posted on August 30, 2019 by
Bárbara Pistoia’s Illustration for Purgatorio 33
Bárbara Pistoia is a visual artist and essayist. Her work has appeared in the anthologies Ensayos x la identidad (2007), and Matar al macho (2019), and in 2017 published Dinosaurios, a book of illustration. As part of the #Dante2018 social media movement, Pistoia created the above art of Dante and Beatrice for Canto 33 of Purgatorio.
To see of more of Pistoia’s work, you can follow her on Twitter and on her blog. Additionally, Pistoia coordinates Hiiipower Club, an online space dedicated to hip hop culture and black artists.
See other posts related to #Dante2018 here.
Contributed by Pablo Maurette (Florida State University)
posted on August 6, 2019 by
BioWare Animator Creates Gorgeous ‘Dante’s Inferno’ Short Film
“BioWare animator Tal Peleg released a new animated (NSFW) short film based on Visceral Games’ 2010 action title ‘Dante’s Inferno’ on Sunday.
“The game was loosely based on Dante Alighieri’s long narrative poem The Divine Comedy. But, it reimagines the poet as a Templar knight who goes on a bloody journey through the nine circles of Hell to rescue Beatrice from Lucifer.
“Peleg created his first ‘Dante’s Inferno’ fan fiction short four years ago. As a lover of both fantasy/medieval art and action-RPGs, he said in a recent behind-the-scenes blog post the game couldn’t have come out at a better time.” […] –Stefanie Fogel, Variety, November 20, 2018
posted on August 6, 2019 by
Dante’s Divine Comedy: A journey without end, by Ian Thomson
“IAN THOMSON is a travel writer, and here he attempts the most ambitious journey of all in the company of Dante — ‘to hell and back’, as he puts it in his heading to the introduction. He is well aware that the Divine Comedy was written a long time ago, in medieval Italian, and in a world remote in many of its assumptions from those that he expects his readers to share; so he sets about providing a bridge to take them there.
“His second chapter is a biography of Dante, set in the context of the warfare of Guelfs and Ghibellines in Dante’s Florence, which he sketches with a knowledgeable eye on modern Italian politics. There follows an exploration of the Beatrice story and the place that she — or the idea of her — played in Dante’s emotional and intellectual development as he grew up, and became a poet. Then come chapters on the explosive Florentine political scene where the young Dante was worsted, and from which he went into exile.” […] –G.R. Evans, Church Times, November 30, 2018
posted on July 12, 2019 by
Dante’s Divine Comedy: A Journey Without End by Ian Thomson (Review)
“None of us today would have heard of Beatrice di Portinari had Dante, Italy’s greatest poet, not decided to retain the suggestive name (‘Beatrice’ signifies blessings) of a Florentine girl whom he conveniently first met at the age of nine – forms of three represent the Trinity in The Divine Comedy’s innovative terza rima – as his celestial Guide. Beatrice takes over from Virgil. No pagan, however distinguished, may enter Dante’s paradise. Beatrice is the initially reproachful (‘What right had you to climb the mountain?’) but eventually redemptive spirit who draws the purified poet into the heart of the eternal rose within which, in the bliss-filled closing lines of The Divine Comedy, Dante himself becomes annihilated and immortalised.” [. . .] –Miranda Seymour, The Guardian, August 12, 2018
posted on July 10, 2019 by
Dante’s Nine Circles of Hell and the Internet Inferno
“I’ve seen several references to various social media apps and the Seven Deadly Sins, but as I consider the darkness that seems to breed in social media circles — from teen bullying on Snapchat and Instagram, to Twitter trolls threatening female reporters in India with rape and abuse, to child pornography on the Dark Web and the children who suffer miserably, literally living in hell for predators’ public pleasure — Dante’s Inferno comes to mind, and how this ancient story from 1300 might actually describe our reality right now, as we enter the Information Age of our human development.
[. . .]
“Unfortunately our technology is held hostage by the worst of us. Until we can turn the technology around and use it against those who commit such evil, we can’t get out of the woods. However, Dante and Virgil do make it out of Hell. Interestingly the poets cross through the barren wasteland and to the river of forgetfulness, emerging from Hell on Easter morning.
“I find it interesting that they must forget the darkness in order to leave Hell and make their way to Heaven, where true connection, love and solidarity await. What must we forget in order to fulfill the promise of the Internet and the idea of a globally connected world?
“Our hate? Our jealousy? Our anger? Our fear? Our ignorance? Our greed? Our lust? Our mistrust?
