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This thesis engages in an ecocritical analysis of Dante’s Divine Comedy (1321) with a specific focus on what Arne Naess terms deep ecology, a theory that highlights the symbiosis of all things on earth. The study’s objective is to identify and analyze the potential transition from anthropocentrism - a human centered perspective- to ecocentrism– an earth centered perspective - within the realms of Inferno, Purgatorio and Paradiso. It aims to explore how this transformation is depicted and to examine the presence of deep ecological examples in the text. This thesis entails a close reading of selected cantos and passages that illustrate what can now be considered as ecocritical themes. The findings reveal an anthropocentric perspective prevalent in Inferno and in the first part of Purgatorio wherein human concerns take precedence, relegating nature to the background. However, in the latter part of Purgatorio nature emerges as a subject of discussion, paving the way for ecocentric perspectives. In Paradiso, ecology is manifested through souls living in harmony with one another and nature, with the natural order central to Dante’s exchanges with the souls encountered. Moreover, this is where deep ecological tendencies such as symbiosis, diversity and self-realization are also exemplified. The analysis also highlights a distinction in mobility within the three parts: one is characterized by a monotone motion and the other by a dynamic movement reflecting the cycle of life.

The Inferno from La Commedia, by Dante Alighieri has been translated into Japanese about a dozen times in the past 110 years. In this comparative analysis, seven of those are analysed and compared with regards to how cultural terms were translated and to what degree the different translators tried to make a word-by word translation for certain selected passages. Nine such passages, with a total of 93 lines were chosen. About 60 words were analysed per translator and the main goal was to determine whether if they have a tendency towards foreignisation or domestication. A Natural Language Processing analysis was also conducted to assess the similarity of translations in terms of word usage. Besides the oldest translation, which is quite different when it comes to both word usage and grammar and is therefore considered an outlier, two main groups emerge. One that tends to translate more word-by-word than the other, which is freer. All in the first group imitate the Italian pronunciation of cultural terms using katakana, while most in the latter prefer the current Japanese term. In between these groups appears one translator, which is more consequently following the change of words in a similar way like Dante did when referring to Virgilio, while others tend to use the same word several times.

The Inferno from La Commedia, by Dante Alighieri has been translated into Japanese about a dozen times in the past 110 years. In this comparative analysis, seven of those are analysed and compared with regards to how cultural terms were translated and to what degree the different translators tried to make a word-by word translation for certain selected passages. Nine such passages, with a total of 93 lines were chosen. About 60 words were analysed per translator and the main goal was to determine whether if they have a tendency towards foreignisation or domestication. A Natural Language Processing analysis was also conducted to assess the similarity of translations in terms of word usage. Besides the oldest translation, which is quite different when it comes to both word usage and grammar and is therefore considered an outlier, two main groups emerge. One that tends to translate more word-by-word than the other, which is freer. All in the first group imitate the Italian pronunciation of cultural terms using katakana, while most in the latter prefer the current Japanese term. In between these groups appears one translator, which is more consequently following the change of words in a similar way like Dante did when referring to Virgilio, while others tend to use the same word several times.

This thesis engages in an ecocritical analysis of Dante’s Divine Comedy (1321) with a specific focus on what Arne Naess terms deep ecology, a theory that highlights the symbiosis of all things on earth. The study’s objective is to identify and analyze the potential transition from anthropocentrism - a human centered perspective- to ecocentrism– an earth centered perspective - within the realms of Inferno, Purgatorio and Paradiso. It aims to explore how this transformation is depicted and to examine the presence of deep ecological examples in the text. This thesis entails a close reading of selected cantos and passages that illustrate what can now be considered as ecocritical themes. The findings reveal an anthropocentric perspective prevalent in Inferno and in the first part of Purgatorio wherein human concerns take precedence, relegating nature to the background. However, in the latter part of Purgatorio nature emerges as a subject of discussion, paving the way for ecocentric perspectives. In Paradiso, ecology is manifested through souls living in harmony with one another and nature, with the natural order central to Dante’s exchanges with the souls encountered. Moreover, this is where deep ecological tendencies such as symbiosis, diversity and self-realization are also exemplified. The analysis also highlights a distinction in mobility within the three parts: one is characterized by a monotone motion and the other by a dynamic movement reflecting the cycle of life.

In this paper, we conduct parsing experiments on Dante Alighieri{'}s Divine Comedy, an Old Italian poem composed between 1306-1321 and organized into three Cantiche {---}Inferno, Purgatorio, and Paradiso. We perform parsing on subsets of the poem using both a Modern Italian training set and sections of the Divine Comedy itself to evaluate under which scenarios parsers achieve higher scores. We find that employing in-domain training data supports better results, leading to an increase of approximately +17{\%} in Unlabeled Attachment Score (UAS) and +25-30{\%} in Labeled Attachment Score (LAS). Subsequently, we provide brief commentary on the differences in scores achieved among subsections of Cantiche, and we conduct experimental parsing on a text from the same period and style as the Divine Comedy.

«Tu duca, tu signore, e tu maestro». These words begin an educational relationship between Virgil and Dante that concretely manifests a vision of the teacher of permanent validity and relevance. Dante’s journey allows us to discover in the Divina Comedia the existence of universal principles on which the teacher’s action is based. However, these principles are not entirely original, but they also reveal the influence that Thomas Aquinas has exerted on Dante. Aquinas is not only mentioned in Paradise in cantos X to XIV, but Thomistic pedagogical principles, especially those contained in the Summa Theologiae, inform the concrete relationship between the two poets. In this study we will try to make explicit the vision of the master proposed by Dante, while seeking to show that Thomas Aquinas is the main source from which Dante draws in order to forge this specific relationship between master and disciple., Tu duca, tu signore, e tu maestro». Con estas palabras se inicia una relación educativa entre Virgilio y Dante que manifiesta de manera concreta una visión sobre el maestro de permanente validez y actualidad. El viaje de Dante permite descubrir en la Divina Comedia la existencia de unos principios universales que fundamentan la acción del maestro. No obstante, dichos principios no son del todo originales, sino que permiten evidenciar la influencia que Tomás de Aquino ha ejercido en Dante. El Aquinate no solo es mencionado en el Paraíso en los cantos X al XIV, sino que los principios pedagógicos tomistas, especialmente los contenidos en la Suma de Teología, informan la relación concreta entre los dos poetas. En este estudio intentaremos explicitar la visión del maestro propuesta por Dante, a la vez que se buscará mostrar que Tomás de Aquino es la fuente principal de la que Dante se nutre para labrar esa específica relación entre maestro y discípulo.

