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The essay considers the representation of childhood and adolescence in the work of Dante. While in Convivio the poet discusses the ages of human life but does not address infanzia or puerizia, in his poem the representations of this earlier phase of life are many and varied, presented above all through similes. These representations illustrate the particular attention Dante paid to the mother/child relationship, which allows the reader to form hypotheses about his family environment and relationship with the woman with whom he shared his life in Florence: not Beatrice, but Gemma Donati.

The medieval epic poem, The Divine Comedy, and Jonathan Nolan and Lisa Joy’s prestige drama, Westworld, have more in common than at first meets the eye. Both represent hellish and purgatorial geographies, both physical and psychological. And both share the view that what is regularly considered “perfect liberty”, or the liberty to indulge in any and every desire one wishes to with impunity, is in fact a form of slavery, as argued by Aristotle. Both the denizens in Dante’s Inferno and the guests in Westworld’s park, therefore, are ensnared by their own desires. This article will consider the structure of Dante Alighieri’s The Divine Comedy and Jonathan Nolan and Lisa Joy’s hit HBO show Westworld, which I will argue takes parts of its structure consciously from Dante’s The Divine Comedy. And though at the outset, the two works of art appear dissimilar, the theologically and philosophically infused medieval Catholic-Italian poetry of Dante and the sensuous, nihilistic, and provocative story-telling of Jonathan Nolan’s recent work on the generation and expression of consciousness, ultimately what they share is similarity in structure and an agreement on the connection between activity, suffering, madness, perfection, consciousness, and freedom of the will from sin.

The essay focuses on Dante’s divisio scientiae presented in the second book of his Convivio. As a first step, it offers a fresh reading of Dante’s description of knowledge and the cosmos, emphasizing its deeply visual nature. The article then presents an overview of the Medieval tradition of the divisio scientiae, culminating with divisions that are geographically and chronologically close to Dante’s Florence. In relation to Brunetto Latini’s Rettorica and Tresor, new evidence is provided to elucidate his peculiar division of logic. Ultimately, Dante’s divisio and its objectives are reassessed in light of their historical background, underscoring their cosmological and totalizing scope. Adopting an interdisciplinary approach, the findings consider cognitive practices, such as diagrams, and examine a wide array of sources within their historical and institutional context, highlighting their transmission and dissemination.

The article presents the novel The Precipice as the final part of the novel trilogy by I. A. Goncharov (by analogy with the canticle “Paradise” in the composition of the “Divine Comedy” by A. Dante). So Raisky appears as the central (not declaratively, but essentially) character of the novel, crowning Goncharov’s ideas of a “serious human figure” and an “idealist character.” The article examines the image of Raisky in its evolutionary development, and designates the vector of his spiritual movement as an experience of falling, repentance and resurrection. The image of the ascetic artist Kirilov clearly manifests Goncharov’s ideas about the purpose of art, about the indecomposable unity of art and religion. It turns out that the spiritual evolution of Raisky — from the “Petersburg” part of the novel to the “Malinovskaya” and to the finale — takes place under the sign of Kirilov’s ideological and aesthetic attitudes, despite the fact that they do not coincide with installations of both Raisky and Goncharov himself. For the first time, the article shows the character of the plot, which is particular for the general meaning of the novel, connected with the spiritual duel of Vera and Mark Volokhov, since all the main meanings of the work, including biographical ones, converge in the figure of Raisky.

This article addresses a forgotten aspect of the history of ideas, namely the fact that one of the most important figures of the twentieth century, Ezra Pound, was influenced by Dantean esotericism and the medieval esoteric doctrine of love proposed in the nineteenth century by Gabriele Rossetti. It aims to show the relations between literature and esotericism, in the wake of a dialogue between the Middle Ages and the twentieth century. The study of this unexplored horizon of research is presented here through the epistolary exchange between Pound and Gabriele Rossetti’s granddaughter, Olivia Rossetti Agresti.

