“Newly Uncovered DNA Evidence Frees Thousands Of Damned Souls From Hell”

“Hear how justice was finally served for those wrongfully accused of greed, gluttony, and premarital sex.”   —The Onion, 2020

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“Columbia Art League Exhibit Honors Dante With Visions of the Afterlife”

columbia-art-league-dante-visions-of-afterlife-2021“CAL’s current exhibit, The Divine Comedy, is grounded in Dante Alighieri’s medieval masterwork, a revealing, often harrowing pilgrimage through the stations of the afterlife. CAL artists responded to Dante’s themes, and everlasting concepts of life beyond our own, in personal and particular ways.

“Heaven, hell and purgatory are represented within these images, and relatively well-balanced, CAL education and outreach director Karen Shortt-Stout said. Given the existential troubles of 2020 and early 2021, she thought artists might bend in greater number toward the visual language of fire and brimstone.

Vision Magazine’s, “Dante Alighieri and The Divine Comedy

vision-magazine-on-dante“The Comedy demonstrates the significant influence of Greek philosophy. Dante didn’t read Greek; it seems his philosophical grounding came from religious convent schools founded by Dominican or Franciscan monks. Scholars suggest that the Dominicans would have instilled in their pupil the methodology of Thomas Aquinas’s magnum opus, Summa Theologica. They would likewise have grounded him in the writings of Aristotle and the church Fathers. The logic of Aristotle, which had been out of vogue for centuries, regained popularity in the decades preceding Dante’s birth, giving rise to Christian rationalism. Thus, even though the Bible is by far the most dominant source for the Comedy, in Dante’s hands Scripture became materia poetica, reshaped through an Aristotelian moral system.

“In terms of the idea of the human soul, for example, Dante ‘follows the dominant Western tradition,’ namely ‘that each human soul is created by God, destined for union with a particular human body, and infused by God into the embryo before birth’ (The Cambridge Companion to Dante. This Western tradition owes much not only to Aristotle’s ideas but to his mentor Plato’s concept of the eternal soul, denying only its preexistence. Yet Dante was not a dualist in the Cartesian or Neoplatonic sense. According to Dante scholar Robin Kirkpatrick, ‘his very conception of a human soul denies that he could be. For Dante—as for Aristotle—the soul, or (in Italian) anima, is neither more nor less than the animating form of the body.'” [. . .]    –Daniel Tompsett and Donald Winchester, Vision Magazine, 2013.

Review of Murakami, Colorless Tsukuru Tazaki and His Years of Pilgrimage (2013)

review-murakami-colorless-tsukuru-tazaki-and-his-years-of-pilgrimage-2020“But it’s classical music – another Murakami love – that gives Murakami the title of his latest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage. The title comes from Franz Liszt’s three-suite work Anneés de pèlerinage, which translates as ‘Years of Pilgrimage.’

“The eighth part of the first suite – ‘Le mal du pays’ (translation: ‘Homesickness’) – bonds the five main characters (they all play and/or listen to the piece throughout the novel) as they voyage through the “years of pilgrimage” of their mid-30s.

“Murakami’s literary antecedent in writing about one’s mid-30s as a time of a despondent and confusing quest for meaning is, of course, Dante and his Divine Comedy. And the quest of Dante’s protagonist ends happily, as does the quest of Murakami’s protagonist, Tsukuru Tazaki.” [. . .]    –Paul Gleason, Stereo Embers

Charles Sykes, “The Agony of the Anti-Anti-Trumpers” (2020)

vision-of-hell-charles-sykes-agony-anti-anti-trumpers-2020“They are destined to be forgotten. ‘The world will let no fame of theirs endure,’ Virgil explains. ‘Let us not talk of them, but look and pass.’ Dante describes the vast horde who chase after the elusive banner that “raced on so quick that any respite seemed unsuited to it.” Behind the banner, he writes, ‘trailed so long a file/ of people—I should never have believed/ that death could have unmade so many souls.’

“This, of course, got me thinking about the anti-anti-Trumpers and their season of agita.

