The goal of this course is to help students acquire a substantial knowledge of Dante Alighieri's Divine Comedy as a cornerstone text of Western civilization; not as an isolated work of literature in itself, but as an encyclopedia and cultural archive. The course illustrates the dynamic, evolutional value of the Commedia within the history of literature; considers the relationship between author and environmental context; and examines the transition from the Middle Ages to Humanism. In particular, the course focuses on the medieval background of the Commedia (in thought and structure). Alongside the commentary and analysis of a chosen group of canti for each of the three cantiche, the course includes historical, philosophical, biblical, and theological investigations.
Learning outcomes:
By the end of the course, students are able to:
-Have a substantial knowledge of Dante Alighieri's Divine Comedy;
-Comment and analyze an important group of chosen canti for each of the three cantiche;
-Recognize the value of the Divine Comedy as a cornerstone text of Western civilization;
-Know the most important sources of the Divine Comedy and understand how this masterpiece is a cultural link between the Middle Ages and Humanism;
-Develop skills to critically evaluate Medieval culture.
Method of presentation:
In-class lectures
Required work and form of assessment:
Class active participation and class discussions (15%); midterm written exam in the form of essay-style answers (25%); final 7-10 page research paper on a topic chosen by student (contingent on professor authorization) and oral presentation to the class of the research paper (25%); final written exam in the form of essay-style answers (35%).
content:
1. Who was Dante Alighieri?
His life and works. Historical and political background, especially of thirteenth-century Florence. The significance of Dante's Commedia in Italian culture and civilization.
2. What is Dante Alighieri?
The cultural mark of a man who both elaborates medieval culture and anticipates Humanism. The presence of medieval sources in Dante's formation, the anticipation of Humanism in his writings. The Classical and Christian heritages.
3. Imaging the Underworld
The Commedia as the peak of the iceberg in a long series of journeys in the Other World; the poem's structure and its main sources.
4. Reading Inferno (Hell)
The devil and Hell in medieval culture; theological models to represent them in literature. Dante's structuring of Inferno and the strategy of pain.
5. Inferno
Selected readings and analysis of some canti taken from Inferno.
6. Inferno. About Monsters: the Middle Ages and the Unknown
Symbolic perspectives, monastic thought, fear of the Other.
7. Reading Purgatorio (Purgatory)
The concept of Purgatory in medieval thought; when Purgatory was theorized and how.
8. Purgatorio
Selected readings and analysis of some canti taken from Purgatorio.
9. Purgatorio. Vices, Virtues, and the Concept of Expiation
Dante's poem as a representation of medieval eschatology.
10. Reading Paradiso (Paradise)
The concept of Paradise and beatitude in Christian thought. Love, knowledge and the vision of God.
11. Paradiso
Selected readings and analysis of some canti taken from Paradiso.
WEEK 1: Introduction to the course
1. Who was Dante Alighieri? His life and works. Historical and political background, especially of thirteenth-century Florence. The significance of Dante's Commedia in Italian culture and civilization.
2. What is Dante Alighieri? The cultural mark of a man who both elaborates medieval culture and anticipates Humanism. The presence of medieval sources in Dante's formation, the anticipation of Humanism in his writings. The Classical and Christian heritages.
WEEK 2: Imaging the Underworld
3. The Commedia as the peak of the iceberg in a long series of journeys in the Other World; the poem's structure and its main sources. Dante's poem as a representation of medieval eschatology: Vices, Virtues, and the Concept of Expiation.
4. The idea of Hell. The devil and Hell in medieval culture; theological models to represent them in literature. Monsters: symbolic perspectives, monastic thought.
WEEK 3: Reading Inferno
5. Introduction to Dante's Inferno. Dante's structuring of Inferno and the strategy of pain. Introduction, reading (English translation and excerpts from original Italian version) and analysis of Inf. I.
6. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Inf. II and III.
WEEK 4: Reading Inferno
7. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Inf. IV and V.
8. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Inf. VI and X.
WEEK 5: Reading Inferno
9. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Inf. XIII and XV.
10. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Inf. XXVI, XXXII and XXXIII.
WEEK 6: Reading Inferno
11. MIDTERM EXAM
12. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Inf. XXXIV.
WEEK 7: Reading Purgatorio
13. Introduction to Dante's Purgatorio. The concept of purgatory in medieval thought; when purgatory was theorized and how. Introduction, reading (English translation and excerpts from original Italian version) and analysis of Purg. I.
14. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Purg. II and III.
WEEK 8: Reading Purgatorio
15. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Purg. V and VI
16. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Purg. XI and XIII.
WEEK 9: Reading Purgatorio and Paradise
17. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Purg. XXIII and XXX.
18. Introduction to Dante's Paradise. The concept of Paradise and beatitude in Christian thought. Love, knowledge and the vision of God. Introduction, reading (English translation and original Italian version) and analysis of Par. I.
WEEK 10: Reading Paradise
19. Oral presentation to the class of the research paper
20. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Par. II, III and VI.
WEEK 11: Reading Paradise
21. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Par. XI, XV and XVII.
22. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Par. XXX, XXXI and XXXIII.
WEEK 12
23. FINAL EXAM
Required readings:
Course-Packet (including the following texts):
Alighieri, Dante. The Divine Comedy, Vol. I: Inferno, translated with Introduction, Notes, and Commentary by Mark Musa, New York: Penguin Books (Penguin Classics), 2003 (excerpts)
The Divine Comedy, Vol. III: Purgatorio, translated with Introduction, Notes, and Commentary by Mark Musa. New York: Penguin Books (Penguin Classics), 1985 (excepts).
The Divine Comedy, Vol. III: Paradiso, translated with Introduction, Notes, and Commentary by Mark Musa. New York: Penguin Books (Penguin Classics), 1986 (excepts).
Auerbach, Erich. "Farinata and Cavalcante," in Mimesis: the Representation of Reality in Western Literature, translated by Willard R. Trask; with a new introduction by edward W. Said. Princeton (NJ): Princeton University Press, 2003, pp. 174-202.
Brand, Peter, Pertile, Lino (eds.). "Dante", in The Cambridge History of Italian Literature. Cambridge: Cambridge University Press. 1999, pp. 36-69
Recommended readings:
Alighieri, Dante. La Vite Nuova (Poems of Youth), translated with an Introduction by Barbara Reynolds. New York: Penguin Books (Penguin Classics), 2004.
Brand, Peter, Pertile, Lino (eds.). The Cambridge History of Italian Literature. Cambridge: Cambridge University Press, 1999.
Singleton, Charles S. Dante Studies 2: Journey to Beatrice. Cambridge (MA): Harvard University Press, 1954
Brief Biography of Instructor:
Daniele Lo Cascio received an Arts degree in Modern Literature from the University of Bologna in 2000. In 2003 he received a Dottorato di ricerca (Ph.D.) in Italianistica from the University of Perugia. Since 2002 he has been holding temporary posts in some Licei and Istituti of Tuscany teaching Italian, Latin and History. He received the teaching diplomas in 2005 and in 2006. In 2005 he also became cultore della Materia at the Dipartimento di Filologia e Critica della Letteratura of the University of Siena. In 2004-2005 he taught for the Siena Program, State University of New York College at Buffalo, proposing three six-monthly courses: the first about Dante’s Divine Comedy, the second about Italian literature in the Middle Ages (including Dante), the third about Dante’s Divine Comedy. Since 2006 he has been teaching Italian literature for IES (all courses including Dante). He was the co-organizer of the Congress on “I sogni e la scienza”, Siena, November 2006, furthermore presenting a communication about Tommaso Landolfi. His main research interests include Dante, Landolfi, Massimo Bontempelli, Alberto Savinio, and in general the narration of oneiric dimensions in the Middle Ages and in twentieth-century Italian literature.
