| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "INFERNO ALIGHIERI DANTE": |
|
|
An Analysis of the Inferno of Alighieri Dante, 2006.
An examination of the use of allegory in Dante's Inferno from "The Divine Comedy".
1,317 words (approx. 5.3 pages), 13 sources, MLA, AU$ 71.95
»
Click here to show/hide summary
Abstract
This paper begins with an explanation of what is meant by allegory and then discusses the use of allegory in Dante's "Inferno", using Robert Pinsky's translation of the text. Specific examples are cited and analyzed to demonstrate the allegorical and symbolic concept of Dante's writing.
From the Paper
"When Dante writes of the dark woods so hard, tangled and rough he is referring to the fact that he feels as if he has lost himself. This is reiterated by the words "the rightroad lost". When we are lost in the woods we have lost the right road. The rightroad lost is symbolic of a dark night of the soul as in one falls to side of the road or spiritually loses one's way."
| |
|
"The Inferno, Canto 12" by Alighieri Dante, 2002.
The paper analyzes the use of the epic simile in Canto 12 of "The Inferno", which follows Dante's journey through Hell on his route to finding God.
1,012 words (approx. 4.0 pages), 1 source, APA, AU$ 57.95
»
Click here to show/hide summary
Abstract
The paper looks at the compelling epic simile used in Canto 12, in which Dante compares a bull on the way to slaughter to the dreaded Minotaur, that Dante must face on his way to Paradise. The paper explains how using a bull as the symbol of the beast allows the reader to immediately understand the violence and force of the Minotaur. It also discusses the knowledge that Dante must gain during his journey in order for him to achieve victory.
From the Paper
"Another analogy also fits the image of the bull that gains strength in the last minutes of life, and fits the image of the Minotaur, half bull, and half man. Bulls are notoriously violent, they charge at the least little thing, and are not known for their brains. They are also hopelessly lost outside of their element, as the "bull in the china shop" analogy clearly shows. Thus, this "bull man" that is the Minotaur can be overcome when it is outside its element, where it is no longer comfortable. Remove this ultimate beast from its position in the labyrinth, and you will have the upper hand, as Dante and his guide discover. Therefore, the Minotaur serves yet another purpose in Dante's growing knowledge as he moves along the pathway toward Paradise. The Minotaur shows that the violence of the Minotaur is a result of his environment and his comfort level, and if these are removed, the Minotaur is vulnerable. This is a valuable lesson in life, for it shows how even the most violent among us use their environment as a shield to hide their vulnerability."
| |
|
"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$ 65.95
»
Click here to show/hide summary
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."
| |
|
Dante Alighieri's "Inferno", 2006.
Discusses parenthood as presented in Dante Alighieri's "Inferno".
805 words (approx. 3.2 pages), 1 source, MLA, AU$ 46.95
»
Click here to show/hide summary
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)."
| |
|
Dante's "Inferno", 2002.
This paper discusses and analyzes "Inferno," by Alighieri Dante.
655 words (approx. 2.6 pages), 2 sources, MLA, AU$ 37.95
»
Click here to show/hide summary
Abstract
The purpose of this paper is to introduce, discuss, and analyze the book "Inferno," by Alighieri Dante. Specifically, it describes two characters, Beatrice and Lucifer. Beatrice and Lucifer could not be farther apart in this poem. They represent good and evil, savior versus destroyer, and they are both present in the poem in order to illustrate the ultimate theme of good versus evil, and Dante's ultimate salvation.
From the Paper
"The "Inferno" is the first of three books that make up Dante's classical work "The Divine Comedy." The "Inferno" follows Dante's journey through Hell on his route to finding God. He begins at the bottom in sin, and must fight his way to the top, where lovely Beatrice awaits him in Paradise."
| |
|
Dante's "Inferno": The Structure of Hell, 2005.
A brief look at Dante's Alighieri's Inferno and the structure of hell that he describes in the story.
