esamina la complessa analisi dantesca a proposito dei non-Cristiani, in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Riassunto · Questo saggio esamina la complessa analisi dantesca a proposito dei non-Cristiani, in base all’importanza del concetto di accesso entro il pensiero dantesco sulla giustizia. Seguendo le<br />indicazioni del Boccaccio nelle Esposizioni, il problema viene colto da tutte le prospettive, arrivando al rapporto tra i bambini salvati ma senza alcun merito di Pd 32 e i non-Cristiani che possiedono ogni merito ma nessuna grazia nel Limbo dantesco.<br />Parole chiave · Limbo, bambini, non-Cristiani, accesso, equità.<br /><br />Abstract · Dante’s Limbo and Equity of Access: Non-Christians, Children, and Criteria of Inclusion and Exclusion, from If 4 to Pd 32 · This essay focuses on the complex Dantean analysis about non-Christians,<br />based on a consideration of the importance to Dante of the concept of access within his thinking about justice. Using the suggestions provided by Boccaccio in his Esposizioni, I look at the Commedia as a whole, concluding with the relationship between the saved children who possess no merit in Pd 32 and the meritorious non-Christians who possess no grace in Limbo.<br />Keywords · Limbo, children, non-Christians, access, equity.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f35945a8731098c3ed297899b7b91347" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68696176,"asset_id":50829041,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68696176/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="50829041"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="50829041"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50829041; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="45597188"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/45597188/The_Scholar_and_the_Widow_Corrupt_Appetite_and_Moral_Failure_in_Society_s_Intellectual_Elite_VIII_7_"><img alt="Research paper thumbnail of The Scholar and the Widow: Corrupt Appetite and Moral Failure in Society’s Intellectual Elite (VIII.7)" class="work-thumbnail" src="https://attachments.academia-assets.com/66079827/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/45597188/The_Scholar_and_the_Widow_Corrupt_Appetite_and_Moral_Failure_in_Society_s_Intellectual_Elite_VIII_7_">The Scholar and the Widow: Corrupt Appetite and Moral Failure in Society’s Intellectual Elite (VIII.7)</a></div><div class="wp-workCard_item"><span>The Decameron Eighth Day in Perspective, ed. William Robins, Toronto U. Press, 2020, pp. 148-89</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="42426834"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42426834/Difference_as_Punishment_or_Difference_as_Pleasure_From_the_Tower_of_Babel_in_De_vulgari_eloquentia_to_the_Death_of_Babel_in_Paradiso_26"><img alt="Research paper thumbnail of Difference as Punishment or Difference as Pleasure : From the Tower of Babel in De vulgari eloquentia to the Death of Babel in Paradiso 26" class="work-thumbnail" src="https://attachments.academia-assets.com/62595705/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42426834/Difference_as_Punishment_or_Difference_as_Pleasure_From_the_Tower_of_Babel_in_De_vulgari_eloquentia_to_the_Death_of_Babel_in_Paradiso_26">Difference as Punishment or Difference as Pleasure : From the Tower of Babel in De vulgari eloquentia to the Death of Babel in Paradiso 26</a></div><div class="wp-workCard_item"><span>Textual Cultures, rpt. in revised form in Dante's Multitudes, Notre Dame U. P., 2022, pp. 162-79.</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dante's linguistic treatise, De vulgari eloquentia, is not without joy in linguistic difference a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dante's linguistic treatise, De vulgari eloquentia, is not without joy in linguistic difference and invention. However, the treatise's signature view of linguistic difference is its powerfully punitive account of the Tower of Babel. Linguistic diversity, aka "confusion of tongues", is the punishment meted out to Nimrod and his followers for their presumptuous building of the Tower of Babel: thus, difference is punishment. This essay traces Dante's evolution as he moves from De vulgari eloquentia to the encounter with Nembrot (as Dante calls Nimrod) in Inferno 31 and then to Paradiso 26. The punishment of Inferno 31 is no longer differentiated language but lack of language: Dante punishes Nembrot not with linguistic diversity, but by assigning him a non-language that communicates nonsense. Adam's great discourse on linguistic creation in Paradiso 26 signals full transition: from difference as punishment to difference as pleasure. In this essay I intend to return to the question of difference in Dante's Commedia, as treated in The Undivine Comedy (Barolini 1992), and to trace its genealogy in Dante's earlier treatise De vulgari elo-quentia. Difference-linguistic, temporal, narratological, political, existen-tial, theological-is a major theme of The Undivine Comedy, where I also outlined the origins of Dante's preoccupation with difference (aka diversity or multiplicity) in his previous works. With respect to Dante's unfinished treatise on language and vernacular eloquence, De vulgari eloquentia, I noted the hostility toward difference/diversity/multiplicity displayed by the linguistic treatise, where difference is associated with presumptuositas. 