Where the Middle Ages Begin
In Giro: Italian Identity and Travel in the Middle Ages Sponsor: Italians and Italianists at Kalamazoo Organizer: Rachel D. Gibson (University of Minnesota–Twin Cities) Presider: Rachel D. Gibson Defining a Merchant Identity and Aesthetic in Pisa: Muslim Ceramics as Commodities, Mementos, and Decoration on Eleventh-Century Churches Mathews, Karen (University of Miami) What did the inhabitants of […]
Hero or Tyrant: Images of Julius Caesar in Selected Works from Vergil to Bruni By Sarah M. Loose Master’s Thesis, Brigham Young University, 2007 Abstract: Gaius Julius Caesar is not only the most well-known figure in Roman history, but he is also one of the most difficult to understand. Since his assassination, Caesar has played […]
Concerning a Paradox in the “Divine Comedy” By Frithjof Schuon Studies in Comparative Religion, Vol. 4, No. 2. (1970) Introduction: One of the contradictions, real or apparent, to be found in the Divine Comedy is the fact that Dante places in hell a saint, namely Pope Celestine V, whom the poet reproaches for having abdicated […]
Frederick’s Menagerie Refling, Mary A Conference Paper Read at the Second Annual Robert Dombrowski Italian Conference, September 17-18, (2005) Abstract Exotic animals have been emblematic of the cultural differences between the European, African and Asian continents since before the time of Alexander, and to this day their presence in our zoos marks the nature of […]
Metaphorical painting: Michelangelo, Dante, and the Last Judgment Barnes, Bernadine The Art Bulletin; Mar (1995)77, 1 Abstract In the lower right corner of the Last Judgement, Michelangelo painted an unmistakeable quotation from Dante’s Inferno (figs. 1, 2). The figures of Charon and Minos were easily recognized by sixteenth-century viewers, and to the present day no […]
Dante and Medicine: The Circle of Malpractice By Pasquale Accardo Southern Medical Journal, Vol. 82:5 (1989) Introduction: Dante’s Commedia is a literary epic of almost unimaginable breadth and complexity that infolds recursively via one of the most condensed poetic dictions in world literature. The poem is rigorously mathematically structured to present a summa (a comprehensive […]
Lecture – The Problem with Paganism: Dante and Boccacio University of Toronto – Alumni Hall, Room #400 John Marenbon, PhD, Senior Research Fellow, Trinity College Cambridge (visiting Professor, PIMS) Dante rates Pagan virtue highly but views their salvation as dubious. Was this opinion a reflection of a general attitude in the Middle Ages? No, Marenbon […]
Dante’s Metam-Orpheus: the Unspoken Presence of Orpheus in the Divine Comedy By Leah Schwebel Hirundo, the McGill Journal of Classical Studies, Vol.4 (2005-06) Introduction: The myth of Orpheus figures prominently into literature from the Hellenistic era to the present day, yet the interpretations of the myth have remained anything but static during its transmittance. The […]
Echoes of Boethius and Dante in Chaucer’s Troilus and Criseyde An, Sonjae Medieval and Early Modern English Studies Volume 12 No. 2 (December 2004) Abstract When Chaucer’s work is viewed in a wider literary context, it is most often first explored in terms of the works he is known to have read, his direct ‘sources,’ […]
Troilus and Criseyde: The Hidden Influence of Chaucer’s Reading Sonjae, An Medieval English Studies, vol. 10 (2002) No. 2 Abstract When Chaucer is viewed in a wider literary context, it is often in terms of the literary works which he is known to have read, translated and adapted. Failing direct adaptation, analogues to Chaucer’s tales […]
Holding the Center: Chaucer’s Book of Troilus and Dante’s Commedia Kaylor, N. H. Medieval English Studies, vol. 8 (2000) Abstract In his “Retraction,” Chaucer names The Book of Troilus first among his “translacions and enditynges” to be revoked, and he names his Boece de Consolacione first among the works for which he thanks “oure Lord […]
A Pilgrim and his Journey: Illuminating Interpretations of Dante’s Commedia Sokolowski, Linda C. Essays in Medieval Studies, vol. 3 (1986) Abstract While there is no reason to believe that medieval interpretations of medieval works are more correct than our own, such interpretations can often assist and enhance our own understanding of medieval works because they […]
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