| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "DIVINE COMEDY DANTE ALIGHIERI INFERNO": |
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"The Divine Comedy" - Dante Alighieri's "Inferno", 2007.
A discussion of the epic poem "The Divine Comedy" by Dante Alighieri, focusing on canto III of Dante's "Inferno".
1,192 words (approx. 4.8 pages), 4 sources, MLA, AU$ 64.95
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Abstract
This paper examines the scholars and the de-contextualization of Dante's "Inferno" - with special emphasis upon canto III. The paper summarizes the scene when a fearful Dante first enters Hell and discusses its significance in terms of understanding Dante and his world. The paper also looks at how intellectuals view Dante's "Inferno". The writer believes that the work stands out as a classic example of the medieval allegory play taken to new rhetorical heights. The writer concludes that it is also an example of how even the simplest works, if powerfully wrought, can spark wide discussion among academics who seek out meanings unimagined by the author.
From the Paper
"Ultimately, the canto, like the rest of the cantica, is a potential mirror into the world in which Dante Alighieri lived as well as a mirror into his own inner turmoil as a devout Christian seeking a purpose to his life as well as answers to questions that presumably many devout Christians were asking in the fourteenth century. To start with, the canto (in the original Italian, anyway) was written in the demanding terza rima rhyme pattern (Scott para.2) and, even in English translations, the text can be difficult to follow as Dante tries to bend the language into shapes and forms to which it does not adhere willingly."
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Divine Justice in Dante Alighieri's "Inferno", 2005.
An examination of Dante Alighieri's journey to the acceptance of Divine judgment in his work, "The Inferno."
1,179 words (approx. 4.7 pages), 4 sources, MLA, AU$ 64.95
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Abstract
This paper discusses Dante Alighieri's allegorical tale, "The Inferno." It describes the concept of Divine justice within the work and discusses how the work can be seen as a journey to one man's acceptance of Divine judgment, as part of the objective will of God. The paper discusses the journey that Dante goes through and how it affects him.
From the Paper
"Even to the very monsters of hell does Dante Alighieri extend his belief in divine justice, as is seen in the wood of the suicides. He describes the woods as "the nesting place of the foul Harpies." (Dante, Cant. 13), who, according to ancient Greek lore, were "fierce, filthy, winged monsters, with the faces of women, bodies of vultures, and sharp claws who served as ministers of divine vengeance, and punished criminals." (Harpies, Par. 3). Undoubtedly, the Harpies are most appropriate guardians of the wood of the suicides, as they are ministers of divine justice, and, in addition, there exists a strong contrast between the Harpies who are prophetic, and the suicides who believed themselves to be prophetical in assuming that there was nothing left to live for in their futures, furthering the idea of contrapasso in The Inferno, and providing a delicate and profound example of divine justice."
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Courtly Love in "Divine Comedy" (Dante), 1992.
Examines definition, romantic language, Provencal poetry, divine love and literary aesthetics of Middle Ages.
2,025 words (approx. 8.1 pages), 8 sources, AU$ 113.95
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From the Paper
"The purpose of this research is to examine courtly love in the Middle Ages, particularly as expressed in Dante's Divine Comedy. The plan of the research will be to set forth a working understanding of the term courtly love, and then to show, with reference to Dante's work, how the romantic language, the roots of courtly love lyric in Provencal poetry, and such concepts as divine love intersect to create a unique aesthetic of literature and cultural sensibility.
Courtly love is the name given to a style of poetry that celebrated human love, particularly the love of the poet (always a man) for a high-born and extraordinary lady. This is the outline of the notion of courtly love, but it appears to contain not only the implication of physical love but also--and perhaps more significantly--the attributes of a deeply felt relationship ..."
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"Divine Comedy" ( Dante ), 1999.
Examines role and power of the written word and romantic love in the lives and eternal fates of human beings.
1,350 words (approx. 5.4 pages), 3 sources, AU$ 75.95
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From the Paper
" The powerful potential of the written word occupies a prominent place in Dante's Divina Commedia. Francesca da Rimini and her brother-in-law, Paolo Malatesta, were seduced into beginning their adulterous affair, which earned them their place in Hell, by their reading of a French romance. In Dante's carefully organized presentation of the fates of the souls of the dead, Francesca is the first condemned soul with whom the narrator speaks. The selection of Francesca for this position deliberately raises the question of the power of literature, specifically vernacular literature, and has implications for Dante's use of the vernacular. Francesca's story provides a clear example of the possible bad effects that follow from the misuse of such writing. But the reader's interest and pity are deeply stirred as Francesca, in words that echo the style of the..."
