Sticking with Inferno 5, we might also wonder: when Dante has Francesca say Caina attende chi a vita ci spense Caina awaits the one who took our life Inf. The essays on gender in this volume are arranged in the order in which they were written the last two contain much previously unpublished material. Retrieved Mar 15 2019 from Teodolinda Barolini. Reinstating Dante into the history of the visionary tradition, rather than isolating him on a high-culture peak of literary and poetic greatness, has been a part of my critical effort since The Undivine Comedy. Indeed she conceives of her work explicitly as a gift to Italians who are oppressed by obligatory and orthodox readings of their in fact heterodox poets. A tabloid-like voyeurism not infrequently seems to drive the Italian critical tradition. A: Why Do We Care? New York: Fordham University Press, 2006.
Let me say for the record, however, that in my experience the great texts of the early Italian tradition can be trusted to generate every kind of question pertinent to the human condition, and that we rarely surprise a Dante, a Petrarch, or a Boccaccio with a question that he did not ask himself. The first three essays in this volume establish this context. ¹² There is no doubt that Dante took pains to contend with—and felt pain with respect to—the historical difference that is embedded in the past, and specifically in classical culture. Many times while traveling in Italy I have had the opportunity to speak with young people whose reaction when I have told them I am a Dante scholar—a dantista—has been a variant of Dante, what a bore! In the section on gender, she argues that the didactic texts intended for women's use and instruction, as explored by Guittone, Dante, and Boccaccio-but not by Petrarch-were more progressive than the courtly style for which the Italian tradition is celebrated. Her own by now authoritative vision of the logical and chronological progression of Dante's poetic development lies behind her attack on Domenico De Robertis' recent tive-volume critical edition of Dante's Rime. According to this viewpoint, desire is neither completely intellectualized nor completely subrational, but a continuum that embraces both extremes. But rhetoric and language are always already historicized, and history is imbricated with rhetoric and language as exemplified in the Francesca essay by historians who cite Trecento commentators on the Commedia when glossing the vicissitudes of Italian factional politics , so the demarcation here is hardly clear.
Teodolinda Barolini has been widely recognized for nearly three decades as one of the most eloquent, innovative, and intellectually courageous scholars working on medieval and early modern Italian literature in North America, and part of the pleasure of reading this book, which gathers sixteen articles published between 1983 and 2005, lies in seeing just how well her work has stood up to the dulling effect of time. The ideas of modern theory are important to keep us as critics alive in terms of the kinds of questions we bring to the texts we read, as a dialogue among ourselves in the here and now, but not as that which we must apply to texts of the past in order to formulate questions of which their authors were unaware. Dante is always shown to be unique unto himself, responding in radical ways to his vernacular and classical predecessors, as well as to Christian orthodoxy, rather than growing out in any organic way from a tradition. To be the form of some thing is to be the thing itself. Dante belongs to a specifically Italian historiography which is breathtakingly compressed: the Summa of the Middle Ages and the Father of the Renaissance were literally walking our planet at the same time. Dante and the visionary tradition -- 6.
By the same token, women for Dante are not located at one pole or the other, Beatrice or femmina balba, but are ultimately somewhere much more complex—and human—in between: Francesca, Pia, Piccarda. She offers measured, informed, and utterly compelling argument that is not controversial for the sake of controversy, but insightful, bold, and relevant. For the Very Reason We Should Not Ask the Question, and Arachne, Argus, and St. Dante and the visionary tradition -- 6. Nor is he truly a love poet, as Dante is; Petrarch is fundamentally a metaphysical poet, directing his eros and yearning toward a dimension in which the dualisms that beset him and that he cannot heal will be healed by a higher power. Notes toward a gendered history of Italian literature, with a discussion of Dante's Beatrix Loquax. Barbi, Contini, Foster-Boyde, De Robertis-- Le parole son femmine e i fatti son maschi : toward a sexual poetics of the Decameron Decameron 2.
Already in the Vita nuova the tension between the lyrics and the prose that surrounds them is the tension between the impulse to evade historicity and the impulse to channel and control it. The essay in this volume that is least historical and most philosophical in orientation is, appropriately, on Petrarch. I would like to record my gratitude to Juliet Nusbaum, who as my editorial assistant worked with consistent graciousness, efficiency, and intelligence throughout this project. One of the lyric poets in question is Dante himself, whose own lyric past is in my view a largely untapped aquifer for understanding the Commedia. Without my lady I do not wish to go, the one who has a blond head and a clear face, since without her I could not take pleasure, being from my lady divided. Fortuna smiled upon me yet again when she brought this book to Fordham; in particular, I would like to thank Helen Tartar, who illuminated the way with her unfailing editorial expertise and wisdom, and Robert Oppedisano, who warmed it with his committed and generous vision of a university press. Guittone's Ora parrá, Dante's Doglia mi reca, and the Commedia's anatomy of desire -- 3.
But there is, of course, more to it than that. A : Why do we care? The essays in the third part analyze the narrative character of Dante's Vita nuova, Petrarch's lyric sequence, and Boccaccio's Decameron. Wayne Storey, of Dante for the New Millennium Fordham. Dante and the Origins of Italian Literary Culture. Dante and the lyric past -- 2. To anyone with even the faintest interest in the Italian vernacular literature of the Middle Ages, this volume will be self-recommending. She takes sides fearlessly and vehemently--frequently along the divide of the Atlantic Ocean.
Guittone's Ora parrá, Dante's Doglia mi reca, and the Commedia's anatomy of desire -- 3. Barolini also looks at the cultural implications of the editorial history of Dante's rime and at what sparso versus organico spells in the Italian imaginary. Taking us backward toward more archaic readings rather than forward--as Barolini charges--is perhaps the point. The commentary tradition to the Commedia is an interactive cultural phenomenon that will repay greater study. No one, least of all someone allergic to authority and orthodoxy, should want any particular interpretation, even her own, to be lapidarily immoveable.
Barolini's fundamental objection to De Robertis is his refusal to put the lyrics into a plausible chronological ordering. This book's appearance is an important event for Italian and medieval studies. Collectively this work deals with the literary culture of thirteenth- and fourteenth-century Italy, especially in the figures of its lyric poets and its three crowns: Dante 1265—1321 , Petrarch 1304—74 , and Boccaccio 1313—75. The making of a lyric sequence : time and narrative in Petrarch's Rerum vulgarium fragmenta -- 11. Dante and Francesca da Rimini : realpolitik, romance, gender -- 15. Barbi, Contini, Foster-Boyde, De Robertis -- 13.
John : transgressive art in Dante and Ovid -- 9. In the second, Barolini focuses on Dante as heir to both the Christian visionary and the classical pagan traditions with emphasis on Vergil and Ovid. Without her he does not want to go to paradise; the octave has neatly posed the problem with which the sextet must now deal. In the section on gender, she argues that the didactic texts intended for women's use and instruction, as explored by Guittone, Dante, and Boccaccio--but not by Petrarch--were more progressive than the courtly style for which the Italian tradition is celebrated. For the very reason we should not ask the question -- 8. The wheel of the Decameron -- 12. Generations of Italians do not know that Dante is profoundly heterodox in his religious opinions! There is, in my opinion, a tendency to sequester the modern period and to assume for it a greater conceptual novelty than it merits.