This article aims to offer the reader a panoramic view of the main critical acquisitions concerning the youthful formation of Dante Alighieri. After seven centuries of study, the sources from which the future author of the Commedia drew are still largely conjectural, although recent archival analyses and ongoing research projects have broadened our horizons of knowledge., El presente artículo se propone ofrecer al lector una visión panorámica de las principales adquisiciones críticas relativas a la formación juvenil de Dante Alighieri. A lo largo de siete siglos de estudios, las fuentes de las que bebió el futuro autor de la Comedia siguen siendo en buena medida conjeturales, lo cual no quita que los análisis de archivo más recientes y algunos proyectos de investigación en continuo desarrollo han permitido ampliar al respecto nuestros horizontes de conocimientos.

The paper presents a reconstruction of the metaphysical core of Dante’s political thought as expressed in the Monarchy, following on the footsteps of Guido Vernani’s critique of Dante’s political ideas in his De reprobatione Monarchie composite a Dante (Bologna, 1327-1334). The paper focuses on the link between Dante’s alleged Averroism, an accusation formulated for the first time by the Dominican friar, but latter repeated by philosophical historiography, and the interpretation of the Monarchy as a sign of the beginning of modern philosophy., El artículo presenta una reconstrucción del núcleo metafísico del pensamiento político dantesco tal como es expuesto en la Monarchia, a la luz de las críticas que le fueran dirigidas por el fraile dominicano Guido Verani da Rimini en su De reprobatione Monarchie composite a Dante (Bolonia, 1327-1334), con el foco puesto en el nexo entre la acusación de averroísmo formulada, primero, por el dominicano, y luego, por la historiografía filosófica, y las lecturas de la obra en clave moderna.

The object of this article is the study and comparison of the transhumanism of Julian Huxley and the trasumanar of Dante Alighieri. Although they are authors separated in time, they are connected by the fact that Dante’s transumanar inspired the formulation of the word with which Huxley defined his philosophy, transhumanism. In this way, Dante’s thought is traversed throughout the article until we reach, later, that of Huxley with the aim of comparing them and verifying the anthropological scope of both philosophical proposals., El objeto del presente artículo es el estudio y comparación del transhumanismo de Julian Huxley y del trasumanar de Dante Alighieri. Aunque sean autores separados en el tiempo, están conectados por el hecho de que el trasumanar de Dante inspiró la formulación de la palabra con la que Huxley definió su filosofía, el transhumanismo. De este modo, se recorre a lo largo del artículo el pensamiento de Dante hasta llegar, después, al de Huxley con el objetivo de compararlos y comprobar el alcance antropológico de ambas propuestas filosóficas

Le "Rime" sono il documento più significativo dei tentativi di Dante, tra ricerche, sperimentazioni e travagli di lingua e di stile, di raggiungere una completa dimensione di poeta. Questa nuova edizione è indirizzata a chi (esperto o no) voglia accostarsi a un indiscusso capolavoro della letteratura italiana. Un commento che nasce dall'equilibrio tra rigore filologico e chiarezza, preciso ma leggero, che non ignora certo i molti luoghi oscuri del testo, ma accompagna il lettore, verso per verso, nella lettura e nella comprensione. L'ordine nel quale vengono presentati i testi segue la suddivisione per generi (canzoni, ballate, sonetti, tenzoni), cara alla mentalità medievale, e dunque a Dante stesso.

Edifici projectat per Domènech i Montaner el 1879. Adreça: Aragó, 255. A la façana destaquen els bustos de Dante, Cervantes i Milton, obra de Rossend Nobas.

In this paper, we describe the creation in Universal Dependencies of a treebank for Dante's Comedy, the first syntactically annotated text for Old Italian following a dependency-based schema. We detail the phase of treebanking the first part of the Comedy, the Inferno, and we describe some annotation issues. Then, we perform an evaluation of automated dependency parsing with models trained on the currently available annotated portion of the text.

Warning Does justice have a face? And what personal story exists behind those who commit a crime? And, again, how does justice intervene on the biography of a defendant? How, in the event of loss of personal freedom, does justice change the physiognomy of the condemned? In the section Physiognomy and biography, the reports of the jurists who participated in the Ventotene conference in 2022 were accepted: not refereed essays, but important contributions for the dissemination of legal culture that introduce necessary reflections on the application of precautionary measures (Antinori), on functions of punishment (Santinelli), on defensive instances (Sgroi), on procedural guarantees (Truppa). With this section, enriched by a reflection on Dante and the ethical responsibility of literature in the face of evil (Anselmi), we hope to contribute to the public communication of justice and, to quote Camporesi, of the government of the body, because every individual choice, from crime to judgment to punishment, it affects flesh and blood individuals, whether they are guilty or innocent.

Le "Rime" sono il documento più significativo dei tentativi di Dante, tra ricerche, sperimentazioni e travagli di lingua e di stile, di raggiungere una completa dimensione di poeta. Questa nuova edizione è indirizzata a chi (esperto o no) voglia accostarsi a un indiscusso capolavoro della letteratura italiana. Un commento che nasce dall'equilibrio tra rigore filologico e chiarezza, preciso ma leggero, che non ignora certo i molti luoghi oscuri del testo, ma accompagna il lettore, verso per verso, nella lettura e nella comprensione. L'ordine nel quale vengono presentati i testi segue la suddivisione per generi (canzoni, ballate, sonetti, tenzoni), cara alla mentalità medievale, e dunque a Dante stesso.

In this paper, we describe the creation in Universal Dependencies of a treebank for Dante’s Comedy, the first syntactically annotated text for Old Italian following a dependency-based schema. We detail the phase of treebanking the first part of the Comedy, the Inferno, and we describe some annotation issues. Then, we perform an evaluation of automated dependency parsing with models trained on the currently available annotated portion of the text.

