e University of Reading Department of Italian Studies Dante s Divine Comedy Course convenor and tutor: Dr Paola Nasti Course Programme Autumn Term 2003
CONTENTS Aims, Outcomes and Responsabilities p. 3 Prescribed Text p. 3 Course work and Essay Topics p.3 Course Outline p. 4-6 Seminar Topics p. 6-10 Guidelines for Presentations and Commentaries p. 11 Bibiliography p. 12-16 2
AIMS AND LEARNING OUTCOMES e aims of this course are: To extend the student's knowledge and appreciation of the poetry of the Divina Commedia; to engage students in the challenge of understanding Medieval forms of art, thought and culture; to foster students ability to use resources, to develop independent thinking and selfexpression. e student who has successfully completed the course unit will be able to demonstrate: an understanding of the content and structure of the Divina Commedia; a sufficient ability to contextualise and comment pertinently on any portion of the Italian text of the poem singled out for close textual study, explaining significant linguistic, historical, and doctrinal matters; a competent use of a wide range of resources and critical approaches for the understanding of poetry. PRESCRIBED TEXT Dante Alighieri, La divina commedia: Inferno, Purgatorio, Paradiso, with commentary by Natalino Sapegno, 3 vols (Florence: La Nuova Italia, 1985). STUDENTS RESPONSABILITIES Students are required to read the whole Divine Comedy, in spite of the fact that during the course attention will be focused on a group of specific cantos. Students are also required to read any associated material attentively, engaging in further reading. English translations can be used, but ultimately students will have to show an understanding of the original text. Lectures and seminars will be based on the original, students are therefore required to bring a copy of the Divine Comedy in class. Attendance during lectures and seminar sessions are compulsory and essential to a successful outcome. Students are required to participate actively in seminars, whether in discussion, by asking questions, or by giving properly prepared presentations. COURSEWORK Course work will involve two essays over the all year. e average of their marks counts for 30% of the Final result. e essays should be no longer than 3000 words. If you have any difficulty over submission, or require any advice, please come and see me well in advance of the deadline. ESSAY TOPICS AUTUMN TERM 1. Analyse Dante s presentation of Virgil in Inferno. 2. What are the functions of Inferno 1 and 2 in the structure of the Commedia. 3. Discuss Dante s idea of love (focus on Inferno and Purgatorio.) 4. Illustrate snd discuss Dante s involvment as a character, with characters and events he encounters in Inferno and Purgatorio. SPRING TERM 1. Discuss the significance of the episode of Earthly Paradise within the whole Commedia. 2. Analyse the relationship between Dante the character and Beatrice in Paradiso. 3. To what extent and why is Paradiso concerned with political matters? 4. Discuss Dante s anticlericalism in the Comedy. 3
COURSE OUTLINE Familiarize yourself with the programme and pay attention to all lectures and seminars content. A reading task has been set for most of the lectures and seminars. Please make sure you read the prescribed cantos before your class. A practical task, i.e. writing a commentary, has been scheduled for week 6 of the Autumn Term. is will not be assessed but it is planned in your interest, to give you some practice on commentary writing for your final exam. NB. For a brief description of seminars content please see the section on Seminar Topics on pp. 7-10. AUTUMN TERM Week 1 Tu Lecture: Unlocking the Comedy: genesis of a masterpiece Lecture: Exile, poetry and prophecy Week 2 Tu Lecture: Questions of genre, language and style Lecture: e journeys of the Comedy Week 3 Tu Lecture: e prologue to Inferno 1-2 Reading task: Inferno 1, 2 and 3 Lecture: e Bible and the Comedy: reflecting on allegory. Week 4 Tu Lecture: Dante among the classics Reading task: Inferno 4 Lecture: Good love, bad love Reading task: Inferno 5 Week 5 Tu Seminar 1: e moral and physical structure of Inferno Reading task: Every group must reflect on the first seminar topic planned for this week and read Inferno 11 Seminar 2: Heresy and the terrestrial Reading task: Inferno 10 Week 6 Tu Seminar 3: e master and his pupil: the drama of Brunetto Latini Reading task: Inferno 15 Lecture: Dante, the Church and the corrupted Popes Reading task: Inferno 19 Practical: write a commentary on Inferno 19 Week 7 Tu Seminar 4: e triumph of the comical Reading task: Inferno 21-23 4