One of the most fascinating, and debated, topics regarding Dante's immortal masterpiece, the Divine Comedy, concerns the date on which he imagines his journey to take place. Almost all commentators have placed it between March and April 1300, based on many apparently reliable historical and symbolic quotations. However, several astronomical references point in a completely different direction, and indicate a date around 25 March 1301. In addition to this, a closer examination of the historical and symbolic indications reveals that they are far from homogeneous: some provide no useful information, several give information congruent with 1301, and only a few are consistent with 1300. This paper also explores the reasons for the apparent contradictions between different references. The strong indication that seems to come from the present work in favour of 25 March 1301 represents an invitation to Dante scholars to reconsider the whole question. [ABSTRACT FROM AUTHOR]

This article examines the transformation of Dante's image in post-Soviet scholarship. The author shows how Russian philologists Vladimir Bibikhin, Olga Sedakova, and Georgii Chistiakov introduced a new image of Dante to post-Soviet readers in fresh translations of his work, scholarly writings, and lecture courses that revealed previously obscured philosophical and theological dimensions of his texts. The post-Soviet reader came into contact with a more complex image of Dante than previously portrayed in official Soviet literary scholarship: Dante the philosopher, the Christian humanist, the spiritual guide who calls upon individuals to embark upon a difficult but crucial existential journey. The author also shows how the unstable and transitional decade of the 1990s was a time of a particularly active study of Dante's philosophical and poetic anthropology. Dante's main themes (personal salvation, activism, living in tradition) resonated profoundly with intellectuals during the late Soviet and early post-Soviet years, which were marked by a special soteriological attitude and a belief that individuals and society not only can but must change. [ABSTRACT FROM AUTHOR]

Ep. XIII provides a hermeneutic instrument to test legal validity today in the light of multi-layered phenomena shaping the ecosphere and infosphere. While De Saussure's thrust regarded the one-to-one relation between a word and its meaning, Dantean multi-sensory theory may give more consistent framework to perceive the evolution of reality and its components at the time of the Fourth Industrial Revolution (Schwab, 2014). [ABSTRACT FROM AUTHOR]

The article discusses the translations of Dante's Divina Commedia into Hungarian, focusing on Ádám Nádasdy's translation published in 2016. It mentions that the first Hungarian translations of Dante's work were published in the mid-19th century, with Mihály Babits' version being the most popular. Throughout the 20th century, several other translations were published, but in anthologies or incomplete forms. Nádasdy's translation, in unrhymed iambic pentameter, is presented as the latest and is analyzed in the article. The article also highlights the presence of Dante's works in Hungarian education and the ongoing activities of the Hungarian Dante Society. [Extracted from the article]

Baldassarre Peruzzi's cosmological vault fresco (1510–11) in the Villa Farnesina in Rome, prominently featuring a scene of Perseus and Medusa, showcases a dynamic operation that was often at work in the early modern period between the beholder and an immobile work of art. These types of representational objects participate in the discourse around materiality, not by employing the signifying powers of their constituent materials, but by encouraging thought about their material presence. I explore the process of haptic engagement that the fresco painting urges in its beholders, raising the possibility that the trope of petrification, made popular by Dante and other Italian writers of amorous poems, unlocks the work's layered meaning. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Italian Studies / Rivista di Studi Italiani is the property of Rivista di Studi Italiani and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper adopts a law and humanities-based methodology to critique the binary distinction between remembering and forgetting that often features in law and policy. Using the right to be forgotten as a case study, the paper argues that such a distinction conceals the many ways that remembering and forgetting are intrinsically connected. In particular, a binary distinction understands forgetting as not remembering. But forgetting can also take the form of enlightened remembering: a deliberate choice to think differently about the past, an attempt to remember it in more positive or constructive ways. Drawing on insights from Dante's Divine Comedy, the paper pursues a normative argument about the value of enlightened remembering and then assesses the implications for legal discourse. [ABSTRACT FROM AUTHOR]

