Dante's testaments : essays on scriptural imagination
Author(s)
Bibliographic Information
Dante's testaments : essays on scriptural imagination
(Figurae)
Stanford University Press, 1999
- : alk. paper
- : pbk. : alk. paper
Available at 2 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Bibliography: p. [343]-363
Includes index
Description and Table of Contents
- Volume
-
: alk. paper ISBN 9780804734929
Description
This book explores the wide range of Dante's reading and the extent to which he transformed what he read, whether in the biblical canon, in the ancient Latin poets, in such Christian authorities as Augustine or Benedict, or in the "book of the world"-the globe traversed by pilgrims and navigators.
The author argues that the exceptional independence and strength of Dante's forceful stance vis-a-vis other authors, amply on display in both the Commedia and so-called minor works, is informed by a deep knowledge of the Christian Scriptures. The Bible in question is not only the canonical text and its authoritative commentaries but also the Bible as experienced in sermon and liturgy, hymn and song, fresco and illumination, or even in the aphorisms of everyday speech.
The Commedia took shape against the panorama of this divine narrative. In chapters devoted to Virgil and Ovid, the author explores strategies of allusion and citation, showing how Dante reinterprets these authors in the light of biblical revelation, correcting their vision and reorienting their understanding of history or human love. Dante finds his authority for making these interpretive moves in a "scriptural self" that is constructed over the course of the Commedia.
That biblical selfhood enables him to choose among various classical and Christian traditions, to manipulate arguments and time lines, and to forge imaginary links between the ancient world and his own "modern uso." He rewrites Scripture by reactivating it, by writing it again. To the inspired parchments of the Old and New Testaments he boldly adds his own "testamental" postscript.
Table of Contents
Abbreviations prologue Part I. Dante and the Bible: 1. The scriptural self 2. Old and new parchments 3. John is with me 4. Self-authenticating artifact Part II. Dante and Virgil: 5. Descendit ad ingeros 6. Dido, Beatrice and the signs of ancient love Part III. Dante and Ovid: 7. The metamorphosis of Ovid 8. Watching Matelda 9. Transfiguring the text Part IV. Dante and the Saints: 10. Divid and conquer: Augustine in the Commedia 11. Augustine, Dante, and the dialectic of ineffability 12. 'By gradual scale sublimed': Dante and the contemplatives: Part V. Dante and the World: 13. Crossing over: Dante and pilgrimage 14. 'Out upon circumference': discovery in Dante Notes Bibliography Index.
- Volume
-
: pbk. : alk. paper ISBN 9780804737012
Description
This book explores the wide range of Dante's reading and the extent to which he transformed what he read, whether in the biblical canon, in the ancient Latin poets, in such Christian authorities as Augustine or Benedict, or in the "book of the world"-the globe traversed by pilgrims and navigators.
The author argues that the exceptional independence and strength of Dante's forceful stance vis-a-vis other authors, amply on display in both the Commedia and so-called minor works, is informed by a deep knowledge of the Christian Scriptures. The Bible in question is not only the canonical text and its authoritative commentaries but also the Bible as experienced in sermon and liturgy, hymn and song, fresco and illumination, or even in the aphorisms of everyday speech.
The Commedia took shape against the panorama of this divine narrative. In chapters devoted to Virgil and Ovid, the author explores strategies of allusion and citation, showing how Dante reinterprets these authors in the light of biblical revelation, correcting their vision and reorienting their understanding of history or human love. Dante finds his authority for making these interpretive moves in a "scriptural self" that is constructed over the course of the Commedia.
That biblical selfhood enables him to choose among various classical and Christian traditions, to manipulate arguments and time lines, and to forge imaginary links between the ancient world and his own "modern uso." He rewrites Scripture by reactivating it, by writing it again. To the inspired parchments of the Old and New Testaments he boldly adds his own "testamental" postscript.
Table of Contents
- Abbreviations
- prologue
- Part I. Dante and the Bible: 1. The scriptural self
- 2. Old and new parchments
- 3. John is with me
- 4. Self-authenticating artifact
- Part II. Dante and Virgil: 5. Descendit ad ingeros
- 6. Dido, Beatrice and the signs of ancient love
- Part III. Dante and Ovid: 7. The metamorphosis of Ovid
- 8. Watching Matelda
- 9. Transfiguring the text
- Part IV. Dante and the Saints: 10. Divid and conquer: Augustine in the Commedia
- 11. Augustine, Dante, and the dialectic of ineffability
- 12. 'By gradual scale sublimed': Dante and the contemplatives: Part V. Dante and the World: 13. Crossing over: Dante and pilgrimage
- 14. 'Out upon circumference': discovery in Dante
- Notes
- Bibliography
- Index.
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