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Dante Alighieri's "Inferno", 2006.
Discusses parenthood as presented in Dante Alighieri's "Inferno".
805 words (approx. 3.2 pages), 1 source, MLA, AU$ 45.95
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Abstract
This paper suggests that, while the notion of Heaven and Hell perhaps has its origins in Dante's "Inferno", there is, in actuality, a far more intimate duality to be examined: the paternal relationship between a father and son. The paper relates that Dante establishes Virgil the guide as a father figure to the pilgrim Dante. Yet, as in all father-son relationships, there is a metamorphosis. Virgil progresses from a strict father to becoming tempered by love and maternal instincts, while his son Dante, progresses from a helpless child to a rebellious teenager. The paper discusses this metamorphosis and concludes that the tender and affectionate relationship the two characters share is a counter-point to the nightmarish discourse of heaven and hell.
From the Paper
"However, as in most parenting relationships, children grow to the rebellious stage of adolescence. Dante begins to experience great fear and doubt concerning Virgil's power. In the beginning of Canto IX, Virgil is unable to open the gate of Dis. The all-knowing Virgil has failed. Dante thinks to himself, "the colored cowardness displayed in me when I saw that my guide was driven back..."(9.1-2), "Nevertheless, his speech made me afraid, because I drew out from his broken phrase a meaning worth- perhaps-then he'd intended" (9.13-15)."
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Dante's "The Divine Comedy", 2006.
A review of Dante Alighieri's renowned work "The Divine Comedy".
1,155 words (approx. 4.6 pages), 0 sources, AU$ 63.95
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Abstract
This paper explores how the work combines and expresses Dante's knowledge of the classic writer Virgil, Greek philosophers Plato and Aristotle, and the Medieval Christian Theory, predominantly Catholicism and the Bible. The author also demonstrates how Dante addresses the subject of love.
From the Paper
"Dante draws on Aristotle for his conception of love in the case with Beatrice, who later escorts him into Paradise. Aristotle pictures the source of the universe not as love itself, but as the simple first cause, toward which all things aspire through love. In the same way that a moth is drawn toward a flame, the planets and celestial spheres are pulled toward the perfection of the first cause, and through this desire they are moved to participate in a circular dance. When Dante speaks of "The Love which moves the sun and the other stars" in the final line of The Divine Comedy, he is referring to Aristotle's idea that cosmic desire for the first cause energizes the motion of the entire universe."
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Dante's "Divine Comedy", 2004.
An examination of the concept of free will in Dante's "Divine Comedy".
1,420 words (approx. 5.7 pages), 5 sources, MLA, AU$ 75.95
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Abstract
The choices that people make will determine whether they go to Hell or Heaven, and this is a direct response to their own life choices and their own free will. This paper discusses how Dante's "Divine Comedy" delves into this theme.
From the Paper
"Everyone has the freedom to choose good or evil. The nature of freedom is that people decide what they want. God gave people free will. One expert defines the term free will as "the power of agents to be the ultimate creators (or originators) and sustainers of their own ends or purposes" (Kane 4). Dante's Divine Comedy shows this. One Dante scholar notes, "The Commedia has a twofold subject (duplex subiectum): literally, its subject is 'the condition of souls after death, considered in itself'; allegorically, its subject is 'man, inasmuch as he is exposed to the justice of reward and punishment, through the merit and demerit he has attained by free will'" (Dronke 1). People choose evil over God, and then they are knowingly committing an act of betrayal against God. God's knowledge of the choices people make does not mean people have no free will. God wants people to join and to enjoy Heaven with Him. He tests every individual's faith throughout his or her life in some way."
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Dante's "Divine Comedy", 2004.
This paper considers both the structure and poetic symbols in Dante's "The Divine Comedy."