Lecture: Journeys of perdition: Ulysses intellectual sin Reading task: : Inferno 26 Practical: submit commentary on Inferno 19 Week 8 Tu Lecture: At the heart of evil Reading task: Inferno 32-33 Lecture: e creation of Purgatory Reading task: Purgatorio 1 and 2 Week 9 Tu Lecture: Purification, nostalgia and hope: the poetry of Purgatorio Reading task: Purgatorio 1 and 2 Lecture: Politics in the Comedy Reading task: Purgatorio 5-6 Week 10 Tu Seminar 5: e purgation of pride Reading task: Purgatorio 10-12 Seminar 6: e doctrine of love and free will Reading task: Purgatorio 16-18 SPRING TERM Week 1 T Lecture: Poets and poetry in the Comedy Reading task: Purgatorio 21-26 Seminar 1: Statius and Virgil: Dante s attitude to Classical antiquity Reading task: Purgatorio 21 and 22 Week 2 Tu Seminar 2: Dante and the vernacular literary tradition Reading task: Cantos 24 and 26 Lecture: Earthly Paradise Reading task: Purgatorio 30-33 Week 3 Tu Lecture: Meeting Beatrice Reading task: Purgatorio 30-33 Lecture: e drama of desire: introduction to Paradiso Reading task: Week 4 Tu Lecture: Canto 1 the poetry of Ineffability Reading task: Paradiso 1 5
Seminar 3: e sweetness of loving God Reading task: Paradiso 3 Week 5 Tu Seminar 4: God s Empire Reading task: Paradiso 6 Seminar 5: Love and politics Reading task: Paradiso 8-9 Week 6 Tu Lecture: e heaven of the Sun Reading task: Paradiso 10, 11 & 12 Lecture: e Resurrection of the body Reading task: Paradiso 14 Week 7 Tu Lecture: Dante s poetic mission Reading task: Paradiso 15-17 Week 8 Tu Seminar 6: God s Justice and the problem of Salvation Reading task: Paradiso 19-20 Lecture: Metaphors and language in Paradiso Week 9 Tu Seminar 7: e fury of Peter Reading task: Paradiso 26-27 Seminar 8: e heavenly rose and St Bernard Reading task: Paradiso 30 and 31 Week 10 Tu Lecture: e end of the journey Reading task: Paradiso 32 and 33 Revision Seminar 6
SEMINAR ORGANIZATION AND TOPICS FOR THE AUTUMN e class will be divided into study groups, each of which will be expected to organize its own learning activities and to provide a forum for the discussion of the set topics. Each group will be assigned one of 6 seminars listed in the Autumn Course Outline, with the exception of Seminar 1, which will be shared by all groups. e groups will arrange to meet in order to prepare for a oral presentation. Pool your thoughts on the topic in question, organize them in some coherent manner, formulate any unresolved problems you wish to raise, and appoint a spokesperson if you wish. e topics generally concentrate on the analysis of a number of chosen cantos, but this should ultimately serve as the basis for the discussion of broader issues. Suggestions on the issues to discuss in the seminars are offered below, but the choice of topics belongs to the study groups. Remember to outline the general context of the canto/cantos you deal with as well as their main ideological, philosophical, theological, and rhetorical features (for more help on how to prepare a seminar see Guidelines on p. 8). 1 e moral and physical structure of Inferno Study group: all Describe the structure of the universe on which Dante s afterlife is based (you might want to have pictures/figures to help discuss this point). How was hell created according to Dante? On which philosophical system is Dante s division of sins based upon? Following the analysis offered in Inferno 11, describe the division/organization of sins/sinners in Inferno (you might want to have pictures/figures to help discuss this point). Which are the literary models of Dante s Inferno? What is the contrappasso? Analyse some examples. What is the relationship between the physical reality of Inferno and the moral conditions of its inhabitants? 