742 words (approx. 3.0 pages), 0 sources, MLA, AU$ 42.95
»
Click here to show/hide summary
Abstract
Dante Alighieri's "The Comedy "is one of the most recognized pieces of literature in the modern world. Dante completed the first of the three books contained in "The Comedy" in 1314; "Divine" was not added to the title until much later. The other two books, "Pergatorio" and "Paradisio", would soon follow. But it is "Inferno" that brings forth imagery so intense that it has seldom been rivaled. This paper takes a look at Dante's "Inferno", specifically his description of the different levels of hell.
From the Paper
"As the story advances we begin to see with much more clarity Dante's structure of Hell. Descending down through the lower circles of Hell, Virgil shows Dante the increasing brutality of the punishment. Until the fifth circle, Dante is still in the upper section of Hell. In this segment the penalties seem almost tolerable, considering what is witnessed later on. In the first circle, which houses the un-baptized infants and virtuous Pagans, the inhabitants merely pine away in a state of melancholy, a world of desire without hope. While this would be enough to drive anyone mad, especially such great thinkers as Plato and Socrates who are witnessed there, this is but a day in the park when compared to the constant torture of the residents of the lower levels of Hell."
| |
|
Dante?s ?Inferno?: The Teacher and The Student, 2002.
This paper presents a detailed examination of the relationship between Dante and Virgil in Dante?s "Inferno".
690 words (approx. 2.8 pages), 1 source, MLA, AU$ 39.95
»
Click here to show/hide summary
Abstract
The paper states that in Dante?s "Inferno" the personality characteristics of Dante and Virgil and their relationship is extremely important to the context of the story. The writer uses examples and character analysis to present this relationship.
From the Paper
"Dante is not a gifted man intellectually. He is a bit of a bumbling guy who seems to need a lot of supervision and guidance to get through life. He was however, a firm spiritual believer who followed his heart when it comes time to believe in Virgil."
| |
|
Dante's "Inferno", 2002.
A complete overview of Dante's "Inferno".
1,400 words (approx. 5.6 pages), 4 sources, AU$ 85.95
»
Click here to show/hide summary
Abstract
This six-page freshman level world literature paper is on "Dante's Inferno". The first part of the paper includes description of where, when, and culture of the Inferno, culture of the epic. What was the environment in which the people of that time (Middle Ages in Florence, Italy) live? Why did people of the time read the Inferno and was it important. In also includes that why did the people liked Dante's Inferno and what sort of audience really use to enjoy the Inferno? The third part of the paper includes that why are these things (the above information) important today? Why are we reading the Inferno and other works today? What good is there in reading the Inferno and other famous works? Why should we read these works now and in the future?
| |
|
"The Inferno of Dante", 2002.
Tracing the relationship of Dante and Virgil based on Robert Pinsky's translation, "The Inferno of Dante".
751 words (approx. 3.0 pages), 3 sources, APA, AU$ 42.95
»
Click here to show/hide summary
Abstract
This paper examines the relationship between Dante and Virgil as depicted in Pinsky's translation. Their relationship throughout poem is filled with symbolism. The epic poem is about Dante who journeys through the underworld and Virgil, the Roman poet, serves as his guide. The paper shows how Virgil symbolizes knowledge and safety to Dante, who is at times uncertain and timid about traversing such treacherous terrain.
From the Paper
"Robert Pinsky is a distinguished poet and translator of "The Inferno of Dante" (Farrar, Straus & Giroux, 1994). The "Inferno" -- which is the first part of Dante's "Divina Commedia" -- remains a popular and compelling poem for modern readers; there have been at least fifty English versions of the "Inferno" in this century alone. Of course, any translator must rely on previous translations and commentators in undertaking such an ambitious task, and Pinsky has said that he depended largely on Charles Singleton's scholarly, painstakingly literal prose translation (1970), and on the best-known nineteenth-century American verse translation, by Henry Wadsworth Longfellow (1867). "
| |
|
The ?Bhagavad-Gita? and Dante's ?Inferno?, 2004.