2,486 words (approx. 9.9 pages), 2 sources, MLA, AU$ 139.95
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Abstract
The paper examines both the structure and poetic symbols in Dante's epic poem "The Divine Comedy." The paper explains how he utilizes both in expressing the poem's themes.
From the Paper
"Dante's masterpiece, "The Divine Comedy" is an epic poem which traces man's quest to reach God and discover a true world order. Indeed as Dante travels through Hell, Purgatory and Heaven he undergoes a spiritual transformation as a result of his journey and finds answers to the moral questions that have nagged him. The poem functions as an allegory as it allows Dante to express both his political and religious views while teaching his readers a lesson in spiritual and moral matters."
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The Divine Comedy of "Inferno" and its Literary Importance to the Ages., 2002.
In-depth report and literary analysis of the work of Dante Alighieri in "Inferno".
2,575 words (approx. 10.3 pages), 1 source, AU$ 123.95
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Abstract
This paper is an analysis of the poem "Inferno" by Dante Alighieri. The author discusses the comedy in 'Inferno" and the importance of its style of writing and use of language for the times it was written in.
From the paper:
"When a man steps up to construct a work of art, they do it for a plethora of ideas. These can be either to change viewpoints, express personal ideas, or insure their name in the years to come. Yet the creator cannot simply be the only one to make a work of art one of importance. It must include the passion of the times and the eagerness for something new and vivacious. To break traditions from the past is to set traditions for the future. Dante Alighieri created a poem in the 1200?s that Florentines and the world had never conceived up."
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Homer's "Odyssey" and Dante's "Divine Comedy", 1999.
A comparison of Homer's and Dante's views of Ulysses. his legend and myth.
1,125 words (approx. 4.5 pages), 7 sources, AU$ 63.95
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From the Paper
" From the earliest surviving works of Western literature down to those of the twentieth century the myth of Ulysses has been an important source for poets, playwrights, and novelists. Though the legendary hero always retained his essential characteristics of ingenuity, resourcefulness and boldness, these traits were sometimes praised and sometimes deplored. Yet, whether writers valued or abhorred Ulysses' character, there was usually some admiration mixed with the blame and some doubt behind the praise. A brief discussion of the historical and legendary origins of the myth will demonstrate how this ambiguity came about. A comparison of Homer's view of Ulysses in the Odyssey and Dante's vision of the hero in his Divine Comedy will show how Ulysses' legend could be used in very different ways.
According to Homer, Ulysses (or Odysseus as Homer calls him)..."
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?The Divine Comedy? and "Confessions?, 2005.
A comparison of the use of religion in Dante Alighieri?s ?The Divine Comedy? and Augustine?s ?Confessions?.
1,030 words (approx. 4.1 pages), 2 sources, MLA, AU$ 58.95
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Abstract
This paper examines how these two literary works are both thought-provoking accounts of man?s relationship with God. While both spiritual journeys recognize the grace of God, each author uses different techniques to guide the reader to make his or her own decisions. The writer relates that, while ?The Divine Comedy? is a fictional account with the reader as the intended audience, ?Confessions? is based on Augustine?s personal conversion experience and is written not only for the reader, but for God as well.
From the Paper
"While Dante reaches the same conclusion as Augustine does, his story is filled with allegories and symbols to prove his point. Perhaps the most vivid descriptions we discover in ?The Divine Comedy? are the descriptions of hell in Inferno section of the story. The inclusion of Hell is also a significant difference from Augustine?s ?Confessions.? Dante?s descent into hell is frightening and filled with suffering. The fact that Hell is divided into sections according to levels of sin illustrates how the poet placed an incredible amount of thought into his work."
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"Divine Comedy" and "King Lear", 2004.
A look at the theme of dark humor and satirical comedy in ?Divine Comedy? by Dante and ?King Lear? by William Shakespeare.
887 words (approx. 3.5 pages), 0 sources, AU$ 50.95
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Abstract
This paper discusses how, in these literary works, a notable characteristic is the authors? ability to weave in the aspect of dark humor, aptly using satirical comedy in order to criticize the rulers and leaders of their societies during their time. It explains how, in ?King Lear,? Shakespeare uses character profiles that fit the description of the antagonists and protagonists in political conflicts that were happening in Shakespeare?s society. It also describes how Dante?s work served as revelation to the people to witness the anomalies going on in their society.