Nel 1865 la letterata tedesca Anna Vivanti-Lindau lascia la sua abitazione londinese per compiere un viaggio nel Mediterraneo assieme al marito Anselmo. Tappa fondamentale del tour è Firenze, dove la letterata, grande estimatrice di Dante, si reca con l'intento di assistere alle celebrazioni del seicentenario dantesco. Nel suo resoconto di viaggio A Journey to Crete, Costantinople, Naples and Florence. Three Months Abroad, Vivanti-Lindau rievoca il soggiorno fiorentino, offrendo un report del festival dantesco. Riflettendo la ricezione ottocentesca politico-risorgimentale di Dante, ella individua nell'autore della Commedia il padre e profeta dell'Unità italiana e, insieme, il simbolo di una libertà che andava oltre i confini del territorio italiano. Il presente contributo propone una lettura analitica delle pagine del Journey dedicate al seicentenario, contestualizzandole nel quadro della fortuna ottocentesca di Dante nel periodo in cui si muove Vivanti-Lindau, con particolare attenzione alla ricezione britannica del poeta negli anni a cavallo dell'unificazione italiana. [ABSTRACT FROM AUTHOR]

Copyright of Iberoromania is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iberoromania is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nel 1865 la letterata tedesca Anna Vivanti-Lindau lascia la sua abitazione londinese per compiere un viaggio nel Mediterraneo assieme al marito Anselmo. Tappa fondamentale del tour è Firenze, dove la letterata, grande estimatrice di Dante, si reca con l'intento di assistere alle celebrazioni del seicentenario dantesco. Nel suo resoconto di viaggio A Journey to Crete, Costantinople, Naples and Florence. Three Months Abroad, Vivanti-Lindau rievoca il soggiorno fiorentino, offrendo un report del festival dantesco. Riflettendo la ricezione ottocentesca politico-risorgimentale di Dante, ella individua nell'autore della Commedia il padre e profeta dell'Unità italiana e, insieme, il simbolo di una libertà che andava oltre i confini del territorio italiano. Il presente contributo propone una lettura analitica delle pagine del Journey dedicate al seicentenario, contestualizzandole nel quadro della fortuna ottocentesca di Dante nel periodo in cui si muove Vivanti-Lindau, con particolare attenzione alla ricezione britannica del poeta negli anni a cavallo dell'unificazione italiana. [ABSTRACT FROM AUTHOR]

The pagan judge in Saint Erkenwald explains that he remained in limbo after Christ's harrowing of hell. Theologians, especially Aquinas, wrestled with the vexed question of the salvation of virtuous pagans, and Dante and Langland, as well as the author of Erkenwald, expressed their views on the subject, coming to differing conclusions. On learning of the judge's history, Bishop Erkenwald assumes that such an exemplary figure must have a place in heaven and is distressed to learn that he, like Virgil in Dante's Commedia, remains in limbo. The article explores the reasons why both poets should have adopted such an unorthodox position. [ABSTRACT FROM AUTHOR]

This essay examines the translations of the title of Dante's magnum opus, the Commedia, as well as its canticle titles, across languages worldwide. This fills a gap in the secondary literature, which up until now has not examined this topic on a global scale. Rather than focusing on close textual analysis, this piece distantly reads the translation history of the title and canticle titles within different linguistic, cultural, historical and religious contexts. This essay thus shows how translators render specific concepts such as Commedia, Inferno, Purgatorio and Paradiso, often in non-Catholic and non-Christian societies. The results reveal how translations of the title (and canticle titles) are problematic, each in their own way. Translations of the title Commedia, for example, are difficult everywhere, because of the idiosyncratic usage of the term by Dante. Translations of the canticle title Purgatorio are problematic in non-Catholic societies in general, lacking such a religious concept. Meanwhile translations of the canticle titles Inferno and Paradiso are particularly challenging in non-monotheistic religious societies, which don't have such eternal afterlives for individuals. In all these cases, though, this has not stopped translators from translating Dante's text. [ABSTRACT FROM AUTHOR]

The summary is compiled from the abstracts and summaries provided by the participants of the 2nd International Online Conference “Crime and Punishment: Current State of Research.” The conference is part of the work on the next issue of the series Dostoevsky’s Works: Current State of Research that will be dedicated to Crime and Punishment. The conference reports are devoted to the hermeneutics of the text, the historical and cultural allusions in the text, the role of the books mentioned in the novel, the problems of translation of Dostoevsky into different national and cultural languages, the novel’s reflections in literature, the ways of teaching the work at school and university. The summary provides an account of the latest trends in the study and teaching of Crime and Punishment.