Nelle opere di Dante Alighieri, e soprattutto nella Divina Commedia, tra i molti animali citati non mancano insetti e altri artropodi. Oltre che come presenze concrete, ricorrono in similitudini o per il loro valore di simboli caro, anche in campo morale, all’autore e allo spirito dell’epoca. Una panoramica su questi animali inferiori negli scritti danteschi include api e loro prodotti, vespe e formiche, mosche e mosconi, tafani e zanzare, bruchi e farfalle, ecc. Per le differenze quanto ad abitudini di vita, comportamenti, utilità o molestia, e quindi per il diverso significato simbolico, certe specie assumono evidenti connotazioni positive o invece negative secondo un’ideale scala di valori: così ad esempio le api, degne di menzione nel paradiso, sono paragonabili agli angeli che volano tra Dio e i beati, l’’angelica farfalla’ rappresenta il traguardo della metamorfosi che compete all’uomo per elevarsi alla virtù, mentre mosche e mosconi, tafani e vespe affliggono certe categorie di dannati e sono adatti all’inferno. Ricorrenti nelle opere del Sommo Poeta sono il miele, simbolo di dolcezza, ma soprattutto la cera che per le sue caratteristiche si presta a numerose citazioni. La ragnatela simboleggia trama e insidia, quasi il contrario della seta del filugello nel bozzolo, ricordata nel paradiso. Sia il letterato sia il naturalista e l’entomologo possono guardare con interesse, secondo le differenti visuali loro proprie, a questo insieme di citazioni che riflettono il sapere enciclopedico del poeta nel quadro della cultura due-trecentesca: un mosaico composito e ricco di valenze anche per l’entomologia culturale.

L'obiettivo di questo articolo è scoprire il 'groviglio' dantesco presente nell'ultima opera pubblicata in vita dallo scrittore uruguaiano Carlos Martínez Moreno, El color que el infierno me escondiera. Si cercherà di sottolineare l'intreccio e la combinazione atemporale di due autori –Dante Alighieri e Carlos Martínez Moreno– e di altrettante opere –La Divina Commedia e El color que el infierno me escondiera–, in cui la matrice uruguaiana prende in prestito dal poeta fiorentino in modo sottile ed elegante, presentando l'inferno degli anni '70 e '80, in cui vittime e carnefici riempiono le pagine per niente ingiallite o sbiadite della violenza - certamente asimmetrica - di due versanti sociali e politici: i militari i e i guerriglieri., El objetivo de este artículo es descubrir el ‘enredo’ dantesco presente en la última obra publicada en vida del escritor uruguayo Carlos Martínez Moreno, El color que el infierno me escondiera. Se intentará poner énfasis en el entrecruzamiento y en la combinación atemporal de dos autores –Dante Alighieri y Carlos Martínez Moreno– y de otras tantas obras –La Divina Commedia y El color que el infierno me escondiera–, donde la matriz uruguaya toma prestado de la del poeta florentino de manera sutil y elegante, presentando su infierno de los años setenta y ochenta, en el que víctimas y victimarios llenan las páginas nada amarillentas o desvaídas de la violencia –por cierto asimétrica– de dos bandos sociales y políticos: los militares y los guerrilleros.

Edifici projectat per Domènech i Montaner el 1879. Adreça: Aragó, 255. A la façana destaquen els bustos de Dante, Cervantes i Milton, obra de Rossend Nobas.

Il grande critico George Steiner fonda il senso della letteratura nel dialogo e nella relazione con l’altro, inteso anzitutto come trascendenza (l’Altro), ma anche incarnato nelle forme dell’umano, simile e diverso. La scrittura (del sé o dell’altro), la riflessione, il racconto nascono con l’uscita da se stessi e dal proprio narcisismo, si costituiscono quando si supera la chiusura dentro il proprio “recinto”; al contempo, le strutture mentali prodotte dalle arti, pur essendo influenzate dai fattori storici, non sono puro frutto delle condizioni sociali o economiche, ma vivono anche di propri meccanismi interni e possono capire ciò che vivono, assumendo un ruolo attivo nella “costruzione sociale” della realtà. Tale prospettiva è svolta nell'articolo attraverso un esempio, realizzato con adulti stranieri a Milano, a partire dal volume "Io sono stato legno sanza vela e sanza governo. Dante alla Scuola di Lingua e di Cultura Italiana della Comunità di Sant’Egidio" (Stampa, 2021) curato da Giuliana Nuvoli, già professoressa di Letteratura Italiana all’Università degli Studi di Milano e una delle maggiori esperte contemporanee del poeta fiorentino. Con il supporto di Marzia Pontone, Lanfranco Li Cauli e degli altri insegnanti di Sant’Egidio, è stato proposto agli studenti – in occasione dei 700 anni dalla morte di Dante nel 2021 – di rileggere l’Alighieri alla luce della propria vicenda migrante e, al contempo, di appropriarsi della cultura italiana, attraverso la lettura poetica di Dante.

Medieval literature developed between 1200 and 1350 and its subsequent evolution revealed a period of great wealth of mystical literary production, according to scholars of the history of Western mystics, such as Bernard McGinn (1998). The period is highly propitious for a preliminary investigation in which the mystique is the protagonist and, for this reason, we propose to study the concept of spiritual eroticism in excerpts from Vita Nuova (1292-1293), by Dante Alighieri (1265-1321), poet, philosopher, politician and great name in Italian literature, and in the writings of Teresa D'Ávila (1515-1582), blessed, author of treatises, poems and one of the most important mystical wives of the Catholic Church. We start from the hypothesis that the erotic charge present in the mystical experience goes beyond just an ideal of corporeal pleasure, but presents, through the body, the beginning and the indications of the magnitude of spiritual experimentation. To this end, in Dante we will observe the effects of this mystical experience on the body, basing ourselves on the studies of Agamben (2007), Sturges (2012) and Santagata (2017), as well as exploring the mystical and erotic theme of Santa Teresa through her own writings about the episode of his transverberation and the treatises by Câmara (2020) and Alves (2019)., A literatura medieval desenvolvida entre 1200 e 1350 e sua evolução subsequente revelou um período de grande riqueza de produção literária mística, de acordo com estudiosos da história da mística ocidental, como Bernard McGinn (1998). O período é altamente propício para uma investigação preliminar na qual a mística seja protagonista e, por este motivo, propomo-nos a estudar o conceito de erotismo espiritual em trechos de Vita Nuova (1292-1293), de Dante Alighieri (1265-1321), poeta, filósofo, político e grande nome da literatura italiana, e nos escritos de Santa Teresa D’Ávila (1515-1582), beata, autora de tratados, poemas e uma das mais importantes esposas místicas da Igreja Católica. Partimos da hipótese de que a carga erótica presente na experiência mística ultrapassa apenas um ideal de prazer corpóreo, mas apresenta, através do corpo, o início e os indícios da magnitude da experimentação espiritual. Para tanto, em Dante observaremos os efeitos dessa experiência mística no corpo, embasando-nos nos estudos de Agamben (2007), como conceito de amor como fantasma, Sturges (2012) e Santagata (2017), bem como exploraremos a temática mística e erótica de Santa Teresa através de seus próprios escritos a respeito do episódio de sua transverberação e dos tratados de Câmara (2020) e Alves (2019).