2 Heresy and the terrestrial Study group: What is the function of the first 21 lines of the Inferno 10? More generally analyse the link between the landscape described in this canto and the moral condition of the sinners met here. What is the relation between heresy (Epicures) and Farinata s fixation with politics? Or between heresy and Cavalcante s insistence on his son s fame? Why most of the sinners we meet in Inferno are Florentines like Farinata? What is the image of Florence portrayed by Farinata and Dante in Inferno 10? How do you explain the magnitude of the sinners met by Dante in Inferno 10? What does his say about the human persona and the nature of sin? Analyse the similarities as well as differences between Farinata and Dante. Discuss the prophecy of Dante s exile. Discuss the meaning of the meeting with Cavalcante dei Cavalcanti and Dante s relationship with Guido Cavalcanti. Is this canto about the limits of reason? If so why? 3 e master and his pupil: the drama of Brunetto Latini Study group: Who was Brunetto Latini (Inferno XV)? What was his relationship with Dante? What is Brunetto s greatest sin? Discuss Brunetto s concepts of literary fame and fortune. How do they contribute to our understanding of his sin? Analyse Brunetto s language. How does it reflect his sinful attitude? 7
Discuss the differences between Dante the poet s and Dante the character s treatment of Brunetto. How do you explain the co-existence of magnitude and felony in Brunetto s soul? How and why did the student surpass the teacher? Why do you think the inhabitants of Inferno 15-17 are mainly Florentines? Relate the decadence of Florence to the sinners idea of politics as featured in these cantos. 4 e triumph of the comical Study group : Carefully analyse the language and the similes of Inferno 21-23. In which way are they realistic? Comic? Farcical? eatrical? Discuss Dante s comic representation of the Devils in Inferno 21-22. In which way do they differ from the other mythical creatures of Inferno (Caron, Geryon etc.)? Why do you think the souls in these cantos are often compared to animals? What is Dante s consideration of Barratry? What are the implications of Virgil s failure to unmask the devils lies? What does this tell us about Virgil? Discuss the first indication in these cantos that Dante will surpass his guide. 5 e purgation of pride Study group: Why is pride the first sin to be expiated in Purgatory? What is pride? (26, 125) and its opposite humility? (Purg. 3, 34-45) Discuss Dante s choice of examples of humility in Purgatorio 10? Discuss Dante s use of Padre nostro at the beginning of Purgatorio 11. Assess the implications of Dante s self-reference in Purgatorio 11, 99. What elements are common to the process of purification on all cornices of Purgatory? 6 e doctrine of love and free will Study group: What is is free will? What, in Dante s view, guarantees human freedom? Examine carefully the structure of Marco Lomabrdo s argument in Purgatorio 16, 25-129 and the connections between the topics he touches on. What is the importance of the distinction between il primo ben and [i beni] secondi (Purg. 17, 97-102) Discuss how Virgil s analysis of love in Purgatorio 17 gives grounds for the classification of sinful tendencies and thus for the structure of Dante s Purgatory? Consider the relationship between astral influence, human nature, appetite, intellect, and the freedom of will, dealt with in Purgatorio 16-18 In which way Dante s conception of free will affects his treatment of individuality in the Comedy? SEMINAR ORGANIZATION AND TOPICS FOR THE SPRING As in the Autumn term, the class will be divided into study groups, each of which will be expected to organize its own learning activities and to provide a forum for the discussion of the set topics. Each group will be assigned 1 of 8 seminars listed in the Spring Course Outline, with the exception of Seminars 1 and 8, which will be shared by all groups. e groups will arrange to meet in order to prepare for a oral presentation. Pool your thoughts on the topic in question, organize them in some coherent manner, formulate any unresolved problems you wish to raise, and appoint a spokesperson if you wish. As in the Autumn term, the topics generally concentrate on the analysis of a number of chosen cantos, but this should ultimately serve as the basis for the discussion of broader issues. Brief suggestions on the issues to discuss in the 8