The historical reconstruction of the Roman Empire that Dante undertakes in the second book of the Monarchia is grounded on the agonistic similitude of the certamen. As an instrument to ascertain the will of God, the ‘race’ for world domination won by the Roman people would have established an inviolable right to universal monarchy in the hands of the Roman Emperor. Strengthened by this demonstration, Dante disputes the legal nature of the subsequent translationes Imperii, beginning with the Donation of Constantine, especially whereas they are interpreted as a sign of the supreme pontifical power in political matters: the Holy Roman Empire is the direct heir of the universal monarchy gained by right from the Roman people and its authority depends directly on the divine will.

Dante’s articulate and sometimes critical attitude towards the academic community is evident in several of his works, specifically in Paradiso. To understand the actual extent of this ‘anti-academic’ attitude, this study considers the magistri of the higher schools and the holders of university chairs to observe their position regarding the Commedia. The study aims to ascertain whether the poem was regarded as a teaching text in the 14th and 15th centuries, and particularly whether it was referred to in the textual hermeneutics practiced in lectio. The analysis examined the utilization of the Commedia within schools and universities as an authoritative text in the commentary on the canon of the auctores maiores. The inclusion of Dante’s glosses in various manuscripts recalled to provide erudite data, lexical interpretations, exempla, and sententiae, reflects the progressive integration of the poem within the academic community. This integration signifies its acknowledgment among the auctores employed in exegetical practices, a phenomenon observed across various geographical regions as evidenced by the analyzed manuscripts.

Il contributo intende investigare le strutture narrative adottate da Pier Paolo Pasolini all’interno del suo ultimo romanzo: Petrolio (1992). Analizzando l’uso pasoliniano dell’allegoria e della visione nell’opera, se ne vuole evidenziare il carattere medievale e, in particolar modo, la forte influenza del modello dantesco. L’analisi di diverse “spie” contenute nel romanzo e nei fogli preparatori, come il doppio rimando all’allegoria storico-politica degli ultimi canti del Purgatorio, porterà infatti alla luce la paternità dantesca del sistema allegorico di Petrolio. Si mostrerà, tuttavia, come non si tratti più dell’allegoria figurale di ascendenza auerbachiana che aveva interessato Pasolini negli anni precedenti, bensì di un ritorno all’allegoria vera e propria, ovvero una narrazione favolosa che cela “una veritade” (Dante, Convivio II, I. 4). Infine, un’analisi ravvicinata delle principali allegorie del romanzo svelerà che tali episodi allegorici rimandano inequivocabilmente a personaggi e ambientazioni proprie della Commedia. In questo modo, si potrà concludere che non solo Pasolini si ispira a Dante per costruire il sistema allegorico di Petrolio, ma che lo stesso apparato figurativo delle singole allegorie pasoliniane è costruito sulla falsariga di episodi danteschi.