Dante'S Commedia In Historical Context
The goal of this course is to help students acquire a substantial knowledge of Dante Alighieri's Divine Comedy as a cornerstone text of Western civilization; not as an isolated work of literature in itself, but as an encyclopedia and cultural archive. The course illustrates the dynamic, evolutional value of the Commedia within the history of literature; considers the relationship between author and environmental context; and examines the transition from the Middle Ages to Humanism. In particular, the course focuses on the medieval background of the Commedia (in thought and structure). Alongside the commentary and analysis of a chosen group of canti for each of the three cantiche, the course includes historical, philosophical, biblical, and theological investigations.
By the end of the course, students are able to:
-Have a substantial knowledge of Dante Alighieri's Divine Comedy;
-Comment and analyze an important group of chosen canti for each of the three cantiche;
-Recognize the value of the Divine Comedy as a cornerstone text of Western civilization;
-Know the most important sources of the Divine Comedy and understand how this masterpiece is a cultural link between the Middle Ages and Humanism;
-Develop skills to critically evaluate Medieval culture.
In-class lectures
Class active participation and class discussions (15%); midterm written exam in the form of essay-style answers (25%); final 7-10 page research paper on a topic chosen by student (contingent on professor authorization) and oral presentation to the class of the research paper (25%); final written exam in the form of essay-style answers (35%).
1. Who was Dante Alighieri?
His life and works. Historical and political background, especially of thirteenth-century Florence. The significance of Dante's Commedia in Italian culture and civilization.
2. What is Dante Alighieri?
The cultural mark of a man who both elaborates medieval culture and anticipates Humanism. The presence of medieval sources in Dante's formation, the anticipation of Humanism in his writings. The Classical and Christian heritages.
3. Imaging the Underworld
The Commedia as the peak of the iceberg in a long series of journeys in the Other World; the poem's structure and its main sources.
4. Reading Inferno (Hell)
The devil and Hell in medieval culture; theological models to represent them in literature. Dante's structuring of Inferno and the strategy of pain.
5. Inferno
Selected readings and analysis of some canti taken from Inferno.
6. Inferno. About Monsters: the Middle Ages and the Unknown
Symbolic perspectives, monastic thought, fear of the Other.
7. Reading Purgatorio (Purgatory)
The concept of Purgatory in medieval thought; when Purgatory was theorized and how.
8. Purgatorio
Selected readings and analysis of some canti taken from Purgatorio.
9. Purgatorio. Vices, Virtues, and the Concept of Expiation
Dante's poem as a representation of medieval eschatology.
10. Reading Paradiso (Paradise)
The concept of Paradise and beatitude in Christian thought. Love, knowledge and the vision of God.
11. Paradiso
Selected readings and analysis of some canti taken from Paradiso.
WEEK 1: Introduction to the course
1. Who was Dante Alighieri? His life and works. Historical and political background, especially of thirteenth-century Florence. The significance of Dante's Commedia in Italian culture and civilization.
2. What is Dante Alighieri? The cultural mark of a man who both elaborates medieval culture and anticipates Humanism. The presence of medieval sources in Dante's formation, the anticipation of Humanism in his writings. The Classical and Christian heritages.
WEEK 2: Imaging the Underworld
3. The Commedia as the peak of the iceberg in a long series of journeys in the Other World; the poem's structure and its main sources. Dante's poem as a representation of medieval eschatology: Vices, Virtues, and the Concept of Expiation.
4. The idea of Hell. The devil and Hell in medieval culture; theological models to represent them in literature. Monsters: symbolic perspectives, monastic thought.
WEEK 3: Reading Inferno
5. Introduction to Dante's Inferno. Dante's structuring of Inferno and the strategy of pain. Introduction, reading (English translation and excerpts from original Italian version) and analysis of Inf. I.
6. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Inf. II and III.
WEEK 4: Reading Inferno
7. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Inf. IV and V.
8. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Inf. VI and X.