seminars are offered below, but you are strogly encouraged to add more topics for discussion. Remember to outline the general context of the canto/cantos you deal with as well as their main ideological, philosophical, theological, and rhetorical features (for more help on how to prepare a seminar see Guidelines on p. 8). 1 Statius and Virgil: Dante s attitude to Classical antiquity Study group: Comment upon Statius s attitude towards poetry and Virgil in Purgatorio 21-22 Analyse the significance of the conversation about Limbo in Purgatorio 22 What does Dante s treatment of Statius tell us about his attitude to Vergil, Statius and in general, to the historical and cultural role of the poets and intellectuals of the ancient world? In the light of your answer to the previuos question, why is Cato chosen as guardian of the shores of Purgatory? 2 Dante and the vernacular literary tradition Study group Who are the poets that Dante meets in Purgatorio 24 and 26? What was their historical and cultural role/significance? What is Dante s attitude towards them? Who are the best poets according to Dante? What do these cantos say about Dante s own poetry? 3 e sweetness of loving God Study group Analyse and comment upon the following features of Paradiso 3: e nature of beatitude as described by Piccarda. e Order of the Universe. Characterisation and individuality in Paradiso. e vocabulary and language of bliss. 4 God s Empire Study group Analyse and comment upon the following features of Paradiso 6: Dante s political utopia: unity versus division. e theology of the Empire. e praise of active life. Romeo da Villanova, the exul immeritus. 5 Love and Politics Study group Analyse and comment upon the following features of Paradiso 8 and 9: e nature of love in Paradiso (charity). e identification of love and politics. Predestination and free will. Poetry and poets in Paradiso. e poetics of neologisms. 6 God s Justice and the problem of salvation Study group Analyse and comment upon the following features of Paradiso 19 and 20: 9
e relationship between divine and human justice. e problem of salvation. Dante s invective. Politics as caritas. Rifeo and the tragedy of Virgil. 7 e fury of Peter Study group Analyse and comment upon the following features of Paradiso 26-27: Dante s view of the decadence of the Church. Prophetic poetry and the language of God s wrath. e presence of earthly matters in heaven. 8 e heavenly rose and St Bernard Study group Analyse and comment upon the following features of Paradiso 30-31: e form of Heaven. e poetry of ineffability (language, symbols and metaphors) e loss and triumph of Beatrice. St. Bernard and the prayer to Mary. 10
SEMINARS, PRESENTATIONS AND COMMENTARIES A very brief guide to seminar and presentations Prepare yourself: read the canto(s) more than once [it is good practice to read (if you haven t already done so) also the canto preceding and following the one(s) you are going to discuss]. A second reading will allow you to note down details about the poet s choices. Leave adequate time for reading, and consultation with the other members of your group. Define your aims and objectives: decide what the important issues are, what it is that you want to communicate to your audience, and how best to express it. Bear in mind the time limitations. Try to concentrate on important points. Aim not to describe but to explain the significance of the facts you are bringing to the attention of your audience. Interact with your audience: try not to read