Sunday, Sept. 12th, 2010 an exposition of Peter Kattenberg’s work in progress on Dante’s Divina Commedia will open at Arminius, Rotterdam (NL). The guerilla exhibition is part of Festival Witte de With that celebrates the opening of the new Arts Season. Kattenberg’s Dante exposition runs up to Dante’s Day of Death (Sept. 14th) to commemorate the poet and opens during a remonstrant church service to give Dante a new lease on life, both visually and spiritually.
“. . . Associate professor of English Steven Olsen-Smith is a leader in that scholarly community. He is the primary researcher responsible for tracking the recovery of Melville’s dispersed personal library of around 1,000 books and serves as general editor of Melville’s Marginalia Online, a long-term project devoted to the editing and publication of markings and annotations in the books that survive from Melville’s library.
Olsen-Smith recently borrowed Melville’s copy of Dante’s ‘Divine Comedy’ from collector William Reese as part of the Marginalia project’s pending transition to a new digital format that will display photographic images of marked and annotated books with commentary on their significance to Melville’s writings. The book will be on campus through March 31, and Olsen-Smith’s student interns currently are working to catalog notations and recover erasures. . .
‘Melville marked subject matter dealing with issues of free will and fate, original sin and divine justice, and aspects of subject matter and rhetoric that relate to the book’s epic character,’ Olsen-Smith said. ‘It is clear Melville read and marked the book at different points throughout his life, and the interns are identifying parallels between the marginalia to Dante and subject matter in his writings.'” [. . .] –Erin Ryan, Boise State University Update, March 31, 2010
Contributed by Patrick Molloy
“Conceived as a digital incarnation of the medieval illuminated manuscript, My Dante fosters an entirely new type of contemplative reading experience. MyDante encourages readers to experience the poem in a way that is profoundly personal, while at the same time enabling a collaborative experience of a journey shared by a community of readers.
MyDante was originally developed for a philosophy course at Georgetown University, and a public version is currently in development that will be free and open to anyone.” —My Dante Blog
Visit Georgetown’s My Dante site.
“Written by Dante Alighieri.
Adapted for Stage by Desiree Henderson & Kurt Lancaster.
Directed by Kathryn Moller.
Winter 2008: Throughout history, poets and philosophers have struggled to define true love. In the Phaedrus, Socrates explains that love is not simply the act of being caught passionately by a beautiful body or face, but by the eternal form of beauty itself. In Shakespeare’s Romeo & Juliet, Romeo describes love as, “too rough, too rude, too boisterous, and it pricks like thorn.” And even today, pop stars, authors and actors struggle to define and relate this elusive emotion in a tangible way. Dante Alighieri embarked on a similar quest. In this contemporary stage adaptation of Dante’s Inferno, Dante journeys into the pits of hell searching for the beauty of love which touched him for only an instant. Each circle of hell reveals tragic, and sometimes violent exchanges between people who are damned to repeat their sins again and again.” —Fort Lewis Theatre
Contributed by Katherine Avery
“So Yale University and Yale University Press consulted two dozen authorities, including diplomats and experts on Islam and counterterrorism, and the recommendation was unanimous: The book, “The Cartoons That Shook the World,” should not include the 12 Danish drawings that originally appeared in September 2005. What’s more, they suggested that the Yale press also refrain from publishing any other illustrations of the prophet that were to be included, specifically, a drawing for a children’s book; an Ottoman print; and a sketch by the 19th-century artist Gustave Dore’ of Muhammad being tormented in Hell, an episode from Dante’s Inferno that has been depicted by Botticelli, Blake, Rodin and Dali'” [. . .] –Patricia Cohen, The New York Times, August 12, 2009