1 My 1. See the analysis in Barolini 1992, 180-2, beginning "In some of his works, notably the De vulgari eloquentia and the Monarchia, Dante displays a hostility toward difference and multiplicity" (180).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="243293e3fe73b555c26c5ba6108fb805" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62595705,"asset_id":42426834,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62595705/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42426834"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42426834"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42426834; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="42426640"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42426640/Dante_and_Wealth_Between_Aristotle_and_Cortesia_From_the_Moral_Canzoni_Le_dolci_rime_and_Poscia_chAmor_to_Inferno_6_and_7"><img alt="Research paper thumbnail of Dante and Wealth, Between Aristotle and Cortesia: From the Moral Canzoni Le dolci rime and Poscia ch'Amor to Inferno 6 and 7" class="work-thumbnail" src="https://attachments.academia-assets.com/62595495/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42426640/Dante_and_Wealth_Between_Aristotle_and_Cortesia_From_the_Moral_Canzoni_Le_dolci_rime_and_Poscia_chAmor_to_Inferno_6_and_7">Dante and Wealth, Between Aristotle and Cortesia: From the Moral Canzoni Le dolci rime and Poscia ch'Amor to Inferno 6 and 7</a></div><div class="wp-workCard_item"><span>Medioevo letterario d'Italia, vol. 15, rpt. in revised form in Dante's Multitudes, Notre Dame U. P., 2022, pp. 203-21.</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Wealth and how properly to manage it is a pressing issue for Dante, one that he first tackles in ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wealth and how properly to manage it is a pressing issue for Dante, one that he first tackles in the moral canzoni Le dolci rime (ca. 1294) and Poscia ch’Amor (ca. 1295). In this essay I will consider the nexus of Aristotelianism and cortesia that Dante forges around the moral virtue of liberality, as he moves from Le dolci rime and Poscia ch’Amor in the 1290s to the Convivio and thence to Inferno vi and vii. While Le dolci rime paved the way for the adoption of the Aristotelian system in treating avarice and prodigality in Inferno vii, Poscia ch’Amor contributes to the depiction of Florence in Inferno vi <br />and to the linguistic texture of both canti.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="21870fc6ec0aab89fd958e1e9e2ad7a3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62595495,"asset_id":42426640,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62595495/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42426640"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42426640"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42426640; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="42426381"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42426381/Archeologia_della_donna_gentile"><img alt="Research paper thumbnail of Archeologia della donna gentile" class="work-thumbnail" src="https://attachments.academia-assets.com/62595221/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42426381/Archeologia_della_donna_gentile">Archeologia della donna gentile</a></div><div class="wp-workCard_item"><span>Studj romanzi, vol. 14</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Translated and substantially revised, "Archeology of the donna gentile" may be found in Dante's M...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Translated and substantially revised, "Archeology of the donna gentile" may be found in Dante's Multitudes: History, Philosophy, Method (Notre Dame U. P.), pp. 225-42.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="14760f5cbb4c3eeda8039b04c488abb6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62595221,"asset_id":42426381,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62595221/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42426381"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42426381"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42426381; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38451833"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38451833/Dante_Squares_the_Circle_Textual_and_Philosophical_Affinities_of_Monarchia_and_Paradiso_Solutio_Distinctiva_in_Mon_3_4_17_and_Par_4_94_114_"><img alt="Research paper thumbnail of Dante Squares the Circle: Textual and Philosophical Affinities of Monarchia and Paradiso (Solutio Distinctiva in Mon. 3.4.17 and Par. 4.94-114)" class="work-thumbnail" src="https://attachments.academia-assets.com/58514817/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38451833/Dante_Squares_the_Circle_Textual_and_Philosophical_Affinities_of_Monarchia_and_Paradiso_Solutio_Distinctiva_in_Mon_3_4_17_and_Par_4_94_114_">Dante Squares the Circle: Textual and Philosophical Affinities of Monarchia and Paradiso (Solutio Distinctiva in Mon. 3.4.17 and Par. 4.94-114)</a></div><div class="wp-workCard_item"><span>In revised form in Dante's Multitudes, Notre Dame U.P., 2022, pp. 137-61.