The studies of Literature and Theology have acquired great space in the academic environment, both by theoreticians of literature and Theologians. Making use of literary analysis allows us to read theological texts in-depth, contributing to the analysis of theology in what literature, or vice versa, can contribute with resources of form and content. Dante Alighieri was an extraordinary poet who wrote Comedy with great mastery. The work is divided into three parts, hell, purgatory, and paradise. Dante tells us about his trip with another great poet, Virgílio (70 BC) will be your guide through hell and purgatory. In the symbology present in the Comedy, Dante represented the man who walks in the “dark jungle” in search of his redemption. Virgílio represents the reason that guides a man through the darkness. Every corner of the poem is a journey into the theological thought of the Middle Ages and a wealth of rhymes and verses from the Comedy. In paradise, Dante is guided by his childhood love, Beatriz, in Dante's symbolism is faith. Saint Bernard, who represents prayer, the mystic who, in Dante's words, the reason is not enough to reach God, but with faith and prayer., Os estudos da Literatura e Teologia tem adquirido grande espaço no meio acadêmico, tanto por parte de teóricos da literatura como de Teólogos. Fazendo uso de análises literária nos permintindo uma leitura profunda de textos teológicos, contribuindo à análise da teologia naquilo que a literatura, ou vice versa, possa contribuir com recursos de forma e de conteúdo. Dante Alighieri foi um poeta extraordinário que com grande maestria escreveu Comédia. A obra é dividida em três partes, inferno, purgatório e paraíso. Dante nos narra sua viagem com outro grande poeta, Virgílio (70 a.C) será será seu guia pelo inferno e purgatório. Na simbologia presente na Comédia, Dante representado o homem que caminha na “selva escura” na busca de sua redenção. Virgílio representa a razão que guia o homem em meio a escuridão. A cada canto do poema é uma viagem ao pensamento teológica da Idade Média e uma riqueza com as rimas e versos da Comédia. No paraíso, Dante é guiado pelo seu amor de infância, Beatriz, na simbologia de Dante é a fé. São Bernardo, que representa a oração, a mística que no dizer de Dante a razão não é suficiente para alcançar a Deus, mas com fé e oração.

The article is dedicated to L’Inferno della Tirannide by Bernardo Bellini, a poem on the First Italian War of Independence which is also a bouts-rimés version of Dante’s Inferno. The first theme considered is the sixth centenary of Dante’s birth (1865), for which the poem was published. The next section is a summary of Bellini’s bio-bibliography, intending to give an appropriate contextualization. The rest of the essay consists in the analysis of the text, in order to recognize some links with some historical sources, and to consider the relationship between Bellini’s poem and Dante’s Commedia.

I detta arbete analyseras det omfattande pianoverket ”Dantesonaten” komponerat av Franz Liszt i syfte om att ta reda på vilka musikaliska och tekniska element han utnyttjat för att uttrycka djävulen, helvetet och andra diaboliska företeelser i sin musik. Därmed kommer en djupgående analys av eposet Den gudomliga komedin skrivet av Dante Alighieri genomförasdå Liszt baserat sin komposition på detta verk. Liszts intresse för Den gudomliga komedin och Dante som poet belyses samt varför han valt att basera sin sonat på detta ämne. Resultatet tyder på att Liszt använt dissonanta intervall som tritonus, dimackord, heltonsskalor, kromatik och tremoloteknik m.m. för att allt i kombination bilda en tydlig representation av det som kan kopplas med det diaboliska. Största delen av resultatet består av egna tolkningar men även andras interpretationer hämtade från olika litterära källor och online-resurser. Det var svårt att finna konkreta tecken på vad kompositörens egna återspeglingar i musiken må ha varit. Däremot kan detta arbete ändå vara en bra utgångspunkt för en pianist som planerar att spela verket och vill få idéer om hur det diaboliska materialet och andra teman ur ”Dantesonaten” kan tolkas., In this study, the extensive piano piece "The Dante Sonata" composed by Franz Liszt is analyzed in order to find out what musical and technical elements he has used to express the devil, hell and other diabolical phenomena in his music. Thus, an in-depth analysis of the narrative poem The Divine Comedy written by Dante Alighieri will be made, as Liszt bases his composition on this work. The study investigates Liszt's interest in The Divine Comedyand Dante as a poet and why he chose to base his sonata on this subject. The results indicate that Liszt used dissonant intervals such as tritones, diminished chords, whole-tone scales, chromatic passages and tremolo technique, etc. to all in combination form a clear representation of the diabolical. Most of the results consist of own interpretations but also other renderings taken from various literary sources and online-resources. It was difficult to find concrete signs of what the composer's own reflections in the music may have been. However, this work can still be a good starting point for a pianist who plans to study thismusic and want to get ideas on how the diabolical material and other themes from "The Dante Sonata" can be interpreted., F. Liszt - Après une Lecture du Dante (Fantasia quasi Sonata) från Années de pèlerinage II, Deuxième année: Italie, S. 161, Nr. 7, "Dantesonaten"

The article is dedicated to L’Inferno della Tirannide by Bernardo Bellini, a poem on the First Italian War of Independence which is also a bouts-rimés version of Dante’s Inferno. The first theme considered is the sixth centenary of Dante’s birth (1865), for which the poem was published. The next section is a summary of Bellini’s bio-bibliography, intending to give an appropriate contextualization. The rest of the essay consists in the analysis of the text, in order to recognize some links with some historical sources, and to consider the relationship between Bellini’s poem and Dante’s Commedia.

