Dante in Translation (ITAL 310)
Professor Mazzotta introduces students to the Divine Comedy, focusing on the first four cantos of Inferno. Stylistic, thematic and formal features of the poem are discussed in the context of its original title, Comedy. The first canto is read to establish the double voice of the poet-pilgrim and to contrast the immanent journey with those described by Dante's literary precursors. Among these is the pilgrim's guide, Virgil. The following cantos are read with special attention to the ways in which Dante positions his poem vis-à-vis the classical tradition. The novelty of Dante's otherworldly journey is here addressed in terms of the relationship, introduced in the previous lecture in the context of the Vita nuova, between love and knowledge or, more precisely, between their respective faculties, will and intellect.
00:00 - Chapter 1. Explanation of Title; Three Levels of Style; Formal Structure
00:07 - Chapter 2. Canto I and Its Double Narrative Focus
19:02 - Chapter 3. Shifting the Language from Mind to Body
25:31 - Chapter 4. Meeting Virgil the Poet and Neo-Platonic Philosopher
37:01 - Chapter 5. Canto II: Identity and Purpose of Journey
42:21 - Chapter 6. Canto III: Entering the Gate of Hell; An Idea of a Linear Novel
51:31 - Chapter 7. Canto IV: Into the Garden and Limbo's Fantastic Figures
01:04:13 - Chapter 8. Question and Answer
Complete course materials are available at the Open Yale Courses website: http://open.yale.edu/courses
This course was recorded in Fall 2008.
Tagged under: The Divine Comedy,Inferno,Commedia,Virgil,hell,purgatory,paradise,terzarima,metonymy,Purgatorio,The Republic,cave metaphor,selva,hyle,The Aeneid,Socratic scheme,misere, Iulio,The Odyssey,Bernard Sylvester,Fulgentius,John Salisbury, se stessi,Charon,Gerard Manley Hopkins,Goldengrove Margaret,limbo,lembo,locus amoenus,Francesca da Rimini,neutral angels,Guelph,Ghibelline,Guido Cavalcanti,captatio benevolentia,stilnovisti
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