</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Focusing on Aristotle's Sophistical Refutations, in particular analyzing Dante's use of the logic...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Focusing on Aristotle's Sophistical Refutations, in particular analyzing Dante's use of the logical refutation called "solutio distinctiva" in both Monarchia 3.4.17 and Paradiso 4.94-114.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="faaa1958df29dc5664ef93f2b9656e1a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58514817,"asset_id":38451833,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58514817/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38451833"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38451833"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38451833; 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Questo è il primo romanzo di Dan Brown che abb...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Permettetemi di cominciare con una nota personale. Questo è il primo romanzo di Dan Brown che abbia mai letto. Ho accettato l'invito a esprimermi su Inferno di Brown perché ho passato la vita a studiare V.Inferno «vero» di Dante Alighieri. Da studiosa volevo essere certa che l'informazione su Dante fosse rigorosa (sono onorata che Brown abbia incluso il nostro sito Digital Dante della Columbia University tra le fonti citate). Immagino di essere in debito, se non con il pubblico che legge i romanzi di Brown, certamente con Dante, che mi ha dato una vita di piacere intellettuale.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="22ea97d09f7f8f4d4ffe35a307fa1e97" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50152083,"asset_id":29704416,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50152083/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="29704416"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="29704416"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29704416; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="28546509"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/28546509/Amicus_Eius_Dante_and_the_Semantics_of_Friendship"><img alt="Research paper thumbnail of Amicus Eius: Dante and the Semantics of Friendship" class="work-thumbnail" src="https://attachments.academia-assets.com/48899321/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/28546509/Amicus_Eius_Dante_and_the_Semantics_of_Friendship">Amicus Eius: Dante and the Semantics of Friendship</a></div><div class="wp-workCard_item"><span>Dante Studies, then in revised form in Dante's Multitudes, Notre Dame U.P., 2022, pp. 99-120</span><span>, 2015</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="991e55fb373aab47587ebe7a2be5df5f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":48899321,"asset_id":28546509,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/48899321/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="28546509"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="28546509"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 28546509; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="25200226"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/25200226/Critical_Philology_and_Dantes_Rime"><img alt="Research paper thumbnail of Critical Philology and Dante's Rime" class="work-thumbnail" src="https://attachments.academia-assets.com/45512378/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/25200226/Critical_Philology_and_Dantes_Rime">Critical Philology and Dante's Rime</a></div><div class="wp-workCard_item"><span>Philology, rpt. Dante's Multitudes, Notre Dame U.P., 2022, 298-319.</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay examines the insufficient critical vigilance and transparency with which we monitor th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay examines the insufficient critical vigilance and transparency with which we monitor the porous boundaries between philology and interpretation, with special attention<br />to the Due and Trecento. The claims of philologists are unfortunately not always truly philological, but rather are hermeneutic arguments masquerading as, and claiming<br />the authority of, philological arguments: weak interpretation made illegitimately strong by being presented as philology. After looking at earlier examples of this non-critical practice<br />(the acceptance as factual of E. H. Wilkins’ conjectural nine forms of the Rerum vulgarium fragmenta, the invention of a non-existent “original” ending of the Vita Nuova, the use of<br />culturally-freighted nomenclature like “rime estravaganti”, the reification of a conjectural relation between Boccaccio’s canzoni distese and the unwritten books of the Convivio), I<br />consider the recent “discovery” of a new Dantean text, the so-called “libro delle canzoni di Dante”, viewed as a moment when we can track the violation of the boundary between<br />philology and hermeneutics in real time.