Imagini dei predicatori e della predicazione in Italia alla fine del Medioevo

eschatological pilgrimage (p. 153). Moreover, Maldina is very insightful in pointing out that, in evaluating the influence of preaching on a text, one has to consider not only the presence of similar rhetorical strategies but also the convergence in themes, style, and function. This crucial methodological point is rightly emphasized in the three case studies – one from each cantica – investigated in the final chapter, entitled ‘Stili omiletici’. By analysing Inferno 19, on the simoniacs, Maldina shows how Dante’s invective against the popes can be framed as an increpatio, which largely uses exclamationes, in line with the precepts of the Summae confessorum. Moreover, the denunciation of the state of corruption of the clergy serves to emphasize the void deriving from the lack of true pastors, something that justifies the prophetic mission of Dante and the salvific function of his poem (p. 170). The analysis of Purgatorio 10–12 returns to the well-known topic of Dante’s use of exempla ‘to restrain vice and to promote virtue’ (p. 186). Yet, Maldina shows how even the souls that Dante the pilgrim encounters, and indeed Dante himself, have the function of ‘examples of pride redeemed by penance’ (p. 200) and how it is the whole structure of the section – not only the exempla – that connects with the contemporary preaching culture by discussing pride, vainglory and humility (pp. 206–07). Within that section, Oderisi da Gubbio’s discourse is analysed as a micro-sermon, which not only is ‘structured as a sermon but also functions as a sermon’ (p. 217). Finally, Beatrice’s theological lecture in Paradiso 4–5 is framed as an example of doctrinal discourse, close to the ‘didactic prose’ of preachers, particularly in its repeated addresses to the listener and in its transition from theological exposition to moral exhortation (p. 233). While at some points the argumentation is a bit forced, the three examples clearly show the potential of a lectura Dantis that takes into consideration the multifaceted dialogue of Dante with the contemporary preaching culture. In conclusion, the book presents a very rich analysis of the interplay between the Commedia and preaching culture and a very stimulating methodology that, as the author points out, has the possibility to foster an in-depth re-evaluation of the ‘lively interchange between sermons and literary texts’ in the late middle ages (p. 10). Although sometimes the book is quite demanding for the reader, and mainly intended for Dante specialists, it promises to remain a solid reference point in the field. Its reading is undoubtedly highly rewarding for scholars interested in sermons, late medieval religious culture, and, of course, the Commedia.