Poetry is also future. This is especially valid in The Divine Comedy, by Dante Alighieri, where the Italian poet, from the first song, will put in the mouth of his Guide, poet, teacher and father, Virgilio, a prophecy, consolation before the presence of the evil, allegorized into three beasts that close Dante's Anabasis: “infin che 'l Veltro / verrà, che la farà die con doglia” (Inferno, I, vv. 101-102). The expected figure, the mastiff (Veltro), who will defeat the She-wolf (who is Greed, but is also Rome) refers to the Millenarianism typical of Revelation, but also to the ambiguities of politics. This double reading, both sacred and secular, has given rise to very varied and, at times, unusual theories. However, there is one of them where the sacred and the secular converge. A Utopia where a messiah will bring the end of evil in human actions. In our text, we intend to investigate the essence of this utopia., La poesía es, también, futuro. Esto es especialmente válido en La Divina Comedia, de Dante Alighieri, en donde el poeta italiano, ya desde el primer canto, pondrá en boca de su Guía, poeta, maestro y padre, Virgilio, una profecía, consuelo ante la presencia del mal, alegorizado en tres bestias que cierran la Anábasis de Dante personaje: “infin che ‘l Veltro / verrà, che la farà morir con doglia” (Infierno, I, vv. 101-102). La figura esperada, el mastín (Veltro), quien derrotará a la Loba (que es la Avaricia, pero también es Roma) remite al Milenarismo propio de la Revelación, pero también a las ambigüedades de la política. Esta doble lectura, a la vez sacra y laica, ha dado lugar a teorías muy variadas y, en ocasiones, insólitas. Sin embargo, hay una de ellas en donde lo sacro y lo laico convergen. Una Utopía donde un mesías traerá el fin del mal en las acciones humanas. En nuestro trabajo, nos proponemos indagar en la esencia de esta utopía.

The aim of this text is to make a cordial memory of the spirit in which this environment for interdisciplinary dialogue between Literature and Theology which is Alalite today, was founded. To remember is to gather in the present of the heart the steps taken, as well as to imagine new horizons. The symbolic of the travel proposed by Dante in his Divine Comedy –to whom my argentine colleague partners had referred to– has also guided my reflection. Poet and theologian of mercy, hope and freedom –as he was defined by Pope Francis in his apostolic Letter Candor lucis aeternae, N. 3 and 4– the Florentine had full conscience of the quality of his mission. To drink from the luminous fountain of the river of Love, in order to free mankind from evil and lie, and set up bonds of communion: these have been the flame which his poetry has kept lit for over seven hundred years. To gather the quality of this footprint is Alalite’s challenge., El propósito de esta exposición es hacer memoria cordial del espíritu con el que se fundó este espacio de diálogo interdisciplinario entre la literatura y la teología que hoy es la Alalite. Recordar es reunir en el presente del corazón los pasos recorridos y es, a la vez, imaginar nuevos horizontes. La simbólica del viaje que nos propone Dante en su Divina Comedia –a quien se han referido mis colegas en el panel de socios argentinos- ha guiado también mi reflexión. Poeta y teólogo de la misericordia, la esperanza y la libertad –como lo definió el papa Francisco en la Carta apostólica Candor lucis aeternae, nº 3 y 5–, el florentino tuvo plena conciencia de la cualidad de su misión. Beber de la fuente luminosa del río del Amor, para liberar al hombre del mal y la mentira y establecer vínculos de comunión: esta ha sido la llama que su poesía ha mantenido encendida durante setecientos años. Recoger la cualidad de esta huella es el desafío de la Alalite

El presente artículo se propone analizar las conexiones que existen entre la técnica poética de la Divina commedia y algunos instrumentos empleados por la teología de Tomás de Aquino. En un primer momento, analizaremos cuál es el fin último del Poema Sacro, pues sólo conociéndolo podremos valorar en su justa medida los medios utilizados para conseguirlo. En segundo lugar, examinaremos la afinidad existente entre los “modos” de escritura de la Commedia y los que se usan en las Sagradas Escrituras y en la doctrina sagrada. En tercer lugar, analizaremos el simbolismo dantesco bajo la luz de la doctrina escolástica de los cuatro significados de las Escrituras. Esta cuestión nos conducirá, a modo de conclusión, a reconocer que la palabra “poeta” es un término análogo, cuyo primer analogado es el “Poeta divino”. Sólo así puede comprenderse rectamente la relación poesía-teología en Dante, This article aims to analyse the connections that exist between the poetic technique of the Divina Commedia and some of the instruments used by Thomas Aquinas’ theology. First of all, we will analyse the ultimate aim of the Poema Sacro, since only by knowing it will we be able to assess the means used to achieve it. Secondly, we shall examine the affinity existing between the "modes" of writing in the Commedia and those used in the Holy Scriptures and in sacred doctrine. Thirdly, we shall analyse Dantesque symbolism in the light of the scholastic doctrine of the four meanings of the Scriptures. This question will lead us, by way of conclusion, to recognise that the word “poet” is an analogous term, the first analogate of which is the “divine Poet”. Only in this way can the relationship between poetry and theology in Dante be properly understood.

Este artigo tem o objetivo de demonstrar a importância do recurso à história no pensamento político de Dante Alighieri (1265-1321). As fontes utilizadas na análise foram aquelas em que o autor mais se manifestou politicamente, a saber: o opúsculo filosófico Convívio/Banquete (1304-1308), as Epístolas V, VI e VII (1311-1312), o tratado escolástico Monarquia (1316-1321) e os três poemas da Divina Comédia: Inferno (1304-1308), Purgatório (1308-1312) e o Paraíso (1316-1321). Depois de abordar alguns elementos que caracterizam a historiografia medieval e apresentar como Dante mobiliza a história em sua apologia imperial, é concluído que a mesma estrutura a teoria política do florentino.

The aim of this article is to show how the philosopher and essayist Fabrice Hadjadj develops the theological concept of Paradise in correlation with two Italian authors, namely Dante Alighieri and Lorenzo da Ponte. In the first case, Dante provides clues to the understanding of a notion of Paradise that goes beyond the criticisms of Friedrich Nietzsche. In the second, the author explores the concept of “redemption”, present in the opera “Don Giovanni”. After exposing the philosopher's interpretation in each case, we find that the reading of Dante promotes, for Hadjadj, a displacement of paradise from the outside to the interior and that Don Giovanni explains, according to Hadjadj, the redemptive dynamics of Paradise, as the invitation to maximum happiness is not the result of a personal achievement or the fulfillment of a moral precept, but a gift that comes from Above. Finally, we verify the transdisciplinary character of Hadjadj's reading of Da Ponte and Dante, considering them as authors whose works express deep realities that need to be unveiled and that can involve and help those who read the text contemporaneously., O presente artigo pretende mostrar como o filósofo e ensaísta de sobrenome árabe, origem judia e religião católica Fabrice Hadjadj se utiliza de dois autores italianos, a saber, Dante Alighieri e Lorenzo da Ponte, para aprofundar as suas reflexões sobre a noção de Paraíso. No primeiro caso, Dante fornece pistas para a compreensão de uma noção de Paraíso que ultrapasse as críticas de Friedrich Nietzsche. No segundo, o autor explora o conceito de “redenção”, presente na ópera “Don Giovanni”. Após a exposição da interpretação do filósofo em cada caso, constatamos que a leitura de Dante promove, para Hadjadj, um deslocamento do paraíso do exterior para o interior e que Don Giovanni explicita, segundo Hadjadj, a dinâmica redentora do Paraíso, à medida em que o convite à máxima felicidade não é fruto de uma conquista pessoal ou do cumprimento de um preceito moral, mas um dom que vem do Alto. Finalmente, constatamos o caráter transdisciplinar da leitura que Hadjadj faz de Da Ponte e Dante, considerando-os como autores cujas obras exprimem realidades profundas que precisam ser desveladas e que podem envolver e auxiliar àqueles que leem o texto contemporaneamente.