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b1c2a244633689737522bbf8fce0dea4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45512378,"asset_id":25200226,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45512378/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="25200226"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="25200226"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25200226; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17535741"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17535741/Boccaccios_Philosophy_of_Consolation_The_Place_of_the_Other_in_Lifes_Transactions_se_Dio_m_avesse_dato_fratello_o_non_me_lo_avesse_dato_In_Boccaccio_1313_2013"><img alt="Research paper thumbnail of Boccaccio's Philosophy of Consolation: The Place of the Other in Life's Transactions ("se Dio m’avesse dato fratello o non me lo avesse dato"). In Boccaccio 1313-2013." class="work-thumbnail" src="https://attachments.academia-assets.com/39564860/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17535741/Boccaccios_Philosophy_of_Consolation_The_Place_of_the_Other_in_Lifes_Transactions_se_Dio_m_avesse_dato_fratello_o_non_me_lo_avesse_dato_In_Boccaccio_1313_2013">Boccaccio's Philosophy of Consolation: The Place of the Other in Life's Transactions ("se Dio m’avesse dato fratello o non me lo avesse dato"). In Boccaccio 1313-2013.</a></div><div class="wp-workCard_item"><span>Boccaccio 1313-2013, ed. F. Ciabattoni, E. Filosa K. Olson, Longo, 2015, pp. 89-105. </span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay extrapolates from Boccaccio’s works a philosophy of consolation as a negotiation betwe...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay extrapolates from Boccaccio’s works a philosophy of consolation as a negotiation between self and other. I begin with the lexicon and experience of consolation in the Decameron, considering the dynamic of words versus deeds as modalities of consolation and putting the Decameron into dialogue with the Consolatoria a Pino de’ Rossi, which features the same dynamic. Ultimately, through consideration of what it means that Gualtieri, the Marquis of Saluzzo, is lexically the most “consoled” character in the Decameron, I sketch Boccaccio’s spectrum of consolation, defined in terms of the self’s relation to the other. The negative extreme modeled by Gualtieri, in which the self is consoled through absolute freedom from the other, allows us to see Boccaccio as advocate of a middle path: the mutual consolation of the happy couples of Day 5 of the Decameron is echoed in the consolation Pino receives from his wife in the Consolatoria. Moreover, the Consolatoria reprises the Decameron’s full spectrum of consolation, showing us Boccaccio’s own encounter with the moral hazard of the undesired other, tellingly invoked in the phrase «se Dio m’avesse dato fratello o non me lo avesse dato».</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="98943c3850f2e0bafd0cb2ac65ee8be3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39564860,"asset_id":17535741,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39564860/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17535741"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17535741"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17535741; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17535741]").text(description); $(".js-view-count[data-work-id=17535741]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17535741; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17535741']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "98943c3850f2e0bafd0cb2ac65ee8be3" } } $('.js-work-strip[data-work-id=17535741]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17535741,"title":"Boccaccio's Philosophy of Consolation: The Place of the Other in Life's Transactions (\"se Dio m’avesse dato fratello o non me lo avesse dato\"). 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="10984343"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/10984343/The_Case_of_the_Lost_Original_Ending_of_Dantes_Vita_Nuova_More_Notes_toward_a_Critical_Philology"><img alt="Research paper thumbnail of The Case of the Lost Original Ending of Dante's Vita Nuova: More Notes toward a Critical Philology" class="work-thumbnail" src="https://attachments.academia-assets.com/36724771/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/10984343/The_Case_of_the_Lost_Original_Ending_of_Dantes_Vita_Nuova_More_Notes_toward_a_Critical_Philology">The Case of the Lost Original Ending of Dante's Vita Nuova: More Notes toward a Critical Philology</a></div><div class="wp-workCard_item"><span>Medioevo letterario d'Italia vol. 11, rpt. in revised form in Dante's Multitudes, Notre Dame U.P., 2022, pp. 287-97</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">I n the practice of a critical philology, one that demonstrates critical self-awareness with resp...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">I n the practice of a critical philology, one that demonstrates critical self-awareness with respect to how we harness philology to our hermeneutic agendas, we might begin by privileging what exists over what does not. In the case of Petrarch, this would mean, for instance, following the autograph manuscript with its existing instructions, according to which Petrarch clearly divided his collection into two parts at the canzone I' vo pensando, and not presuming to editorialize, as we do by adding the rubrics « in vita di madonna Laura » and « in morte di madonna Laura ». It also means not writing about the nine forms of the Rerum vulgarium fragmenta, the forms hypothesized by Ernest Hatch Wilkins in his 1951 book The Making of the 'Canzoniere', as though they exist, when in fact they do not. At the crossroads where philology and interpretation meet, we have seen interpretation trump philology, and in the case of the nine forms of the Canzoniere we have seen interpretation disseminated as philological doctrine. 