“A cry went up this week from the precinct of the anti-anti-Trumpers suggesting that the selection of Kamala Harris was the moment for their decisive break into formal indecisiveness. As much as they loathed Donald Trump, they insisted, there was no way that they could support a Biden-Harris ticket.

“But the choice of Harris wasn’t really a tipping point, because the anti-antis were never going to support a viable opponent to Trump. The essence of anti-anti-Trumpism is the full recognition of the awfulness of Trump and all of his works, but a firm resolve not to actually do anything to confront them.” [. . .]    —Charles Sykes, The Bulwark, August 14, 2020

Frank Bruni, “From Trump, No Respect for Ruth Bader Ginsburg, or the Rules”

Photo by Gage Skidmore (Wikimedia Commons)

“‘The only way we’re going to lose this election is if the election is rigged,’ Trump told supporters at a rally in Wisconsin last month. He has repeatedly made versions of that claim, at one point exhorting North Carolinians to monitor polling sites and ‘watch all the thieving and stealing and robbing’ by Democrats, who will work to lift Biden to victory by ‘doing very bad things.’

“And it’s a perfect example of Trump’s tendency to assign his own motives and methods to others. He worries that they’ll cheat because he has always cheated — on his taxes, on his wives, in his business dealings, in his philanthropy. He imagines them cheating because he actually is cheating.

[. . .]

“But Trump’s cheating is its own virus, infecting everyone around him. Trump’s cheating is its own ecosystem. Abandon all scruple, ye who enter here.”   — Frank Bruni, “From Trump, No Respect for Ruth Bader Ginsburg, or the Rules,” New York Times (September 19, 2020)

Contributed by Dan Christian

“On the Road with Dante”

“While The Divine Comedy most clearly reflects the Catholic faith of the poet and his medieval world, it hints at some principles the Reformation would bring to bear on the church two centuries later. Dante purposely wrote in a low style that would have popular appeal despite its highly spiritual subject matter. While the church produced works in Latin, Dante wrote in the vernacular. His choice was revolutionary, ensuring the work could and would be read by common men as well as by women and children (who still study the work extensively in Italian schools today).

“Despite its loftiness, The Divine Comedy is firmly grounded in the gritty and the mundane. In fact, Dante didn’t use the word divine in his title. He simply titled it Commedia, which at the time meant a work with a happy ending as opposed to a tragic one. (The word ‘divine’ was added by a later editor and has stuck through the years.) In casting a fictional version of himself as the central figure, The Divine Comedy is prophetically personal, confessional, and autobiographical. In this way it emphasizes a surprisingly modern sense of self-determination, one that foreshadows the famous ‘Protestant work ethic.’ Moreover, in its accent on the salvation and purification of the individual soul, this work of the Catholic Dante anticipates the spiritual autobiographies of Puritans such as John Bunyan. The Divine Comedy is a story of someone seeking salvation. In Dante’s own words, the poem’s purpose is to lead readers from ‘a state of wretchedness to a state of happiness.’ And while depicting salvation in the afterlife, it’s clear Dante intends readers to find abundant life in the here and now.” [. . .]    –Karen Swallow Prior, The Gospel Coalition, October 21, 2015.

“Visions of Hell: Dark Souls cultural heritage”

“It’s hard to place a finger on the most recognizable reference to Gustave Doré’s incredible illustrations in the Dark Souls series. The artist, who in a short 50 year life span produced over 100,000 pieces, and illustrated many of the great works of world literature, haunts many a crooked corner of Lordran, Drangleic, and Lothric. Flicking through his illustrations for Dante Alighieri’s great masterwork The Divine Comedy (1320), it is impossible not to be reminded of the landscapes and demons of Dark Souls. On top of a sheer rock wall we see a clutch of figures, huddled like the Deacons of the Dark. In a shallow pool lie piles of corpses, twisted into an inseparable mess, like the horrible sights that await in the drained ruins of New Londo. The great king Nimrod chained, now a giant and no longer a man, echoes the lost ruler of Drangleic. It is no surprise that it is the first book of The Divine Comedy, Inferno, depicting Dante’s journey through hell, that brings us these images. Doré’s bleak, stony, and understated depictions of Satan’s kingdom so strongly contrasted with decades of medieval hellfire that had gone before. They are powerfully mythic images, ones that have been reached for again and again by artists in search of the power of the dark.