from a script but speak fluently and slowly about you ideas and points. Take your time, engage your audience, look at them, speak to them, ask questions (provide handouts or any material you think might help your audience). A good presentation should be able to stimulate topics for discussion and raise unresolved questions or problems. Organize your team and pace yourself: you might decide to elect a spokesperson or divide the material of your presentation among all the members or the team. Whatever your choice, pay attention to the time limits (25 minutes) and leave time for discussion. A very brief guide on how to write a commentary (Also useful for presentations) Organise your material in a revealing and principled way, i.e. Providing an effective introduction and conclusion Addressing important features and linking them together rather that simply moving through the passage line by line. Clearly and accurately contextualise the passage Assess the passage s significance in the text as a whole Show a good understanding of the passage s content. Under no circumstances whatsoever should you simply summarise the passage. Offer an appreciation of the passage s style and language Show a wider knowledge of the text by relating your remarks on content and form to the text as a whole Use secondary material Where relevant, show wider knowledge of the culture and the literature of the Middle Ages. 11
BIBLIOGRAPHY I. Texts: La Divina Commedia. You are expected to own a copy of the edition by Natalino Sapegno (3 vols, Florence 1985), for its excellent commentary, an indispensable aid to your study. You will also find it useful to have a copy of either: Inferno and Purgatorio, transl. R. and J. Hollander (Doubleday, 2000-2003); or: e Divine Comedy, transl. M. Musa, 3 vols (Harmondsworth: Penguin, 1984-85) 2. Minor Works: Reference to Dante's minor works' is essential for your understanding of the Comedv. La Vita Nuova, ed. D. De Robertis, Milan-Naples: Ricciardi, 1980 (Transl. by B. Reynolds, Harmondsworth: Penguin, 1969). Il Convivio, ed. C. Vasoli, in Dante Alighieri, Opere minori, 2 vols, Milan- Naples: Rieciardi, 1979-88, I/ii. (Transl. by C. Ryan, Saratoga: ANMA Libri, 1989). De vulgari eloquentia, ed. P. V. Mengaido, in Opere minori cit., I, (Transl. by S. Botterill, Cambridge: Cambridge UP, 1996). d) Monarchia, ed. B. Nardi, in Opere minori cit., I, (Transl. by P. James, Cambridge: Cambridge UP, 1995). Letters, ed. A. Frugoni and G. Brugnoli, in Opere minori cit., I, (Transl. by P. J. Toynbee, Oxford, Clarendon Press,1962). II. Background: A basic knowledge of medieval history, and a grasp of the principal intellectual and cultural currents of the time are important to help you understand Dante and his poem. 1. History R. H. C. Davis, A History of Medieval Europe, London: Longman, 1970 J. K. Hyde, Society and Politics in Medieval Italy, London: Macmillan, 1973 J. Larner, Italy in the Age of Dante and Petrarch 1216-1380, London & New York: Longman, 1980 F. Schevill, Medieval and Renaissance Florence, 2 vols, New York: Frederick Ungar, 1963: in particular vol. 1. chapters 8-14 2. Culture and ought: E. Auerbach, Mimesis: e Representation of Reality in Western Literature, Princeton: Princeton UP, 1968, pp. 3-202 E. R. Curtius, European Literature and the Latin Middle Ages, London: RKP, 1953 E. Gilson, Christian Philosophy in the Middle Ages, London: Sheed and Ward, 1955 D. Knowles, e Evolution of Medieval ought, London: Longman, 1970 12