1 There are other cases as well in the history of interpreting medieval Italian texts where the roles of philology and interpretation have been dangerously confused.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b5c443709a7d376118e5c5281b22cd17" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36724771,"asset_id":10984343,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36724771/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10984343"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10984343"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10984343; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="10984421"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/10984421/Contemporaries_Who_Found_Heterodoxy_in_Dante_Featuring_Cecco_dAscoli"><img alt="Research paper thumbnail of Contemporaries Who Found Heterodoxy in Dante, Featuring Cecco d'Ascoli" class="work-thumbnail" src="https://attachments.academia-assets.com/36724805/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/10984421/Contemporaries_Who_Found_Heterodoxy_in_Dante_Featuring_Cecco_dAscoli">Contemporaries Who Found Heterodoxy in Dante, Featuring Cecco d'Ascoli</a></div><div class="wp-workCard_item"><span>Dante and Heterodoxy, 2014, pp. 259-75; then substantially revised in Dante's Multitudes, Notre Dame U.P. 2022, pp. 45-57</span><span>, 2014</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f9fa83bdd8a70d9acd29a77f921cf13b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36724805,"asset_id":10984421,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36724805/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10984421"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10984421"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10984421; 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Centro Italiano di studi sull'alto medioevo. Spoleto, 2013. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="50080121"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/50080121/La_coda_di_Minosse_Note"><img alt="Research paper thumbnail of La coda di Minosse Note" class="work-thumbnail" src="https://attachments.academia-assets.com/68198438/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50080121/La_coda_di_Minosse_Note">La coda di Minosse Note</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Per la fisicità grottesca che caratterizza il trattamento della lussuria nelle visioni dell'Infer...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Per la fisicità grottesca che caratterizza il trattamento della lussuria nelle visioni dell'Inferno, vedi nel presente volume il cap. 3. 6 Sugli elementi che Dante può aver preso a prestito dagli autori visionari, vedi A. Morgan, Dante and the Medieval Other World, Cambridge University Press, Cambridge 1990, specialmente il cap. 1, "Topographical Motifs of the Other World". Sull'importanza del ricorso ad Aristotele per la concettualizzazione dell'Inferno, vedi nel presente volume il cap. 4.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="819d229865b568ab1878b18c0a9fb470" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":68198438,"asset_id":50080121,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/68198438/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="50080121"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="50080121"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50080121; 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Note" class="work-thumbnail" src="https://attachments.academia-assets.com/68198456/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50080126/Dante_spera_nella_salvezza_di_Virgilio_Note">Dante spera nella salvezza di Virgilio? 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Antonio Barolini tra Italia e America (New York, 30 aprile 2010), è stato organizzato dall'«Italian Poetry Review» e dal Dipartimento d'Italianistica della Columbia University. Mi sia permesso di dire che queste occasioni mi parvero, soprattutto quella di Vicenza, bandita per prima, quasi miracolose; non mi sembrava plausibile che nel 2010 si ricordasse uno che, come mio padre, era scomparso già da così tanto tempo. Invece i convegni sia di New York sia di Vicenza sprizzavano energia e quel che Barolini avrebbe chiamato «buona volontà»: la volontà di capire Barolini, il suo mondo, e il suo momento storico.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a6674ee0a0e024d724f4235d0cd2350b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38902983,"asset_id":16221181,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38902983/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="16221181"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="16221181"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 16221181; 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Hagiography; Ireland; Misogyny; Monasticism and Nuns, Celtic; Supernatural Women...