WEEK 5: Reading Inferno
9. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Inf. XIII and XV.
10. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Inf. XXVI, XXXII and XXXIII.
WEEK 6: Reading Inferno
11. MIDTERM EXAM
12. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Inf. XXXIV.
WEEK 7: Reading Purgatorio
13. Introduction to Dante's Purgatorio. The concept of purgatory in medieval thought; when purgatory was theorized and how. Introduction, reading (English translation and excerpts from original Italian version) and analysis of Purg. I.
14. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Purg. II and III.
WEEK 8: Reading Purgatorio
15. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Purg. V and VI
16. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Purg. XI and XIII.
WEEK 9: Reading Purgatorio and Paradise
17. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Purg. XXIII and XXX.
18. Introduction to Dante's Paradise. The concept of Paradise and beatitude in Christian thought. Love, knowledge and the vision of God. Introduction, reading (English translation and original Italian version) and analysis of Par. I.
WEEK 10: Reading Paradise
19. Oral presentation to the class of the research paper
20. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Par. II, III and VI.
WEEK 11: Reading Paradise
21. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Par. XI, XV and XVII.
22. Introduction, reading (English translation and excerpts from original Italian version) and analysis of
Par. XXX, XXXI and XXXIII.
WEEK 12
23. FINAL EXAM
Course-Packet (including the following texts):
Alighieri, Dante. The Divine Comedy, Vol. I: Inferno, translated with Introduction, Notes, and Commentary by Mark Musa, New York: Penguin Books (Penguin Classics), 2003 (excerpts)
The Divine Comedy, Vol. III: Purgatorio, translated with Introduction, Notes, and Commentary by Mark Musa. New York: Penguin Books (Penguin Classics), 1985 (excepts).
The Divine Comedy, Vol. III: Paradiso, translated with Introduction, Notes, and Commentary by Mark Musa. New York: Penguin Books (Penguin Classics), 1986 (excepts).
Auerbach, Erich. "Farinata and Cavalcante," in Mimesis: the Representation of Reality in Western Literature, translated by Willard R. Trask; with a new introduction by edward W. Said. Princeton (NJ): Princeton University Press, 2003, pp. 174-202.
Brand, Peter, Pertile, Lino (eds.). "Dante", in The Cambridge History of Italian Literature. Cambridge: Cambridge University Press. 1999, pp. 36-69
Alighieri, Dante. La Vite Nuova (Poems of Youth), translated with an Introduction by Barbara Reynolds. New York: Penguin Books (Penguin Classics), 2004.
Brand, Peter, Pertile, Lino (eds.). The Cambridge History of Italian Literature. Cambridge: Cambridge University Press, 1999.
Singleton, Charles S. Dante Studies 2: Journey to Beatrice. Cambridge (MA): Harvard University Press, 1954
Daniele Lo Cascio received an Arts degree in Modern Literature from the University of Bologna in 2000. In 2003 he received a Dottorato di ricerca (Ph.D.) in Italianistica from the University of Perugia. Since 2002 he has been holding temporary posts in some Licei and Istituti of Tuscany teaching Italian, Latin and History. He received the teaching diplomas in 2005 and in 2006. In 2005 he also became cultore della Materia at the Dipartimento di Filologia e Critica della Letteratura of the University of Siena. In 2004-2005 he taught for the Siena Program, State University of New York College at Buffalo, proposing three six-monthly courses: the first about Dante’s Divine Comedy, the second about Italian literature in the Middle Ages (including Dante), the third about Dante’s Divine Comedy. Since 2006 he has been teaching Italian literature for IES (all courses including Dante). He was the co-organizer of the Congress on “I sogni e la scienza”, Siena, November 2006, furthermore presenting a communication about Tommaso Landolfi. His main research interests include Dante, Landolfi, Massimo Bontempelli, Alberto Savinio, and in general the narration of oneiric dimensions in the Middle Ages and in twentieth-century Italian literature.