Dante Alighieri y Marsilio de Padua fueron dos pensadores involucrados en los conflictos políticos de las primeras décadas del siglo XIV entre el Papado y el Imperio. Ambos autores propusieron modelos de organización en los que buscaron asignar las atribuciones y jurisdicciones de cada investidura para poner fin a los litigios que aquejaban a las ciudades-Estado del norte de la península itálica, al reino de Francia y al Sacro Imperio Romano Germánico. Sin embargo, si bien comparten algunos aspectos de sus postulados sobre el poder político y el espiritual, Dante se inclina por el equilibrio de las investiduras donde el Dios y el derecho es fundamento del Imperio, mientras que el paduano aboga a fondo por la superioridad del Emperador sobre el Pontífice fundamentado en la comunidad como origen de la ley.

Shalamov and Dante’s Inferno: Towards an Analysis of Rasskaz o Dante. The paper is focused on the presence of Dantean references in Varlam Shalamov’s works, presenting a case of reinterpretation of the Comedy in the poem The story of Dante [Rasskaz o Dante]. Based on the autobiographical incident of the breaking of the baptismal font in the San Giovanni baptistery in Florence (Inf. XIX, 16-21), the poem appears as an adaptation of Benvenuto da Imola’s fourteenth-century commentary, mentioned in two of the Russian translations of Dante’s poem. This reinterpretation suggests that Shalamov’s knowledge of the Comedy was far from superficial and makes it possible to identify the version he might have read before his arrest as the source for the poems he wrote while still in Kolyma.

Cosa hanno in comune Nosce Te Ipsum. Of Human Knowledge (1599) di John Davies (1569-1626), l’Essay on Criticism (1711) e l’Essay on Man (1732-1734) di Alexander Pope (1688-1744), The Prelude (1798-1850) di William Wordsworth (1770-1850), In Memoriam (1850) di Alfred Tennyson (1809-1892) e The Tower (1927) di William Butler Yeats (1865-1939)? Pur con le prevedibili e inevitabili differenze in materia di modelli culturali, procedure compositive e caratteristiche testuali, secondo l’opinione di autorevoli anglisti, le sei opere citate condividerebbero l’appartenenza al genere letterario del “philosophical poem”. [...] Il saggio approfondisce il rapporto tra la "philosophical poetry" di T. S. Eliot e il protagonista di uno di quei “moments at which the human mind has attained its greatest range and unity”: Dante Alighieri.

The aim of this article is to show how the philosopher and essayist Fabrice Hadjadj develops the theological concept of Paradise in correlation with two Italian authors, namely Dante Alighieri and Lorenzo da Ponte. In the first case, Dante provides clues to the understanding of a notion of Paradise that goes beyond the criticisms of Friedrich Nietzsche. In the second, the author explores the concept of “redemption”, present in the opera “Don Giovanni”. After exposing the philosopher's interpretation in each case, we find that the reading of Dante promotes, for Hadjadj, a displacement of paradise from the outside to the interior and that Don Giovanni explains, according to Hadjadj, the redemptive dynamics of Paradise, as the invitation to maximum happiness is not the result of a personal achievement or the fulfillment of a moral precept, but a gift that comes from Above. Finally, we verify the transdisciplinary character of Hadjadj's reading of Da Ponte and Dante, considering them as authors whose works express deep realities that need to be unveiled and that can involve and help those who read the text contemporaneously., O presente artigo pretende mostrar como o filósofo e ensaísta de sobrenome árabe, origem judia e religião católica Fabrice Hadjadj se utiliza de dois autores italianos, a saber, Dante Alighieri e Lorenzo da Ponte, para aprofundar as suas reflexões sobre a noção de Paraíso. No primeiro caso, Dante fornece pistas para a compreensão de uma noção de Paraíso que ultrapasse as críticas de Friedrich Nietzsche. No segundo, o autor explora o conceito de “redenção”, presente na ópera “Don Giovanni”. Após a exposição da interpretação do filósofo em cada caso, constatamos que a leitura de Dante promove, para Hadjadj, um deslocamento do paraíso do exterior para o interior e que Don Giovanni explicita, segundo Hadjadj, a dinâmica redentora do Paraíso, à medida em que o convite à máxima felicidade não é fruto de uma conquista pessoal ou do cumprimento de um preceito moral, mas um dom que vem do Alto. Finalmente, constatamos o caráter transdisciplinar da leitura que Hadjadj faz de Da Ponte e Dante, considerando-os como autores cujas obras exprimem realidades profundas que precisam ser desveladas e que podem envolver e auxiliar àqueles que leem o texto contemporaneamente.

Come un poeta che ha fondato il Novecento, Clemente Rebora, ha trovato ispirazione in Dante vivendo la sua esistenza come un inferno (durante la Grande Guerra dove fu ferito), un purgatorio (alla ricerca di un’identità) e un paradiso (dopo la conversione), rileggendo tutto alla luce della Commedia, al centro delle sue letture e della sua produzione, fino a lasciare un’edizione del poema dantesco commentato con postille. I riflessi di Dante nella poesia contemporanea iniziano con lui al tempo della “Voce” e durano ancora oggi, a dispetto dell’apparente predominio della linea petrarchesca.