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">See also Brigit; Hagiography; Ireland; Misogyny; Monasticism and Nuns, Celtic; Supernatural Women; Virile Women</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="64bc8ef094998f775dde63462276bf23" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31398792,"asset_id":3718503,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31398792/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="3718503"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="3718503"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3718503; 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(et trop desiroit qu'il fust sanez et en tel vigueur qui lui peiiist porter Nos...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">cf. 16.9. -23.4f. (et trop desiroit qu'il fust sanez et en tel vigueur qui lui peiiist porter Nostre Seigneur.) r. qu'i (= qu'il). 0: 5.6f. (Et il le regut, com il regarda sa conversacion et l'abit de sa reverence, il s'estendi a la terre) c. to requt, et com, cf. 0 1 5.5. -12.2-5 (Aucuns portoit un petit de pain pour soustenir la fragilite de son cors, li autre, quariques, li autre, leün cuit en eve, li autre noiant fors seulement leur cors) comma after noiant; delete commas after each autre; cf. O 1 111.-3. -17.11f. (Li chevel de son chief estoient blanc conme lainne et petit seulement li avenoient jusqu'au col) add a second et after seulement, cf. vars., O 1 15.7 and Z 11.9. -22.5f. (Et estoient andui ensemble a terre depriant et orant Ii uns l'autre fere conmencement de beneigon.) add de before fere? Cf. O 1 18.7f. -23.6 C. si list dist to si li dist. -30.7f. (se ges te conmanz a te conter mes oeuvres laides) c. ges to ge. -33.6-8 (quar de toutes parz ai poour, quar Diex le set, tes oreilles seulement ne conchient pas de mes paroles, mes nei's li airs en est ordoiez.) Scrambled syntax; cf. vars. and Z 26.6f. 4 O 1 : 5.5 (Et il regut) add le after ill Cf. O 5.6. -15.4 (et cuida que cu fust fantosme) c. cu to ce. -22.2 (Pere, por coi troublent tes cogitacions?) add te after coil Cf. O 27.2 and note. -40.6 (la aperent) c. to la perre, cf. O 53.7 and note. Z\ 5.8f. (se il ne se regarde et sobriite) c. et to en! Cf. 0 6.9. -(La grace Jesucrist nos saoulera touz, qi est nostre Bons Paistres) c. saoulera to salvera; saoulera looks like scribal error. -6.8f. (et por le cors soustenir, avoient tant seulement pein et eve) Word order? cf. 0 7.9f.: mes il amenistroient aus cors choses necesseres, pain et eve, tant seulement qu'il fussent soustenu. -14.3f. (et Zosimas fu de l'autre part et ne passer) c. to ne pooit passer? -23.2^1 (il me sera hontes de reconter toz mes mesfez, mes por ce qe tu m'as veüe nue, je te descoverrai toz mes mesfez) Dittography ? Cf. 0 30.2-6. -47.2 C. spaumes to psaumes. -64.5f. (et conmenga la terre a foir, mes ele estoit si dure qe il n'en pooit point avoir) c. avoir to foir, cf. 0 72.6. U: 16.10 C. loig to loing, cf. 20.2. -20.11 C. elui to celui. -24.1 (En tiex pansees je je vesqui .XVIJ. anz) delete one je. -28.3 (que es ce que tu faiz?) c. to que est eel -33.5 (il fu molt es espouantez) delete es. L 1 : 10.1-3 («Et com je eüsse prie et au nom de la Virge eüsse receüe grant fiance. Je ving derechief as portes de l'eglyse et entrai dedenz sanz nul empeschement.») comma after fiance, lower case for je. GLOSSARY: Add: aerdre W 11; curee T 1462; coutee X 46.4, coute(s) 0 26.6, O 1 21.8, Z 19.8; leun X 56.6, O 12.4, O 1 11.3; palus T 138; plege (metre en) T 438; X 19.11, W 60, N 137, O 40.7, O 1 32.13, Z 33.1, cf. hostage, ostaige (metre en) T 597, 620; raüna T 1475, raünee T 1477, vains X 72.4. C. esrairoit to esraioit, impf. 3. [DUNCAN KOBEKTSON, The University of Michigan] ANGELT, GIO VANNA. II mondo rovesciato. Biblioteca di Cultura, CHI. Roma: Bulzoni, ©1977. Pp. 151 Despite its title, this book does not belong to the tradition of such studies as James J. Wilhelm's The Cruelest Month or George Economou's The Goddess Natura in Medieval Literature. That is, it provides no survey of the topos of the World Turned Upside Down (both Ernst Robert Curtius and the topos as such are mentioned only in passing, 74f.); rather, it is an au courant consideration of 4 The notes to O contain errata: 3f., hogiographes for hagiographes; 17.12, descennebtes for descendentes; 31.6, mamieres for manieres; 53.6-8, hebent for habent.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="079c4edaab5d429105dbd877a05df494" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31398717,"asset_id":3718373,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31398717/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="3718373"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="3718373"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3718373; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3718373]").text(description); $(".js-view-count[data-work-id=3718373]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 3718373; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='3718373']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "079c4edaab5d429105dbd877a05df494" } } $('.js-work-strip[data-work-id=3718373]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":3718373,"title":"Angeli Il mondo rovesciato","translated_title":"","metadata":{"ai_title_tag":"Analysis of Errata in 'Il mondo rovesciato' Text","grobid_abstract":"cf. 16.9. -23.4f. (et trop desiroit qu'il fust sanez et en tel vigueur qui lui peiiist porter Nostre Seigneur.) r. qu'i (= qu'il). 