For Dante and Christianity it is certainly not sex, nor adultery per se or promiscuity, which leads us to mortal sin capable of killing our soul, closing us in hell: and in this sense we can think of fundamental emblems, like the woman of Samaria, the adulteress and the Magdalene of the Gospel. A sincere sexuality radiated with love, True Love, always leads gradually to the glory of heaven: this is the message hidden in the symbols of the Divine Comedy. The cause of inner death and anguish that makes us deeply unhappy (and therefore ‘imprisoned’... – captivi diaboli) is instead the superficiality of our experience of love, rancor and hypocrisy together with the desire to overwhelm others, as in the famous case of Paolo and Francesca. The latter is analyzed in this study with cross-references to the love legends of Lancelot and Tristan, as well as to the poetic love between Arnaut Daniel and Bertrand de Born. The theme of homoeroticism is therefore addressed with regard to Brunetto Latini in hell, however considering that Dante’s vision symbolically shows us that sodomy, as an external act of the body induced by a spontaneous and immediate impulse of the senses, is not in itself a cause of damnation. As can be observed among the various spirits of carnal lovers in purgatory and paradise, the death of the soul seems for the poet to be connected only to an inner risk, an ambiguous limit which is narcissism and selfish isolation within our intellect or political practice. In his tolerant erotic morality, Dante seems to be influenced by the Joachimite movements of the Free Spirit.

Ofrecemos en estas páginas las reflexiones que Joaquín Vaquero Turcios (1933-2010) publicó en el tercer volumen de su edición ilustrada de la Divina Comedia (1965) en las que aborda el tema del significado que tiene hoy en día ilustrar la obra de Dante y que podríamos resumir con la frase: con los ojos de Dante.

La figure de Dante plane sur l’œuvre d’Eugène Delacroix. Depuis son tout premier envoi au Salon en 1822, Dante et Virgile aux Enfers, jusqu’a son Ugolinde 1860, le peintre français n’a cessé de s’inspirer du maître florentin. Plus qu’une une source de sujets, cependant, Dante était partout présent dans ll’esprit et l’imagination de Delacroix. Dans cet article, j’étudierai les divers moyens dont sa lecture de Dante a influencé la pensée esthétique de Delacroix. Le peintre lisait Dante, le traduisait en vers et en prose, réfléchissait sur son style et sur sa place dans l’histoire littéraire ; plus encore, son étude de Dante le conduisit à formuler son propre concept du beau, qu’il développe dans son Journal, qu’il expose dans des articles publiés et qu’il réalise dans la coupole de la bibliothèque du Sénat au Palais du Luxembourg, représentant une scène du Chant IV de L’Enfer .

The painting by Frédéric Loewe-Marchand, The soul of Myrra (Madrid, Galería Nicolás Cortés), exhibited in Rome in 2021, in the context of the exhibition on Inferno, curated by Jean Clair for the Scuderie del Quirinale, is a wonderful example, vurtually unknown prior to the roman exhibition to the general public, of the interest of French Academic pianters towards Dante’s Comedy. The beutiful frontale nude depicted by Loewe Marchand, though, is also n explicit reaction to Dore’s Myrra, becoming, in this way, a painting which trscend the academic to involve the french art tradition of the XIX century, from Delacroix to Rodin.

Nell’articolo sono illustrati due aspetti della produzione artistica parigina incentrata sulla figura di Dante tra la fine del XIX e l’inizio del XX secolo. Il primo esempio riguarda la funzione pubblica e sociale, agli albori della Terza Repubblica francese, della statua di Dante realizzata dallo scrittore Jean-Paul Aubé e collocata dinanzi al Collège de France. Agli antipodi della celebrazione ufficiale si colloca il secondo esempio: la rilettura esoterica dell’Alighieri. Sul finire dell’Ottocento Joséphin Péladan fondò la Rosa-Croce Cattolica del Tempio e del Graal o Rose Croix esthétique, inaugurando a Parigi il Salone della Rosacroce (1892- 1897), un appuntamento artistico unico nel suo genere. Le affiches pubblicitarie e i cataloghi che accompagnarono gli eventi rivelano una particolare predilezione per Dante, tentando di iscriverlo all’interno della tradizione rosacruciana.

L’intervento indaga, all’interno della produzione artistica di Guttuso, il ruolo che ebbe la Commedia e la figura di Dante. Si prenderanno in esame le tavole realizzate dal pittore e si seguirà la storia editoriale dell’intero progetto fino alla realizzazione del volume finale, Il Dante di Guttuso. Si esamineranno, contestualmente, i rapporti con la tradizione illustrata della Commedia.