This paper compares Dante?s ?Inferno? to the Hindu text, ?Bhagavad-Gita?, on the concepts of heaven, hell, and God.
775 words (approx. 3.1 pages), 2 sources, APA, AU$ 44.95
»
Click here to show/hide summary
Abstract
The paper explains that Dante?s ?Inferno? can be more accurately described as a story about a man who finds his way to God with the help of another man, but only after passing through hell. The author points out that the ?Bhagavad-Gita? also describes the path to God; yet, the difference in this description of a path to God is that it is not as frightening as the one that Dante takes. The paper relates that both the ?Bhagavad-Gita? and Dante?s ?Inferno? refer to ?demons?, but there is a difference in the way that religiously devout people are viewed.
From the Paper
"In the "Bhagavad-Gita", devout individuals are called ?demigods?, while in Dante?s "Inferno" there is no such term written. In addition to this, there is also no mention of how exactly one is to act in order to reach the ultimate truth or the Supreme. However, in the "Bhagavad-Gita", it is written that in order to reach the Supreme, ?karma, fruitive activities, devotional service and yoga principles, and devotional service? are necessary. Essentially, it can be said that the "Bhagavad-Gita" provides man with a path to follow, and aims at preventing one from falling into paths that would not be seen as godly."
| |
|
Dante's "Inferno", 2004.
A review of Cantos Five and Thirteen from Dante's "Inferno".
899 words (approx. 3.6 pages), 1 source, MLA, AU$ 50.95
»
Click here to show/hide summary
Abstract
This paper details two cantos from the tale of Dante's "Inferno" and attempts to derive how accomplished a writer Dante actually was because of his use of imagination and reality through a review of Cantos Five and Thirteen. It assesses Dante's skill in telling his story by tying together his vivid imagination with his ability to describe people realistically. It shows how, in Dante?s hell, the sins of the individual souls describe both how the individuals lived their lives before death and how they will spend eternity after death and how Dante?s imagination mixed with reality made his tormented characters believable and opened a window into their lives.
From the Paper
"Dante had a definite interplay between reality and imagination. For example, one would think that with the many tortures and the constant torment, these levels of hell would reek horrendously. Although not from either Canto five or thirteen, this example demonstrates how the author combined real and imagined to describe the smell of hell and his imagination makes it very real. ?Dante arrives at the verge of a rocky precipice which encloses the seventh circle, where he sees the sepulchre of Anastasius the heretic; behind the lid of which pausing a little, to make himself capable by degrees of enduring the fetid smell that steamed upward from the abyss, he is instructed by Virgil concerning the manner in which the three following circles are disposed, and what description of sinners is punished in each.? (DANTE) Dante captures the stench precisely."
| |
|
Dante's Inferno, 2002.
Description and analysis of Cantos 18 through 23 from Dante's Inferno
2,400 words (approx. 9.6 pages), 4 sources, AU$ 143.95
»
Click here to show/hide summary
Abstract
This paper analyzes Cantos 18 through 23 from Dante's Inferno. Canto 18 of Dante's Inferno describes the eighth circle of hell. This circle is surrounded by ten concentric rounds surrounded by grey stony peaks and cliffs. There is a big pit in the center of the rounds, and bridges connecting the rounds, so that it all looks like the spokes of a wheel with a hollow pit in the center of it all.
| |
|
A. Dante's "Inferno", 2006.
This paper discusses the concepts of crime and punishment as presented in Dante's "Inferno".
1,240 words (approx. 5.0 pages), 1 source, MLA, AU$ 68.95
»
Click here to show/hide summary
Abstract
This paper explains that, in the "Inferno", Dante states that people are evil and cannot change and that the punishment people receive is fitting to their crime. The author disagrees with Dante and believes that punishing people in a way that is fitting to the crime will only work to reinforce the kind of behavior that led to the crime and will lead to people being defined by their crimes thus reinforcing the idea that people cannot change. The paper stresses that a system, such as Dante's, where the punishment fits the crime does nothing to make the person be responsible for their own actions.