0: 5.6f. (Et il le regut, com il regarda sa conversacion et l'abit de sa reverence, il s'estendi a la terre) c. to requt, et com, cf. 0 1 5.5. -12.2-5 (Aucuns portoit un petit de pain pour soustenir la fragilite de son cors, li autre, quariques, li autre, leün cuit en eve, li autre noiant fors seulement leur cors) comma after noiant; delete commas after each autre; cf. O 1 111.-3. -17.11f. (Li chevel de son chief estoient blanc conme lainne et petit seulement li avenoient jusqu'au col) add a second et after seulement, cf. vars., O 1 15.7 and Z 11.9. -22.5f. (Et estoient andui ensemble a terre depriant et orant Ii uns l'autre fere conmencement de beneigon.) add de before fere? Cf. O 1 18.7f. -23.6 C. si list dist to si li dist. -30.7f. (se ges te conmanz a te conter mes oeuvres laides) c. ges to ge. -33.6-8 (quar de toutes parz ai poour, quar Diex le set, tes oreilles seulement ne conchient pas de mes paroles, mes nei's li airs en est ordoiez.) Scrambled syntax; cf. vars. and Z 26.6f. 4 O 1 : 5.5 (Et il regut) add le after ill Cf. O 5.6. -15.4 (et cuida que cu fust fantosme) c. cu to ce. -22.2 (Pere, por coi troublent tes cogitacions?) add te after coil Cf. O 27.2 and note. -40.6 (la aperent) c. to la perre, cf. O 53.7 and note. Z\\ 5.8f. (se il ne se regarde et sobriite) c. et to en! Cf. 0 6.9. -(La grace Jesucrist nos saoulera touz, qi est nostre Bons Paistres) c. saoulera to salvera; saoulera looks like scribal error. -6.8f. (et por le cors soustenir, avoient tant seulement pein et eve) Word order? cf. 0 7.9f.: mes il amenistroient aus cors choses necesseres, pain et eve, tant seulement qu'il fussent soustenu. -14.3f. (et Zosimas fu de l'autre part et ne passer) c. to ne pooit passer? -23.2^1 (il me sera hontes de reconter toz mes mesfez, mes por ce qe tu m'as veüe nue, je te descoverrai toz mes mesfez) Dittography ? Cf. 0 30.2-6. -47.2 C. spaumes to psaumes. -64.5f. (et conmenga la terre a foir, mes ele estoit si dure qe il n'en pooit point avoir) c. avoir to foir, cf. 0 72.6. U: 16.10 C. loig to loing, cf. 20.2. -20.11 C. elui to celui. -24.1 (En tiex pansees je je vesqui .XVIJ. anz) delete one je. -28.3 (que es ce que tu faiz?) c. to que est eel -33.5 (il fu molt es espouantez) delete es. L 1 : 10.1-3 («Et com je eüsse prie et au nom de la Virge eüsse receüe grant fiance. Je ving derechief as portes de l'eglyse et entrai dedenz sanz nul empeschement.») comma after fiance, lower case for je. GLOSSARY: Add: aerdre W 11; curee T 1462; coutee X 46.4, coute(s) 0 26.6, O 1 21.8, Z 19.8; leun X 56.6, O 12.4, O 1 11.3; palus T 138; plege (metre en) T 438; X 19.11, W 60, N 137, O 40.7, O 1 32.13, Z 33.1, cf. hostage, ostaige (metre en) T 597, 620; raüna T 1475, raünee T 1477, vains X 72.4. C. esrairoit to esraioit, impf. 3. [DUNCAN KOBEKTSON, The University of Michigan] ANGELT, GIO VANNA. II mondo rovesciato. Biblioteca di Cultura, CHI. Roma: Bulzoni, ©1977. Pp. 151 Despite its title, this book does not belong to the tradition of such studies as James J. Wilhelm's The Cruelest Month or George Economou's The Goddess Natura in Medieval Literature. That is, it provides no survey of the topos of the World Turned Upside Down (both Ernst Robert Curtius and the topos as such are mentioned only in passing, 74f.); rather, it is an au courant consideration of 4 The notes to O contain errata: 3f., hogiographes for hagiographes; 17.12, descennebtes for descendentes; 31.6, mamieres for manieres; 53.6-8, hebent for habent.","grobid_abstract_attachment_id":31398717},"translated_abstract":null,"internal_url":"https://www.academia.edu/3718373/Angeli_Il_mondo_rovesciato","translated_internal_url":"","created_at":"2013-06-15T10:29:21.323-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":2383834,"coauthors_can_edit":true,"document_type":"book_review","co_author_tags":[],"downloadable_attachments":[{"id":31398717,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/31398717/thumbnails/1.jpg","file_name":"1980_Angeli_Il_mondo_rovesciato.pdf","download_url":"https://www.academia.edu/attachments/31398717/download_file","bulk_download_file_name":"Angeli_Il_mondo_rovesciato.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/31398717/1980_Angeli_Il_mondo_rovesciato-libre.pdf?1392298694=\u0026response-content-disposition=attachment%3B+filename%3DAngeli_Il_mondo_rovesciato.pdf\u0026Expires=1738623233\u0026Signature=BLMhhGhA6xqBUMitAmWfV9W9A53939nBAdNZlRzG3zZEiwrjwBKgAKIA8LnpsLOn~U3i~bmWPlLoeaN-EZKf5uRyTN~~9gzNTNt8qi6cr7sGX71ssMUFymKBiG~ejxNWi6-0dkMly7qIVrZY-1v5fElP~hMXUeZVfR9yRb2YWGxjoJJJxiOFs9SsaxQ4VI7M7Vhx9Czd0Aabicmed7PD-JCCI3KJlqBmIOluoYDXeGJC5m~srj0KbodHL~K4xBHJIl9slLNGWmt9TzObE1WoyXOFJOysgvpVepRhpl0dgMM1CH2gu1BG0al7-JE1hP3AHxULQyYU~mssc-zLYICQUA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Angeli_Il_mondo_rovesciato","translated_slug":"","page_count":6,"language":"en","content_type":"Work","summary":"cf. 16.9. -23.4f. (et trop desiroit qu'il fust sanez et en tel vigueur qui lui peiiist porter Nostre Seigneur.) r. qu'i (= qu'il). 