“I imagine so. In the meantime, our experiences online seem to be on one hand accelerating and enabling those who wish to sow the seeds of discontent and on the other hand bringing us together, enabling the collection and sharing of information and knowledge, and making us aware of those places and people in our community who are in need. If we can rid ourselves of our lower natures and focus on the fact that when we’re online, we’re actively creating a world together, perhaps someday we will hold Beatrice in our embrace, and finally find human connection at the deepest, most satisfying level.” –Nicole Sallak Anderson, “Dante’s Nine Circles of Hell and the Internet Inferno,” Medium, October 25, 2017
posted on May 25, 2019 by
Marvel Comics, Ka-Zar the Savage #9-12 (1981-1982)
“In 1982, Marvel Comics incorporated Dante Alighieri into their superhero universe in Ka-Zar the Savage Issues #9-12. Apparently, Dante based the Inferno on a pre-historic, Atlantean amusement park, one where cultists killed Beatrice in order to summon inter-dimensional demons. Dante managed to defeat the cultists with his prayers, but they return to power seven centuries later to attempt to summon their demon-lords again. That leaves it up to Ka-zar the Savage to climb down an animatronic Hell to finish what Dante started.” –Paul Jenizm
(Contributed by Paul Jenizm)
posted on February 18, 2019 by
W.H. Auden, “Memorial for the City”
Excerpt from Part II of W.H. Auden‘s “Memorial for the City“:
“The deserts were dangerous, the waters rough, their clothes
Absurd but, changing their Beatrices often,
Sleeping little, they pushed, raised the flag of the Word
Upon lawless spots denied or forgotten
By the fear or the pride of the Glittering City;
Guided by hated parental shades,
They invaded and harrowed the hell of her natural self.”
Auden’s poetry is replete with Dante references. See also “In Memory of Sigmund Freud” and, most famously, “New Year Letter,” discussed here and here. Auden’s collected works can be read in the edition by Edward Mendelson.
Contributed by Quinn Cashion (University of Kansas 2019)
posted on February 10, 2019 by
Guy Denning’s Oil Painting Series on the Commedia
Guy Denning is an artist based out of Finistere, France since 2007. Beginning in 2011, he created a three part series of oil paintings based on Dante’s Divine Comedy. The image above is a painting called “ch’io ‘l vidi uomo di sangue e di crucci” from his first series, ‘Inferno‘ (2011).
“In 2011 he presented ‘Inferno’, the first part of his three-part series of oil paintings on Dante’s Commedia in Bologna; this was his first exhibition in Italy and the complete exhibition sold out.
In 2011, he presented the second part of the series in New York City for the exhibition ‘Purgatorio’. Originally drawing inspiration from Dante’s writings, his intention was not to recreate the poem in a visual or literal sense, but instead let the ‘Purgatorio’ series act as a framework for his own personal interpretation of the world following 9/11. As with the writing of Shakespeare, Denning finds a perpetual relevance in Dante’s work where the specifics of name, situation and place are easily adapted to the modern world; as if time moves on but the problems of humanity remain essentially the same. The events of September 11th and the emotional toll it took on the US identity was a critical element to this body of work. Poignantly enough, this exhibition was held in a ‘pop-up’ location just blocks from Ground Zero and on the 10th Anniversary of the 9/11 attacks.” [. . .] —Widewalls Magazine, 2017
“This was the first part of my paintings based on Dante’s Divine Comedy. Inferno was exhibited at my first solo exhibition in Italy at MAGI’900 Museo, Bologna.” –Guy Denning, on his site, January 19, 2017
On exhibition set- “Purgatorio”
“This was the second part of my paintings based on Dante’s Divine Comedy. Purgatorio was exhibited in Manhattan at a pop-up gallery space by Brooklynite Gallery on the tenth anniversary of the 9/11 attacks.” –Guy Denning, on his site, January 30, 2017.
The image above to the right is a painting called “the cardinal virtue of media temperance” from the ‘Purgatorio‘ exhibition.
“This was the third part of my paintings based on Dante’s Divine Comedy. Paradiso was exhibited at Signal Gallery in London.” –Guy Denning, on his site, January 27, 2017.
The image below is a painting called “Looking for Beatrice” from the ‘Paradiso‘ exhibiton.
To view Denning’s full list of exhibitions, check out his website here
posted on January 26, 2019 by
Louise Glück, “From a Journal” (2001)
“From a Journal”
I had a lover once,
I had a lover twice,
easily three times I loved.
And in between
my heart reconstructed itself perfectly
like a worm.
And my dreams also reconstructed themselves.
After a time, I realized I was living
a completely idiotic life.
Idiotic, wasted—
And sometime later, you and I
began to correspond, inventing
an entirely new form.
Deep intimacy over great distance!
Keats to Fanny Brawne, Dante to Beatrice—
[. . .]
“From a Journal” is from Louise Glück’s 2001 collection The Seven Ages. It was published by HarperCollins.
Contributed by Jessica Beasley (Florida State University, 2018)
