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1

ACEDIA U DANTEHO AKO SVETSKÉHO AUTORA A V DOBOVEJ KÁZŇOVEJ TVORBE

100%
Šavelová M.
Motus in verbo: časopis mladej vedeckej generácie
|
2014
|
vol. 3
|
issue 2
58 – 65
EN
The aim of this article is to highlight the category of joy in the faith, which has changed over the centuries from the initial spontaneous, unprompted joy of the availability of souls’ salvation to joy as an evidence of repentance, what we can see in particular Dante’s sad sinners in the fifth circle. Dante does not believe that people could feel the joy spontaneously and therefore establishes the need to rejoice as a command, which defaulting he punishes by putting them to hell: it is a punishment of lack of joy and therefore sorrow, and acedia. Dante’s sad sinners are considered mentally ill, who are unable to rejoice and that is why they are more reprehensible. He places them in the mud of Styx to analogously punish their memory. As they were sad in a pleasant atmosphere during their lives, now they are sad in the black mud. The concept of acedia is found in several works of contemporary authors of religious literature, but its translation has multiple meanings. It may be a reluctance but also sombre, oppressive sadness, a particular kind of melancholy and bitterness, in which a human becomes not only a passive and careless about any spiritual value but he also feels a repulsion to these values, his inside is full of anger and this could finally ends up in complete stupor.
2
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Kollár, Petrarca a Dante

88%
Pelan J.
Česká literatura (Czech Literature)
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2005
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vol. 53
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issue 2
188-202
EN
By way of introduction the author demonstrates first the Petrarchan and then (for the last two sonnets, published in the 1832 edition) Dantean inspiration of the cycle 'Slávy dcera' by the Slovak-born poet Jan Kollár, and points out the incompatibility of the two models. He describes Kollár's reading of Petrarch and Dante (both in German translation) as partial, since he used only selected elements of form and motif. Kollár's appreciation of the two Italian poets was undoubtedly not without reservations: on the basis of a passage from a description of Kollár's journey to northern Italy in 1841, the author of the article concludes that the distanced way Kollár talks about his models reveals criticism of them from Protestant and Panslav positions. Kollár was nevertheless able to assess positively his contact with Petrarch and Dante: if it was the Petrarchan sonnet that taught him concise, semantically rich expression, it was the stylistic openness of Dantean 'realism', which led him to experiment with form in the framework of a heroic-comic genre.
3

Rawenna “Snem Malowana.” O kreacyjnych i onirogennych właściwościach miejsca

88%
Wydrycka A.
Białostockie Studia Literaturoznawcze
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2013
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vol. 4
303-317
EN
The article interprets lyric poems, the subject of which is the last capital of the Western Roman Empire, Ravenna. It was treated as a place serving to define identity (Bronisław Przyłuski’s poems), self-presentation (Lechoń’s lyrical poem), and particularly as w place of oneirogenic nature (poems of Lechoń, Różewicz and others). The number of Polish works connected with Ravenna demonstrates a perennial fascination with the city. Two threads recur in them: Dantean and that emphasizing the art of mosaic, reaching the heights of metaphysics.
4

Image and Shadow. Dante's theory of image as converted into a theory of art

88%
Belting H.
Teksty Drugie (Second Texts)
|
2006
|
issue 4(100)
135-152
EN
The present article is a chapter from Hans Belting's book 'Bild-Anthropologie' (München 2001). Here, the author embarks at reconstructing a theory of picture/image proposed by Dante in his 'Divina Commedia'. The conversations between Dante and Virgil are clearly indicative of a category-related difference between image and the body: 'image is like a shadow'. Belting analyses in detail the ancient and mediaeval concepts of shadow, soul, persona, proving indispensable for explaining the ontological aspect of Dante's images of death. The second section of the paper shows how artists such as Giotto, Masaccio or Michelangelo attempted at confronting the theory of image proposed by the author of the 'Divina Commedia'. He concludes with stating that the theory of 'painting of shadows', as described earlier, may prove extremely useful for modern theories of image and art, particularly, photography and virtual world.
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