Table of Contents:
Crime and Punishment in Dante's Era
Crime and Punishment Today
From the Paper
"In the Inferno, Dante travels through the ten levels of hell. In each level, he sees people that have been guilty of certain crimes. In each case, the people are being punished in a way that is fitting to their crime. The people who sinned via wrath are seen to be attacking each other. The thieves have been turned into snakes. The people who committed suicide have to spend their lives as trees. This suggests that people do not change. In this way, a person who does wrong is seen as evil with this not able to be changes. With this belief, there is no suggestion that people can learn from their mistakes and become better people. The punishments describe also suggest that people will continue to act as they did on earth if they are given freedom."
| |
|
Dante?s ?Inferno?: Father and Son, 2006.
An analysis of the character of Virgil in Dante's "Inferno".
1,037 words (approx. 4.1 pages), 5 sources, MLA, AU$ 58.95
»
Click here to show/hide summary
Abstract
This paper examines how in Dante's "Inferno", Virgil's function as a character is multiple and how it involves two major components, each of which undergoes a dynamic development over the course of the poem. It looks at how he is Dante's authoritative guide through Hell and up the mountain of Purgatory and how he is also the real, historical author of the "Aeneid". It shows how a biased relationship develops between the two characters, where one individual becomes more depended than the other and how specifically, a father and son relationship forms between Virgil and Dante.
From the Paper
"It is apparent early in Inferno that Dante needs someone to help him because he is trapped in the dark words, which he describes as a "valley of evil". (Dante p28) Virgil's initial appearance in Canto I establishes his authority as Dante's guide. One may assume Dante's reason for choosing Virgil not as a historical figure in the poem but rather as an 'allegorical expression of Reason' (Hollander Dante's Virgil: A Light That Failed). Virgil decides to help Dante because Beatrice descends from Heaven explaining the situation, and Virgil answers her plea, saying, "so welcome is your command that to my sense, / were it already fulfilled, it would yet seem tardy, / I understand, and am all obedience" (Dante p37)."
| |
|
Dante's "Inferno" - The Barrators, 2003.
An analysis of the comedy element in Dante's "Inferno" provided by the barrators.
2,241 words (approx. 9.0 pages), 7 sources, MLA, AU$ 111.95
»
Click here to show/hide summary
Abstract
The episode of the barrators and demons in Cantos XXI and XXII of Dante's "Inferno" has often been commended for its comic element. Is this a modern imposition on the text? Does Dante find barratry funny? The paper answers these questions and looks specifically at the barrators and the treatment they receive in the fifth bolgia. It also discusses Dante's views on morality and how he reflects them in his work.
From the Paper
"There have been allusions made between the events in the Baratteria and a tragic incident in Florence in 1303. According to Gabriel Rossetti there was a pageant held in honour of the Cardinal da Prato; where an imitation of the Inferno complete with all its demons ended, when a bridge collapsed under the strain of a mass of revellers, and many were drowned in the water. Rossetti believes the episode of the barrators in the Inferno to be a parody of this disaster."
| |
|
Punishment in Dante's "Inferno", 2005.
This paper considers whether the punishments meted out in Dante's "Inferno" are appropriate for the sins in question.
675 words (approx. 2.7 pages), 1 source, MLA, AU$ 37.95
»
Click here to show/hide summary
Abstract
This paper considers whether the punishments meted out in Dante's "Inferno" are appropriate for the sins in question. The paper discusses Dante's layout of a complete system of justice and the severity of the penalties imposed upon sinners.
From the Paper
"In the "Inferno" by Dante Alighieri, readers are introduced to the various rings of Hell and the sinners who inhabit them. Dante works to layout a complete system of justice so that those who have sinned are punished in an appropriate manner. Indeed Dante demonstrates quite an imagination as he seeks to establish a correlation between the sin that has been committed and the punishment that takes place. In most cases there is a sense that the punishment fits the crime."
|
|
|
