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Performing Salvation in Dante’s Commedia 在但丁的喜剧中表演救赎
Pub Date : 2018-02-22 DOI: 10.1353/DAS.2017.0002
A. Ascoli
sense that it supplies the material to be performed. If one then returns to apply the active/passive formulation of cantio as Dante has elaborated it to lectio, we find ourselves in a bit of a quandary, for more than one reason. First of all, the traditional “active” reading
感觉它提供了要执行的材料。如果我们回过头来应用但丁在《选集》中阐述的主动/被动命题,我们就会发现自己陷入了一个两难的境地,原因不止一个。首先是传统的“主动”阅读
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引用次数: 2
Bronzino’s Dante
Pub Date : 2018-02-22 DOI: 10.1353/DAS.2017.0005
Deborah Parker
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引用次数: 0
Le “lettere mozze” di Federico III di Sicilia e il liber mortis di Dante 费德里科三世(Federico III of sicily)和但丁的《死亡之书》(liber mortis)
Pub Date : 2018-02-22 DOI: 10.1353/DAS.2017.0001
M. Mantovani
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引用次数: 0
Dante’s Blood Elegies 但丁的血挽歌
Pub Date : 2018-02-22 DOI: 10.1353/DAS.2017.0003
Maggie Fritz-Morkin
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引用次数: 0
The Artist as a Dantista: Francesco da Sangallo’s Dantism in Mid-Cinquecento Florence 作为丹提斯塔的艺术家:弗朗西斯科·达·桑加洛在五十年代中期佛罗伦萨的丹提主义
Pub Date : 2018-02-22 DOI: 10.1353/DAS.2017.0006
Diletta Gamberini
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引用次数: 0
Dante, Riccobaldo and Empire 但丁,里卡多和帝国
Pub Date : 2018-02-22 DOI: 10.1353/DAS.2017.0004
W. Caferro
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引用次数: 1
Pro patria mori: From the Disticha Catonis to Dante’s Cato
Pub Date : 2018-02-22 DOI: 10.1353/DAS.2017.0000
Filippo Gianferrari
Fuit enim illi continue spiritus aliqualis, tremulus tamen et semivivus potius quam virtute aliqua validus, ut in Catone, Prospero, Pamphilo et Arrighetto florentino presbitero, terminus quorum sunt opuscula parva nec ullam antiquatis dulcedinem sapientia. Verum evo nostro ampliores a celo venere viri, si satis adverto, quibus cum sint ingentes animi, totis viribus pressam relevare, et ab exilio in pristinas revocare sedes mens est: nec frustra. Videmus autem, nec te legisse pigebit, ante alios nota dignos, seu vidisse potuimus, celebrem virum, et in phylosophie laribus versatum Dantem Allegherii nostrum [. . .] —Giovanni Boccaccio, Letter to Iacopo Pizzinga (1371)1
在 Catone、Prospero、Pamphilo 和 Arrighetto florentino presbitero 中,"spirus aliqualis"(魂灵)与 "virtute aliqua validus"(有效魂灵)一样,都是震颤的、半生的。我们的祖先确实是病毒,如果我们的祖先有了新的生命,就会把所有的病毒都释放出来,让他们在监狱里重新安居乐业:但这并不令人沮丧。Videmus autem, nec te legisse pigebit, ante alios nota dignos, seu vidisse potuimus, celebrem virum, et in phylosophie laribus versatum Dantem Allegherii nostrum [...] -Giovanni Boccaccio, Letter to Iacopo Pizzinga (1371)1
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引用次数: 0
Dante’s Book of Shadows: Ombra in the Divine Comedy 但丁的《影之书:神曲中的奥姆布拉
Pub Date : 2016-12-28 DOI: 10.1353/DAS.2016.0006
Andrew M. Hui
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引用次数: 2
Music, Justice, and Violencein Paradiso 20 天堂中的音乐、正义与暴力
Pub Date : 2016-12-28 DOI: 10.1353/DAS.2016.0003
A. Cornish
Underneath a depiction of Justice in a narrative cycle of the life of Mary and Jesus in the Scrovegni Chapel in Padua (c. 1306), Giotto crafted a musical scene of three dancing women. The scene is multi-medial on two levels: it is painted to give the illusion that it is a sculptural relief rather than a frescoed surface and it is a visual attempt to represent an audible art form. Eleonora Beck reports that in the history of the iconography of justice the association of this particular virtue with music is rare, or even unprecedented. But as she points out, musical harmony is in fact a venerable image of political concord which, as Cicero asserts in his Republic, cannot exist without justice.1
在帕多瓦的斯克罗韦格尼礼拜堂(约1306年)中,在对玛丽和耶稣生活的叙述循环中对正义的描绘之下,乔托创作了一个三个跳舞的女人的音乐场景。这个场景在两个层面上是多层的:它被画出来给人一种错觉,它是一个雕塑浮雕,而不是一个壁画表面,它是一种视觉上的尝试,代表一种听觉艺术形式。Eleonora Beck报告说,在正义图像学的历史上,这种特殊的美德与音乐的联系是罕见的,甚至是前所未有的。但正如她所指出的,音乐的和谐实际上是政治和谐的一种可敬的形象,正如西塞罗在《理想国》中所断言的那样,没有正义,政治和谐是不可能存在的
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引用次数: 0
The “Dante Canon”: Collecting Dante’s Lyric Poetry in the Fourteenth Century 《但丁正典》:14世纪但丁抒情诗集
Pub Date : 2016-12-28 DOI: 10.1353/DAS.2016.0005
Laura Banella
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引用次数: 0
期刊
Dante Studies
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