0: 5.6f. (Et il le regut, com il regarda sa conversacion et l'abit de sa reverence, il s'estendi a la terre) c. to requt, et com, cf. 0 1 5.5. -12.2-5 (Aucuns portoit un petit de pain pour soustenir la fragilite de son cors, li autre, quariques, li autre, leün cuit en eve, li autre noiant fors seulement leur cors) comma after noiant; delete commas after each autre; cf. O 1 111.-3. -17.11f. (Li chevel de son chief estoient blanc conme lainne et petit seulement li avenoient jusqu'au col) add a second et after seulement, cf. vars., O 1 15.7 and Z 11.9. -22.5f. (Et estoient andui ensemble a terre depriant et orant Ii uns l'autre fere conmencement de beneigon.) add de before fere? Cf. O 1 18.7f. -23.6 C. si list dist to si li dist. -30.7f. (se ges te conmanz a te conter mes oeuvres laides) c. ges to ge. -33.6-8 (quar de toutes parz ai poour, quar Diex le set, tes oreilles seulement ne conchient pas de mes paroles, mes nei's li airs en est ordoiez.) Scrambled syntax; cf. vars. and Z 26.6f. 4 O 1 : 5.5 (Et il regut) add le after ill Cf. O 5.6. -15.4 (et cuida que cu fust fantosme) c. cu to ce. -22.2 (Pere, por coi troublent tes cogitacions?) add te after coil Cf. O 27.2 and note. -40.6 (la aperent) c. to la perre, cf. O 53.7 and note. Z\\ 5.8f. (se il ne se regarde et sobriite) c. et to en! Cf. 0 6.9. -(La grace Jesucrist nos saoulera touz, qi est nostre Bons Paistres) c. saoulera to salvera; saoulera looks like scribal error. -6.8f. (et por le cors soustenir, avoient tant seulement pein et eve) Word order? cf. 0 7.9f.: mes il amenistroient aus cors choses necesseres, pain et eve, tant seulement qu'il fussent soustenu. -14.3f. (et Zosimas fu de l'autre part et ne passer) c. to ne pooit passer? -23.2^1 (il me sera hontes de reconter toz mes mesfez, mes por ce qe tu m'as veüe nue, je te descoverrai toz mes mesfez) Dittography ? Cf. 0 30.2-6. -47.2 C. spaumes to psaumes. -64.5f. (et conmenga la terre a foir, mes ele estoit si dure qe il n'en pooit point avoir) c. avoir to foir, cf. 0 72.6. U: 16.10 C. loig to loing, cf. 20.2. -20.11 C. elui to celui. -24.1 (En tiex pansees je je vesqui .XVIJ. anz) delete one je. -28.3 (que es ce que tu faiz?) c. to que est eel -33.5 (il fu molt es espouantez) delete es. L 1 : 10.1-3 («Et com je eüsse prie et au nom de la Virge eüsse receüe grant fiance. Je ving derechief as portes de l'eglyse et entrai dedenz sanz nul empeschement.») comma after fiance, lower case for je. GLOSSARY: Add: aerdre W 11; curee T 1462; coutee X 46.4, coute(s) 0 26.6, O 1 21.8, Z 19.8; leun X 56.6, O 12.4, O 1 11.3; palus T 138; plege (metre en) T 438; X 19.11, W 60, N 137, O 40.7, O 1 32.13, Z 33.1, cf. hostage, ostaige (metre en) T 597, 620; raüna T 1475, raünee T 1477, vains X 72.4. C. esrairoit to esraioit, impf. 3. [DUNCAN KOBEKTSON, The University of Michigan] ANGELT, GIO VANNA. II mondo rovesciato. Biblioteca di Cultura, CHI. Roma: Bulzoni, ©1977. Pp. 151 Despite its title, this book does not belong to the tradition of such studies as James J. Wilhelm's The Cruelest Month or George Economou's The Goddess Natura in Medieval Literature. That is, it provides no survey of the topos of the World Turned Upside Down (both Ernst Robert Curtius and the topos as such are mentioned only in passing, 74f.); rather, it is an au courant consideration of 4 The notes to O contain errata: 3f., hogiographes for hagiographes; 17.12, descennebtes for descendentes; 31.6, mamieres for manieres; 53.6-8, hebent for habent.","owner":{"id":2383834,"first_name":"Teodolinda","middle_initials":null,"last_name":"Barolini","page_name":"TeodolindaBarolini","domain_name":"columbia","created_at":"2012-08-27T02:47:17.018-07:00","display_name":"Teodolinda Barolini","url":"https://columbia.academia.edu/TeodolindaBarolini","email":"eWpidW1XK2hUMENrUVE2NFRBVGZqMWxXYzJ5dmxocnZpSWRNUUNnUlhRND0tLTRmSFVndnN1ZDRzRm5OeHRHT0tJM1E9PQ==--eda65b2684f3c55c1450f4cda8f407ed46eab99f"},"attachments":[{"id":31398717,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/31398717/thumbnails/1.jpg","file_name":"1980_Angeli_Il_mondo_rovesciato.pdf","download_url":"https://www.academia.edu/attachments/31398717/download_file","bulk_download_file_name":"Angeli_Il_mondo_rovesciato.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/31398717/1980_Angeli_Il_mondo_rovesciato-libre.pdf?1392298694=\u0026response-content-disposition=attachment%3B+filename%3DAngeli_Il_mondo_rovesciato.pdf\u0026Expires=1738623233\u0026Signature=BLMhhGhA6xqBUMitAmWfV9W9A53939nBAdNZlRzG3zZEiwrjwBKgAKIA8LnpsLOn~U3i~bmWPlLoeaN-EZKf5uRyTN~~9gzNTNt8qi6cr7sGX71ssMUFymKBiG~ejxNWi6-0dkMly7qIVrZY-1v5fElP~hMXUeZVfR9yRb2YWGxjoJJJxiOFs9SsaxQ4VI7M7Vhx9Czd0Aabicmed7PD-JCCI3KJlqBmIOluoYDXeGJC5m~srj0KbodHL~K4xBHJIl9slLNGWmt9TzObE1WoyXOFJOysgvpVepRhpl0dgMM1CH2gu1BG0al7-JE1hP3AHxULQyYU~mssc-zLYICQUA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="334171" id="inmemoriam"><div class="js-work-strip profile--work_container" data-work-id="2292279"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/2292279/In_memoriam_Vittore_Branca"><img alt="Research paper thumbnail of In memoriam Vittore Branca" class="work-thumbnail" src="https://attachments.academia-assets.com/30339838/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/2292279/In_memoriam_Vittore_Branca">In memoriam Vittore Branca</a></div><div class="wp-workCard_item"><span>Speculum</span><span>, 2006</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. 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