C. S. Lewis, e Discarded Image, Cambridge: CUP, 1964 (well-written and wide-ranging survey of the medieval concept of the universe) A. J. Minnis, Medieval eory of Authorship, Aldershot: Scolar Press, 1988 A. J. Minnis and A. B. Scott (eds), Medieval Literary eory and Criticism, Oxford: Clarendon Press, 1988 J. J. Murphy, Rhetoric in the Middle Ages, Berkeley-Los Angeles-London: University of California Press, 1974 B. B. Price, Medieval ought, Oxford: Blackwell, 1992 Since any attempt to read these books in full would prevent you from concentrating on the Comedy, you would be well advised to use only those sections which will help you to improve your understanding of the Commedia. Similarly, the critical writings which follow must also be considered primarily as 'guides' to help you appreciate this highly complex poem. ey must not be treated as substitutes for it. You cannot expect these studies to give you all the answers. Instead, you will have to try to discover those books, or parts of books, which will be most helpful and stimulating to you personally. e lists which follow are very basic (more comprehensive bibliographies dealing with both individual cantos and wider aspects of the poem can be found in the works cited (and in particular those found in Section 4). III. Criticism A vast store of information on all aspects of Dante s life and writings, ranging from individual words to a survey of Florentine history, can be found in the Enciclopedia dantesca, 5 vols, Rome, 1970-76. In the Appendice, vol 6, 1979 comprises a biography of Dante, analyses of his language and style, the critical editions of all his works, and a bibliography. For a very useful alternative, see e Dante Encyclopedia, ed. Richard Lansing, New York, Garland, 2000. 1. General studies on Dante (philosophical, theological, political and literary issues): E. Auerbach, Figura, in his Scenes from the Drama of European Literature, New York: Meridian, 1959, pp. 11-76 (an impressive survey of the meaning and function of 'figuralism' from classical times to its culmination in D.) -----------------, Dante: Poet of the Secular World, [1929], transl. R. Manheim, Chicago: Univ. of Chicago Press, 1961, [Midway Reprint 1988] Z. G. Baranski, Sole nuovo. luce nuova. Saggi sul rinnovamento culturale in Dante, Turin: Scriptorium, 1996. -----------------------, I segni di Dante, Napoli: Loffredo, 2000 ---------------------, Dante and Medieval Poetics, A. A. Iannucci (ed), Dante, Toronto: Toronto UP, 1997, 3-22. T. Barolini, Dante's Poets, Princeton: Princeton UP, 1984 P. Boyde, Dante Philomythes and Philosopher, Cambridge: CUP, 1981 -------------, Human Vices & Human Worth in Dante s Comedy, Cambridge: Cambridge UP, 2000 M. Corti, La felicità mentale, Turin: Einaudi, 1983 13
C. T. Davis, Dante and the Idea of Rome, Oxford: Clarendon Press, 1957 ---------------, Dante s Italy and Other Essays, Philadelphia: University of Pennsylvania Press, 1984 P. Dronke, Dante and Medieval Latin Traditions, Cambridge: Cambridge UP, 1986 A. P. d'entreves, Dante as a Political inker, Oxford: Clarendon Press 1952 J. M. Ferrante, e Political Vision of the Divine Comedy, Princeton: Princeton UP, 1984 K. Foster, e Two Dante s and Other Essays, London; Darton, Longman & Todd, 1977 E. Gilson, Dante the Philosopher, London: Sheed and Ward, 1948 R. Hollander, Studies in Dante, Ravenna: Longo, 1980 P.V. Mengaldo, Linguistica e retorica di Dante, Pisa: Nistri-Lischi, 1978 B. Nardi, "Filosofia e teologia ai tempi di Dante in rapporto al pensiero del poeta', in his Saggi e note di critica dantesca, Milan-Naples: Ricciardi, 1966, pp. 3-109 ------------, Whether Dante Was a True Prophet, in Critical Essays on Dante, ed. G. Mazzotta, Boston:G.K.Hall &Co., 1991, pp. 113-118 G. Padoan, Introduzione a Dante, Florence: Sansoni, 1975 G. Petrocchi, Vita di Dante, Bari: Laterza, 1983 M. Reeves, Dante and the Prophetic View of History, in e World of Dante, ed. C. Grayson, Oxford: Clarendon Press, 1980, pp. 44-60 2. Collections of Essays on Dante s works J. Barnes & J. Petrie (eds), Word and Drama in Dante, Dublin: Irish Academic Press, 1993 J. Barnes & C. O. Cuillenain (eds), Dante and the Middle Ages, Dublin: Irish Academic Press, 1995.. Cachey (ed), Dante Now, Notre Dame: Notre Dame University Press, 1995 G. Contini, Un'idea di Dante, Turin: Einaudi, 1976 (fundamental, although very difficult to read). A. A. Iannucci (ed), Dante, Toronto: Toronto UP, 1997 R. Jacoff (ed.), e Cambridge Companion to Dante, Cambridge: CUP, 1993 C. Grayson (ed), e World of Dante, Oxford: Clarendon Press, 1979 M. Picone (ed.), Dante e le forme dell allegoresi, Ravenna: Longo, 1987 3. La Divina Commedia (studies dealing primarily with the poem as a whole, or with individual cantiche) Z. G. Baranski, La lezione esegetica di Inferno I: Allegoria, storia e letteratura nelia Commedia, in M. Picone (ed.), cit., pp. 79-97. 14