“Though iconic now, the success of Inferno was never assured. Many of Doré’s supporters called it too ambitious and too expensive a project, and so, in 1861, driven by his passion for the source material he funded its publication himself. His risk paid off, and the volume and its subsequent sister volumes Purgatorio and Paradiso, depicting purgatory and Heaven respectively, became his most notable works. A critic at the time of its publication wrote that the illustrations were so powerful that both Dante and Doré must have been ‘communicating by occult and solemn conversations the secret of this Hell plowed by their souls, traveled, explored by them in every sense.’ This plumbing of the depths of despair in search of beauty is the true thematic link between these illustrations and Dark Souls art. Like the monsters of Kuniyoshi, in Doré we don’t just see the aesthetic roots of Dark Souls, we see its themes—the concepts of loss, despair, and the allure of the occult sketched out in chiaroscuro black-and-white.” [. . .]    –Gareth Damian Martin, Kill Screen, May 11, 2016.

“La Divina Commedia trova nuova vita nei cinguettii di Twitter”

“La copertina sfondata, le pagine squarciate. Du-rante la Seconda Guer-ra Mondiale una copia della Divina Commedia frenò un proiettile vagante, evitando lamorte al proprietario che la custodiva in tasca. «È la provache Dante può salvarti la vi-ta», scherza Pablo Maurette,raccontando l’episodio. Questo 38enne argentino, professore di letteratura comparataa Chicago, è il protagonista di una rivoluzione culturale checorre su Twitter: la lettura, partecipata, del capolavoro di Dante ai tempi dei social.

“La formula è semplice: un canto al giorno, per centogiorni. Si legge, ognuno per conto proprio, poi si inizia a twittare per commentare leterzine e cercare spunti di analisi: i cinguettii si trasformano in note a piè di pagina. Il risultato? Un successo planetario. Dal Messico al Cile, dalla Francia all’Australia, migliaia di utenti di lingua spagnola (una bolgia, verrebbe da dire) hanno lasciato ogni speranza per unirsi al viaggio 3.0 guidato da Virgilio.” [. . .]    –Filippo Femia, La Stampa, February 2, 2018.

You can read the full article on La Stampa.

See other posts related to #Dante2018 here.

Contributed by Pablo Maurette (Florida State University)

“#Dante2018: llega a su fin la lectura masiva de la Divina Comedia

“Llega el final de uno de los grandes eventos culturales del año: la lectura -masiva- y compartida a través de las redes sociales de La Divina Comedia, la obra de Dante Alighieri.

“La iniciativa, a cargo del ensayista Pablo Maurette, comenzó con el primer día del 2018 y, bajo el hashtag #Dante2018, se leyó un canto por día, a partir del cual se compartieron impresiones e inquietudes de manera colectiva en Twitter.

“Horas antes del cierre, de la lectura de La última sonrisa de Beatriz, canto final de Paraíso, con la que se concluirá la lectura colectiva, Maurette explicó a Infobae Cultura: ‘Fue una experiencia muy buena. Me impresiona que tanta gente se haya sumado y haya leído hasta el final. Hubo discusiones muy interesantes. Incluso algunas bastante acaloradas. Bastante humor, también. Se generó una verdadera comunidad virtual’ [. . .]

“Durante este día de cierre, participarán de la lectura personas de casi todos los países de habla hispana, Brasil, Italia y Estados Unidos. Esto también sucedió cuando se realizó la lectura del último canto del Infierno y el Purgatorio.” [. . .]    —Infobae, April 10, 2018.

See other posts related to #Dante2018 here.

Contributed by Pablo Maurette (Florida State University)