Dante’s Paradiso presents a gothic theophany realizing the divine vision (visio Dei) in poetic language. Specifically, Dante’s vision of a line from Scripture (DILIGITE IUSTITIAM QUI IUDICATIS TERRAM) in the Heaven of Jove (Canto XVIII) gives a concrete form of written letters to his vision of God. Yet all that Dante actually sees is only a sign of the invisible, metaphysical reality of God and the supersensible universe of pure being or love. This tension between the sensory plenitude of his vision and the transcendent truth that Dante envisages lends his poem its extraordinary force and attractive power. The paradoxes of negative theology and its inevitable relation with an affirmative theology expressed as poetic vision are worked out with matchless subtlety in Dante’s descriptions and reflections, some of which are expounded in a speculative key in this essay drawn from a more detailed and comprehensive inquiry into the subject. The immediacy of Dante’s vision of letters of Scripture in the Heaven of Jove serves as a metaphor for an unmediated vision of God, but the vision’s content turns out to be nothing other than mediation – concretely, language as the medium mediating his relation to God as Logos. Dante’s vision from beginning to end of the Paradiso is placed under the sign of the ineffability topos, yet what he sees are words and language and ultimately letters. Dramatically displaying the mediations in which language consists becomes itself a metaphorical realization of divine revelation. The mechanisms of signifying in languagemade visibly manifest in writing and specifically as the first line of the Book of Wisdom in Scripture are unveiled as a negatively theological revelation of divinity.

The article examines an inventory of the merchandise present in a Florentine stationer's shop in 1348. The list not only provides a record of the goods, but also includes their market value, enabling the valuation of the paper notebooks contained in the shop. As a result, it becomes feasible to determine the very high cost of the four large paper notebooks considered a few years earlier as having an equivalent value as the renowned code of Dante's Comedy owned by Giovanni Villani. [ABSTRACT FROM AUTHOR]

This article investigates the "musico-philosophical" perspectives of the nineteenth-century Russian novelist Fyodor Mikhailovich Dostoevsky (1821-1881) and the twentieth-century British writer and musician Anthony Burgess (1917-1993). In this study, I revisit and expand upon issues raised in my past three presentations at Generative Anthropology Summer Conferences in 2021, 2022, and 2023. I consider the ways in which music operates metaphysically and allows for the exploration of ontological dichotomy-- the tensions caused by ultimate existential questions--through the "musico-philosophical" convergence of musical features and philosophical reflection in selected works of imaginative literature by Dostoevsky and Burgess. [ABSTRACT FROM AUTHOR]

An updated version of an article published in 2006, this essay defends a new interpretation of Friar Ilaro's letter based on a thorough analysis of the manuscript in which it is preserved. Its goal is to propose a new reading of this document within the wider frame of the corpus of Dantean texts collected by Boccaccio and included in his Zibaldone. [ABSTRACT FROM AUTHOR]

This article addresses a forgotten aspect of the history of ideas, namely the fact that one of the most important figures of the twentieth century, Ezra Pound, was influenced by Dantean esotericism and the medieval esoteric doctrine of love proposed in the nineteenth century by Gabriele Rossetti. It aims to show the relations between literature and esotericism, in the wake of a dialogue between the Middle Ages and the twentieth century. The study of this unexplored horizon of research is presented here through the epistolary exchange between Pound and Gabriele Rossetti's granddaughter, Olivia Rossetti Agresti. [ABSTRACT FROM AUTHOR]