Analizamos cómo, de la mano de moralizadores y «teólogos» relacionados con el franciscanismo de finales del XIII y principios del XIV, se formaliza el primer Humanismo, además de realizar una breve mirada a otras manifestaciones artísticas: Dante, a juicio de los frescos de Gozzoli, obviamente también Llull, también en cuanto a la moralización de Matfré Ermengaud —quien tras una exitosa carrera como doctor en leyes, tomó el hábito de San Francisco y también su hermana—, los Pisano, con su Fontana Maggiore y su conocimiento abierto a quien supiera mirar y ver. Analizamos cómo la Questione de la Lingua ya estaba tratada y resuelta en favor de las lenguas romances por los trovadores en sus obras de ideas y conocimiento, y por Llull. Los trovadores son la fuente explícita de Alighieri en su De vulgari eloquentia y son elementos esenciales de su desarrollo conceptual, clave para el desarrollo del Humanismo. De hecho, el Humanismo se trata más bien de la «cuestión del conocimiento», de abrirlo, de hacerlo accesible, de poder, como hace Llull en su Libro de Contemplación en Dios —LCD—, hacer racional y humano el conocimiento de lo divino., We analyze how, from the hand of moralizers and «theologians» related to Franciscanism at the end of the 13th and beginning of the 14 th Centuries, the first Humanism is formalized, as well as making a brief look at other artistic manifestations: Dante, according to Gozzoli’s frescoes, obviously also Llull, also in terms of the moralization of Matfré Ermengaud —who after a successful career as a doctor of laws, took the habit of Saint Francis and also his sister—, the Pisanos, with their Fontana Maggiore and their open knowledge to whoever knew look and see. We analyze how the Questione de la Lingua was already treated and solved in favor of the Romance languages by the troubadours in their works of ideas and knowledge from the beginning of 13 th Century, and by Llull. The troubadours are the explicit source of Alighieri in his De vulgari eloquentia and are essential elements of his conceptual development, key to the development of Humanism. In fact, Humanism is more about the «question of knowledge», of opening knowledge, of making it accessible, of being able, as Llull does in his Libre de Contemplació en Déu —LCD—, to make human and rationale the knowledge of God.

I detta arbete analyseras det omfattande pianoverket ”Dantesonaten” komponerat av Franz Liszt i syfte om att ta reda på vilka musikaliska och tekniska element han utnyttjat för att uttrycka djävulen, helvetet och andra diaboliska företeelser i sin musik. Därmed kommer en djupgående analys av eposet Den gudomliga komedin skrivet av Dante Alighieri genomförasdå Liszt baserat sin komposition på detta verk. Liszts intresse för Den gudomliga komedin och Dante som poet belyses samt varför han valt att basera sin sonat på detta ämne. Resultatet tyder på att Liszt använt dissonanta intervall som tritonus, dimackord, heltonsskalor, kromatik och tremoloteknik m.m. för att allt i kombination bilda en tydlig representation av det som kan kopplas med det diaboliska. Största delen av resultatet består av egna tolkningar men även andras interpretationer hämtade från olika litterära källor och online-resurser. Det var svårt att finna konkreta tecken på vad kompositörens egna återspeglingar i musiken må ha varit. Däremot kan detta arbete ändå vara en bra utgångspunkt för en pianist som planerar att spela verket och vill få idéer om hur det diaboliska materialet och andra teman ur ”Dantesonaten” kan tolkas., In this study, the extensive piano piece "The Dante Sonata" composed by Franz Liszt is analyzed in order to find out what musical and technical elements he has used to express the devil, hell and other diabolical phenomena in his music. Thus, an in-depth analysis of the narrative poem The Divine Comedy written by Dante Alighieri will be made, as Liszt bases his composition on this work. The study investigates Liszt's interest in The Divine Comedyand Dante as a poet and why he chose to base his sonata on this subject. The results indicate that Liszt used dissonant intervals such as tritones, diminished chords, whole-tone scales, chromatic passages and tremolo technique, etc. to all in combination form a clear representation of the diabolical. Most of the results consist of own interpretations but also other renderings taken from various literary sources and online-resources. It was difficult to find concrete signs of what the composer's own reflections in the music may have been. However, this work can still be a good starting point for a pianist who plans to study thismusic and want to get ideas on how the diabolical material and other themes from "The Dante Sonata" can be interpreted., F. Liszt - Après une Lecture du Dante (Fantasia quasi Sonata) från Années de pèlerinage II, Deuxième année: Italie, S. 161, Nr. 7, "Dantesonaten"

Franca Ageno was a prominent Italian philologist and historian of language. She worked for a long time on Dante's Convivio and finally provided a critical edition of the text, which is still unsurpassed. She also wrote many relevant essays about specific issues connected to the exegesis of Commedia.

Poetry is also future. This is especially valid in The Divine Comedy, by Dante Alighieri, where the Italian poet, from the first song, will put in the mouth of his Guide, poet, teacher and father, Virgilio, a prophecy, consolation before the presence of the evil, allegorized into three beasts that close Dante's Anabasis: “infin che 'l Veltro / verrà, che la farà die con doglia” (Inferno, I, vv. 101-102). The expected figure, the mastiff (Veltro), who will defeat the She-wolf (who is Greed, but is also Rome) refers to the Millenarianism typical of Revelation, but also to the ambiguities of politics. This double reading, both sacred and secular, has given rise to very varied and, at times, unusual theories. However, there is one of them where the sacred and the secular converge. A Utopia where a messiah will bring the end of evil in human actions. In our text, we intend to investigate the essence of this utopia., La poesía es, también, futuro. Esto es especialmente válido en La Divina Comedia, de Dante Alighieri, en donde el poeta italiano, ya desde el primer canto, pondrá en boca de su Guía, poeta, maestro y padre, Virgilio, una profecía, consuelo ante la presencia del mal, alegorizado en tres bestias que cierran la Anábasis de Dante personaje: “infin che ‘l Veltro / verrà, che la farà morir con doglia” (Infierno, I, vv. 101-102). La figura esperada, el mastín (Veltro), quien derrotará a la Loba (que es la Avaricia, pero también es Roma) remite al Milenarismo propio de la Revelación, pero también a las ambigüedades de la política. Esta doble lectura, a la vez sacra y laica, ha dado lugar a teorías muy variadas y, en ocasiones, insólitas. Sin embargo, hay una de ellas en donde lo sacro y lo laico convergen. Una Utopía donde un mesías traerá el fin del mal en las acciones humanas. En nuestro trabajo, nos proponemos indagar en la esencia de esta utopía.

