3,134 research outputs found
Carta de R. Landa a Pedro Dorado Montero
No full textCarta de D. R. Landa, secretario de la Junta para la Ampliación de Estudios, a D. Pedro Dorado Montero, relacionada con el pago de los gastos de viaje de D. Pedro a París
Poslednij provodnik Dante: figura sozercatel’ja v Božestvennoj Komedii [L’ultima guida di Dante: la figura di contemplatore nella Divina Commedia]
No full textThis article is dedicated to the mystery of Bernard of Clairvaux, a hero of Dante’s «Divine Comedy»; many theorists of Dante’s work around the world, except perhaps, Russian theorists, have been trying to find a clue to this mystery. This mystery is that this hero appears in the last songs of the poem which describe the culmination of Dante-hero path. His importance is determined by such factors as disappearance of Dante’s main companion Beatrice, she makes way for Bernard; Bernard’s presence at the hero’s side in the highest sphere of Dante’s universe – Empyrean; his guidance at the last stage of Dante’s path and finally the mission entrusted to him by the author – to lead the hero to the contemplation of Virgin Mary and through her – the Trinity itself. The purpose of the author of this article is to suggest her variant of interpreting the importance of this protagonist for the «Comedy» in order to fully understand the poetic structure and philosophy of the poem. For this purpose the author of this work analyses «Comedy»’s’ episodes with Bernard, contemplates the versions of interpreting Bernard’s role in the poem suggested by the most distinguished theorists of Dante’s work, covers the abstracts from the treatise by the hero’s historical prototype – Bernard of Clairvaux; these abstracts according to historic-literary evidence could have been the source for philosophical and theological ideas of Dante-author. This article also deals with the most important aspects of real Bernard’s activities and tries to determine Bernard’s role in «Comedy». This literary study shows that Bernard’s presence is closely linked to the meditative-mariological element of personality and creative work of Bernard of Clairvaux and in its turn it is his presence in the last songs of the third canticle that proves the importance of contemplation and spiritual maturity as metaphors of spiritual path in Dante’s poem.
The article proves the idea that Bernard’s image plays one of the key roles in creating poetic essence of the poem; it is like a «center» that unites numerous images of visual phenomena that help the hero to reach the promised goal and the text to gain a harmonic completion in describing the contemplation of the highest good
Negativnye modeli florentijskogo poéta v "Razgovore o Dante" Osipa Mandel'štama [I modelli negativi del poeta fiorentino nella "Conversazione du Dante" di Osip Mandel'štam]
No full textOsip Mandelstam’s “Conversation about Dante” (1933) is a unique text in Russian Dante Studies of the early 20th century. Indeed, not only does the essai challenge the image of Alighieri created by the pre-revolutionary Symbolist culture but it also falls short of the criteria of Soviet literary criticism. The most typical traits of the gure of Dante as conceived by the Symbolists, together with some elements of the successive elaboration it underwent in the Soviet period, form in Mandelstam’s essay two negative models used by the author as a starting point to o er what Mandestam considered to be the ‘real’ portrait of Dante. The purpose of this paper is to show some analogies between the two models rejected by the author of the essay, considering them in the light of Mandelstam’s ideas about the art of poetry. While for the Symbolists Dante is a mystic and visionary, the prototype of the ideal artist who blends religion and art, for the Soviet scholars of the thirties he is one of the international classics, whose poetry should be studied from the perspective of the Marxist literary theory. However, in both cases the personality and the works of the Florentine poet are analyzed through an interpretative code that suggests a set of clichés and deprives the reader of the possibility to re ect on the poetic structures of the Comedy and the true nature of Dante the artist
Carmen López Landa, exiliada y militante antifranquista (1931-2006)
No full textL’autor David Ginard repassa la biografia de la militant antifranquista Carmen López Landa, desapareguda l’any 2006.The author reviews the biography of Carmen Lopez Moor, anti-Franco militant who passed away in 200
Božestvennaja t’ma v Božestvennoj Komedii Dante [Il divino buio nella Divina Commedia di Dante]
No full textPoetics of light in Dante’s «Divine Comedy» is one of the most important topics for understanding the poem and one of the least investigated in the Russian literary studies. In this paper the light motive (one of the main in this poem) is envisaged in an unusual aspect: darkness as the reverse side of excess light, as an image dominating at all levels of Dante’s text and underlying the narrative evolution of the poem. The analysis of all the poem’s metaphors with light semantics shows that the description of light phenomena intensification is a precondition for «interior enlightenment» of the hero, continuation of his way and consequently the existence of the poem itself. However, at all the investigated levels the intensification of light leads to the hero’s blinding: the light becomes an obstacle for him perceiving the highest reality. The light may even have the function of a cover that hides the genuine image of the world perceived by the hero. Besides, as the hero moves closer to the aim of his way and the narrator towards the end of the poem, we constantly see the motive of «infirmity» of the human language, which is unable to describe the more and more unusual experience of the hero which deserves a better portrayal. It becomes evident that silence and blindness are the permanent companions of the prime of poetic eloquence and light images of the third canticle. The author of this paper following the author of «Lux inaccessibilis» M.Ariani suggests explaining this apparent paradox in the context of mysticism of Dionysius the Areopagite, one of the most respected medieval theologians, a founder of apophatic, «dark» theology. Metaphors used by Dionysius in describing the Divine essence become one more clue to the role of light and darkness in Dante’s «Comedy»
Carmen López Landa, exiliada y militante antifranquista (1931-2006)
No full textThe author reviews the biography of Carmen Lopez Moor, anti-Franco militant who passed away in 2006L¿autor David Ginard repassa la biografi a de la militant antifranquista Carmen López Landa, desapareguda l¿any 200
Rodolfo Landa, Rodolfo Echeverría, Ferrusquilla y otros conversando durante un evento.
No full textFERRUSQUILLA G. ALPUCHE R. ECHEVERRIA RODOLFO LANDA, I.O
“Congiungendo l’incongiungibile”. Le citazioni della “Commedia” nella “Conversazione su Dante” di Osip Mandel’štam
No full textMandelstam’s essay Conversation about Dante was written in the summer of 1933. Today, some Dante scholars and translators consider Conversation “perhaps the most profound and original Dante essay of the 20th century” (Corrado Bologna, 2012), “a world event”, the result of “an encounter with a real, authentic Dante” (Olga Sedakova, 2007). At the same time, the essay is regarded by many contemporary scholars as an expression of Mandelstam’s own poetics, with Mandelstam seeing in Dante the ideal model of the European poet. In this perspective, the study of the citations from the Commedia in Conversation may be of particular interest. While testifying to the Russian’s profound knowledge of all three canticles, these citations, partially translated by Mandelstam, gave rise to an original interpretation of Dante’s text, based on the reading of philosophers and scientists who were contemporary to the author of the essay. In this contribution, I focus on a number of citations that illustrate Mandelstam’s reflection on Dante’s metaphors, which, according to him, are rooted “not in the word ‘how’, but in the word ‘when’”. Indeed, in the Russian poet’s vision, Dante’s metaphors describe all the phenomena of the universe in their “fluidity”, that is, in their becoming in the course of time. In particular, I attempt to show how these citations enabled Mandelstam to formulate his own ideas on poetic language, which were inspired by Henri Bergson’s L’évolution créatrice [Creative Evolution], which, as we know from the testimony of his wife Nadezhda, the poet read in the spring of 1933
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