The essay shows how the most comprehensive sixteenth-century printed collection of pre-Petrarchan lyric poetry, printed by the Giunti press in Florence in 1527 and known as the 'Giuntina delle rime', was conceived as a Dantean collection. The article argues that the 'Giuntina' can be understood in relation to a Florentine context that reacted in opposition to Bembo's codification, in his seminal dialogue Prose nelle quali si ragiona della volgar lingua (1525), of Petrarch and Boccaccio as supreme models for poetry and prose, and his devaluing Dante. This reaction led to the promotion of Dante's lyric poetry through a collection printed by the leading Florentine publishing house. The essay presents new evidence to show that the original programme of revaluing Dante that lies behind the collection and its scope seem to have undergone a transformation, which obscured the force of that re-evaluation in the final print of the 1527 anthology. [ABSTRACT FROM AUTHOR]

In Purgatorio xv and XVII, Dante depicts the pilgrim's inner visions produced without direct sensory input, which, paradoxically, lead to some of the most extravagantly multisensory descriptions in the second canticle of the Commedia. This article argues for the centrality of the cantos for understanding the visionary dimension of Dante's work by examining how Purg. XV and XVII meditate on the differences and overlaps between everyday and extraordinary perception. First, I examine Dante's depiction of the faculties of imaginativa and fantasia, involved both in ordinary and visionary sensation. Second, I explore how the cantos portray the ecstatic dimension of Dante's experience. Finally, I analyse how Dante uses multisensory language in individual visions so as to reflect on the complexity of perceptual layers in visionary experiences and to appeal to readers who think with, and through, their senses. [ABSTRACT FROM AUTHOR]

This article engages with new materialist discourses and material ecocriticism to examine three important moments of geological kinesis within the first two cantiche: the movement of landmass caused by Lucifer’s fall (Inf. XXXIV); the earthquake at Christ’s crucifixion (Inf. XII); and the mountainquakes of Purgatory (Purg. XXI). These geological events coincide with important moments in Christian salvation history, but they also offer examples of an affinity between the lithic and the human, presenting an alternative history of the Earth in which stone responds to cosmological, spiritual events with fear and love, literally changing the face of the Earth and shaking the foundations of Hell. [ABSTRACT FROM AUTHOR]

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Itinerarios (1507-7241) is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article I analyse and interpret three passages from Dante’s Paradise containing more or less explicit allusions to the myth of the Argonauts, which Dante knew from Ovid’s Metamorphoses. All three are intertextual and occur at key points in the Canticle of Light, performing a meta-poetic function. They pertain to the essence and objectives of Dante’s poetry and its pioneering character, both in terms of subject-matter and means of expression, particularly for the depiction of the visions of Paradise. Dante makes use of the metaphor of sailing the seas, which had been a topos of literary creativity since ancient times, and compares his own poetic exploit (The Divine Comedy) with the quest for the Golden Fleece conducted by Jason. Yet at the same time Dante distances his own work from the feat accomplished by the captain of the Argonauts. [ABSTRACT FROM AUTHOR]

Copyright of Il Colle di Galileo is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Colle di Galileo is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Audio over IP (AoIP)-based audio transmission technology, which has recently been introduced into the audio market, has led to the development of conventional audio technology. Among the AoIP-based technologies, the audio networks and control hierarchy over peer-to-peer (Anchor) system technology converts audio signals into digital signals and enables real-time transmission and reception without audio loss to a desired location through Internet protocol (IP). In addition, on the receiving side, it allows selecting and mixing multiple transmission signals (audio sources) and controlling transmission and reception signals. The Anchor system replaces the conventional audio mixer and creates a novel paradigm in audio system configuration as it can control transmission and reception signals at a desired location with broadband. However, a delay occurs intermittently or noise is issued at the receiving side of On-site audio center (OAC), a device that transmits and receives audio data. In this study, causes for delay and noise have been analyzed and eliminated through data packet processing in a receiving OAC according to Anchor technology. As a result of the cause analysis, it has been confirmed that there is a data loss due to delay in audio data processing in an audio codec buffer of the receiving OAC. This problem has been solved by eliminating the delay and noise through a controlling algorithm for handling an audio data play speed. As a result of the study, it has been confirmed that high-quality clear audio is played for a long time without delay and noise. It is expected that Anchor technology will be established as a standard for industrial audio system facilities using AoIP technology in the future.