---------------------, Primo tra cotanto senno. Dante and the Latin Comic Tradition, Italian Studies, 46 (1991), 1-36. T. Barolini, e Undivine Comedy, Prineeton: Princeton UP, 1992. L. Battaglia Ricci, Dante e la tradizione letteraria medievale, Pisa: Giardini, 1983. R. Hollander, Allegory in Dante's 'Commedia', Princeton: Princeton UP, 1969. -----------------, Dante s Commedia and the Classical Tradition, in e Divine Comedy and the Encyclopedia of Arts and Sciences, ed. G. Di Scipio & A. Scaglione, Amsterdam/Philadelphia: J. Benjamins,1988, 15-26 G. Mazzotta, Dante's Vision and the Circle of Knowledge, Princeton: Princeton UP, 1993 A. Morgan, Dante and the Medieval Other World, Cambridge: Cambridge UP, 1990 L. Pertile, La puttana e il gigante. Il Cantico dei cantici e il Paradiso Terrestre, Ravenna: Longo, 1997. G. Petrocchi, L'Inferno' di Dante, Milan: Rizzoli, 1978, 11 'Purgatorio' di Dante, ibid; and 11. 'Paradiso' di Dante, ibid. C.S. Singleton, 'Commedia': Elements of Structure, Cambridge, Mass.: Harvard UP, 1954 --------------------, Journey to Beatrice, ibid., 1958 4. Further readings on the Divine Comedy Inferno P. Armour, Brunetto, the Stoic Pessimist, Dante Studies 112 (1994), 1-18 Z. G. Baranski, e Marvellous and the Comic : Toward a Reading of Inferno XVI, Lectura Dantis 7 (1990), 72-95 T. Barolini, Dante s Ulysses: Narrative and Transgression, in A. A. Iannucci (ed), Dante, Toronto: Toronto UP, 1997, 113-132 K. Gross, Infernal Metamorphoses: An Interpretation of Dante s Counterpass, MLN 100 (1985), 42-69 A. Hatcher & M. Musa, e Kiss: Inferno V and the Old French Prose Lancelot, Comparative Literature, 20 (1968), 97-109 M. Musa, Inferno V: Text and Commentary, Lectura Dantis 8 (1991), in particular 122-33 S. Noakes, e Double Misreading of Paolo and Francesca, Philological Quarterly 62 (1983), 221-239 J. Pequigney, Sodomy in Dante s Inferno and Purgatorio, Representations 36 (1991), 22-42 M. Picone, Poetic Discourse and Courtly Love: An Intertextual Analysis of Inferno 5, Lectura Dantis Newberryana, ed. P. Cherchi & A.C. Mastrobuono, vol II (1990), 173-186 J. A. Scott, Inferno XXVI: Dante s Ulysses, Lettere Italiane 23 (1971), 145-186 15
Purgatorio P. Armour, Dante s Griffin anf the History of the World, Oxford: Oxford UP, 1989 --------------, e Door of Purgatory, Oxford: Oxford UP, 1983 K. Foster, Dante s Idea of Love, in From Time to Eternity: Essays on Dante s Divine Comedy, ed. T. Bergin, New Haven: Yale UP, 1967 J. Le Goff, e birth of Purgatory, London: Scolar Press, 1984 J. A. Scott, Dante s Political Purgatory, Philadelphia: University of Pennsylvania Press, 1996 Paradiso M. Chiarenza, Dante s Lady Poverty, in Dante Studies CXI (1993), 153-75 F. Ferrucci, Paradiso I, in Dante s Divine Comedy : Introductory Readings. III: Paradiso, ed. T. Wlassics, Lectura Dantis Virginiana 16-17 (1995), pp. 3-13 L. Pertile, Paradiso: A Drama of Desire, in Word and Drama in Dante, eds. J.C.Barnes & J. Petrie, Dublin: Irish Academic Press, 1993, pp. 143-180. Also in Iannucci, pp. 148-66 L. Pertile, Poesia a scienza nell ultima immagine del Paradiso, in Dante e la scienza, a cura di P Boyde e V. Russo, Ravenna: Longo, 1995, pp. 133-148 More collections of lecturae G. Getto (ed.), Letture dantesche, 3 vols, Florence: Sansoni, 1955-61 P. Giannantonio (ed.), Lectura Dantis Neapolitana, Naples: Loffredo, 1982 M. Marcazzan (ed.), Lectura Dantis Scaligera, 3 vols, Florence: Le Monnier, 1967-68 A. Masciandaro (ed.), Nuove letture dantesche, 8 vols, Florence: Le Monnier, 1966-76 T. Wlassics (ed.), Dante's "Divine Comedy": Introductory Readings, 3 vols, Charlottesville: n.p., 1990-95 For the most recent bibliographies and for present developments in Dante scholarship, you can consult the journals: Studi danteschi, L'Alighieri, Lectura Dantis and Dante Studies, and the annual collection of essays Letture Classensi, Ravenna: Longo, 1966-. 16