From the Paper
"In Inferno/Hell, Dante is accompanied by Virgil as they go through the inner circles, called bolgia, where different offenders of the sins of humankind are suffering and are being punished for their sins. There are nine bolgias inside, where the first circle is the limbo, described as a place where people experience ?gentle sadness.? Inside the bolgias are people suffering from the sins of humankind: lust, gluttony, the avaricious and prodigal, sullen, heretics, violent people against the tyrants, gods, or goods, fraudulent people in love, flatterers, simonists, diviners, barrators, hypocrites, thieves, fraudulent counselors, sowers of scandals and schism, falsifiers, rebels, and traitors against kin, homeland, guests, and benefactors."
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The Divine Comedy and Carl Jung, 2008.
This paper discusses Dante's 'The Divine Comedy' as it relates to Jungian archetypal theory.
1,740 words (approx. 7.0 pages), 4 sources, MLA, AU$ 89.95
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Abstract
In this article, the writer notes that the development of Dante's 'Divine Comedy' is a development of self. This individual travels from shallow to more authentic experiences as he or she travels through the different worlds or levels of hell. The writer points out that similarly Jungian archetypal theory demonstrates the same sort of idea. The individual travels through a traditional set of concepts that range in depth from very shallow to much deeper and more authentic, until one becomes what is considered the true self which is steeped in the concept of the old soul and is the mythic combined with the human. The writer maintains that the archetypes associated with Jungian theory are clearly and concisely illuminated in the depths of the 'Divine Comedy'. The writer concludes that each archetype is given its appropriate time and due character while Dante the pilgrim seeks to entertain how he above others can more closely live the life of the wise old man, who he assumed was Virgil but was really himself.
From the Paper
"The shadow coincides with early Dante, when he is drawn by sin and temptation and on the verge of suicide. He is in need of intervention, in this case Virgil (the wise old man) to accompany him and give him guidance as he does not know himself or his place in the world. He is also in need of Beatrice, his lost love to come to him and explain the virtue of the journey and to introduce him to his guide, the wise old man a concept illuminated later that will lead us between the acceptance of the feminine Animus within himself as nothing to fear. For Dante the shadow is really his grief, as he wanders about the world trying to do and say the right thing but not knowing himself well enough to known what the right or wrong thing for him is."
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"Divine Comedy", 2003.
An analysis of the theology behind Dante?s "Divine Comedy".
1,360 words (approx. 5.4 pages), 2 sources, MLA, AU$ 72.95
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Abstract
This paper reviews Dante?s poem "Divine Comedy". It looks at how the incidents of the poem would remain ambiguous if not for the philosophical and theological distinctions within the structure of the narrative. It demonstrates how by using one common principle, Dante brings the separate allegories of the "Inferno", "Purgatorio" and "Paradiso" together into one great allegory, making the transformation of the principle into an ordered set of variations on the theme of love and its representation in human beings as the image of God.
From the Paper
"In the Purgatorio the protagonist's spiritual rehabilitation continues. Dante subdues his own personality so that he will be able to ascend. He comes to accept the essential Christian image of life as a pilgrimage, and he joins the other penitents on the road of life. At the summit of Purgatory, where repentant sinners are purged of their sins, Virgil departs, having led Dante as far as human knowledge is able--to the threshold of Paradise. Beatrice, who embodies the knowledge of divine mysteries bestowed by Grace, continues Dante's tour. In the Paradiso true heroic fulfillment is achieved. Dante's poem gives expression to those figures from the past who seem to defy death and who inspire in their followers a feeling of exaltation and a desire for identification."
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"The Divine Comedy", 2003.
Discusses Dante's journey.
675 words (approx. 2.7 pages), 1 source, AU$ 37.95
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Abstract
Contrasts Dante's presentation of sin and sinners in the Inferno (Hell) and Purgatory, the first two journeys of the epic poem. Discusses Dante's classification system as rooted in precepts of the Catholic religion.
From the Paper
"The Divine Comedy describes author/protagonist Dante's journey through the Inferno (Hell), Purgatory and Paradise to explore the theme of divine justice. This paper will contrast Dante's presentation of sins and sinners in the Inferno and Purgatory, the ..."
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