The aim of this text is to make a cordial memory of the spirit in which this environment for interdisciplinary dialogue between Literature and Theology which is Alalite today, was founded. To remember is to gather in the present of the heart the steps taken, as well as to imagine new horizons. The symbolic of the travel proposed by Dante in his Divine Comedy –to whom my argentine colleague partners had referred to– has also guided my reflection. Poet and theologian of mercy, hope and freedom –as he was defined by Pope Francis in his apostolic Letter Candor lucis aeternae, N. 3 and 4– the Florentine had full conscience of the quality of his mission. To drink from the luminous fountain of the river of Love, in order to free mankind from evil and lie, and set up bonds of communion: these have been the flame which his poetry has kept lit for over seven hundred years. To gather the quality of this footprint is Alalite’s challenge., El propósito de esta exposición es hacer memoria cordial del espíritu con el que se fundó este espacio de diálogo interdisciplinario entre la literatura y la teología que hoy es la Alalite. Recordar es reunir en el presente del corazón los pasos recorridos y es, a la vez, imaginar nuevos horizontes. La simbólica del viaje que nos propone Dante en su Divina Comedia –a quien se han referido mis colegas en el panel de socios argentinos- ha guiado también mi reflexión. Poeta y teólogo de la misericordia, la esperanza y la libertad –como lo definió el papa Francisco en la Carta apostólica Candor lucis aeternae, nº 3 y 5–, el florentino tuvo plena conciencia de la cualidad de su misión. Beber de la fuente luminosa del río del Amor, para liberar al hombre del mal y la mentira y establecer vínculos de comunión: esta ha sido la llama que su poesía ha mantenido encendida durante setecientos años. Recoger la cualidad de esta huella es el desafío de la Alalite

The anatomic and medical knowledge of people throughout history is unexpectedly evident in some of the poems and texts written by intellectuals of the time. This article attempts to understand the conception of laryngology in the Middle Ages by analyzing the Divine Comedy, written by the Italian poet Dante Alighieri (1265-1321) at the beginning of the 14th century. In the text, Dante mentions the throat several times. He recognizes that the larynx has the dual functions of allowing respiration (dead souls recognize that the poet is alive through movement of his throat when breathing) and speech (souls with their throat cut cannot speak). However, Dante does not seem to know of the existence of vocal cords, thinking that it is the tongue that allows for word formation. In general, Dante’s poem indicates that the anatomy and function of the throat were known during the medieval period, although this knowledge was not precise.

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This paper describes the process of building UDante, a corpus that collects the Latin texts of Dante Alighieri enhanced with syntactic annotation according to the criteria established by the Universal Dependencies initiative. After introducing the annotation style adopted, the article details the phases of development of UDante, particularly focusing on the process of conversion of the data format, as well as on their manual annotation. The inclusion of UDante in the LiLa knowledge base, which makes the corpus interoperable with other linguistic resources for Latin, is then described. Finally, some examples of queries run on UDante are presented, to show how the corpus can support the creation of the Vocabolario Dantesco Latino.

Examined through a transrealista lens, the “sketches” left by the poet traveler in Carlos Humberto Santos's Bocetos de un cuerpo sin forma (Esquisses d’un corps sans forme/Sketches of a shapeless body, 2018) testify to the expanse, depth, and contours of power and marginalization across time and space. Descending to the Mayan underworld of Xibalbá in a journey that recalls that of Dante Alighieri’s pilgrim through Hell in La divina commedia, the poet traveler moves through overlapping layers of time—pre-colonial, colonial, and neocolonial/contemporary—and in-between spaces of human diasporas and other geographies of oppression. Upon the layers of “sketches” created by other artists to represent places of death, fear, and torment on the “cuerpo” of the oppressed, Santos's Bocetos leaves testament to the dynamics of marginalization and power in twenty-first-century Honduras.

Dante is the most studied Italian author in the world, and it is not really a coincidence that some of the most pioneering initiatives in Digital Humanities are due to Dante’s philology. The Hypermedia Dante Network project aims to build a digital library that contains comments to the Comedy formally represented according to the standards of the Semantic Web, with two main purposes: to put at the service of humanists a body of knowledge to be explored also with the help of agents digital to formulate and verify scientific hypotheses; and to build new applications for the visualization of this knowledge for non-experts. The digital library will account for the phenomena of intertextuality and interdiscursiveness in the Comedy, continuing the work undertaken by a similar previous project focused on Dante’s minor works. To articulate knowledge in a logically transparent format, the standards that have been chosen are the Resource Description Framework (RDF) for the encoding of factual knowledge and OWL (Web Ontology Language) 2 for the encoding of the ontology. In addition to developing the ontology, the project will provide humanists with a tool for the collection of knowledge and a portal to provide access to the knowledge collected.

El artículo analiza la transcripción plástica de Manolo Belzunce, en clave borgiana, del poema de Dante Alighieri., L'article analitza la transcripció plàstica de Manolo Belzunce, en clau borgiana, de la Divina Comèdia de Dante Alighieri, The article investigates Manolo Belzunce's visual transcriptions of Dante's poem in a Borgesian key., L'article analyse la transcription visuelle, dans une clé borgienne, de la Divine Comédie de Manolo Belzunce, L'articolo analizza la trascrizione visiva, in chiave borgiana, della Divina Comedia da parte di Manolo Belzunce

Ulysses, a multifaceted, cunning and in- dustrious hero, confronted mythological figures as an epic hero ( Odyssey ), narrat- ed his own death in the condition of a damned soul ( Divine comedy ) and was transformed into a liter ary expedient in the writings of Primo Levi, who used this character for represent dramatic experi- ences involving concentration camps. It is intended to investigate the place of Ulysses and, simultaneously, the role performed by literate culture in Levi's writings. Resum- ing, analyzing and propagating narratives committed to events that are often the ob- ject of historical negationism, as is the case with Shoah , can help us to realize the po- tential of literature (of testimony or not) and the need to use it in favor not only of the production of knowledge, but also of the production of effects, that it invites the reader to reflect on the prerogatives of his present., Ulisses, herói multifacetado, astuto e industrioso, confrontou figuras mito- lógicas como herói épico ( Odisseia ), narrou sua própria morte na condição de alma d anada ( Divina comédia ) e foi transformado em expediente literário nos escritos de Primo Levi, que o em- pregou para figurar experiências dra- máticas ocorridas nos campos de con- centração. Pretende - se aqui investigar o lugar ocupado por Ulisses e, simul- taneamen te, o papel desempenhado pela cultura nos escritos de Levi. Re- tomar, analisar e propagar narrativas compromissadas com eventos que, frequentemente, são objeto do negaci- onismo histórico, como é o caso da Shoah , pode nos ajudar a perceber as potencialidades da literatura (de tes- temunho ou não) e a necessidade de usá - la em favor não apenas da produ- ção de conhecimento, mas também de efeitos persuasórios, na medida em que convida o leitor a refletir sobre prerrogativas do seu presente.