Search results

1

O przekładach Boskiej komedii Dantego na język rosyjski

100%

Ziomek M.

Między Oryginałem a Przekładem

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2014

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vol. 26

151-158

EN

The article attempts to present the most significant translations of Dante’s The Divine Comedy into Russian. The translations of the poem functioning in Russian literary culture form a kind of a system of communication acts, in which the translation by Mikhail Lozinsky occupies the central place. This is because, on the one hand, this translation invalidates the earlier attempts at adapting The Divine Comedy for the Russian audience while on the other hand constituting a stylistic point of reference for later translations done by Alexander Ilyushin and Vladimir Marancman. Each of the translations demonstrates the diversity of possible interpretations of the original in another language.

2

Il “tragico” disdegno di Farinata degli Uberti nel canto X dell’ "Inferno" di Dante

89%

Maślanka-Soro M.

Italica Wratislaviensia

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2021

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issue 12.2

149-168

EN

Dante’s "Inferno" presents an essentially non-tragic view of reality based on the Christian concept of Man in his historical and eschatological aspect. Nonetheless, some of Dante’s episodes, like the one of Farinata degli Uberti, appear to contain a certain element of tragedy because of the virtues marking the characters involved, which endow them with a certain nobility, giving rise to an air of tragedy. To examine the nature of this “tragic” quality, I shall invoke Erich Auerbach’s concept of figural realism as applied to Dante’s masterpiece. A character’s life on earth is a prefiguration of his life after death, the fulfilment of his earthly existence concluding his earthly deeds. The soul’s fate post mortem bespeaks the quintessence of its life, the tangible sign of which is its contrappasso. The chief conflict takes place between the character and his fulfilment, but it also generates further conflicts: between the soul’s past on earth and its current condition in Hell; between the qualities that marked it in the past that could objectively be considered virtuous, and its current status amongst the damned, and others. Only in the eyes of sinners are these conflicts seen as tragic, but not from the point of view of Dante the Author, who discredits these conflicts with a variety of rhetorical and stylistic devices. I endeavour to explain the seemingly tragic quality in Farinata degli Uberti, one of the “magnanimous” spirits confined in Hell. At first glance he may seem reminiscent of the heroes of Greek tragedy, but on closer scrutiny his “magnanimity” takes on a sinister quality, and this is how Dante wants his readers to see the connection between Farinata’s perverse political commitment verging on fanaticism, and his sin of heresy, to which Farinata seems to turn a blind eye.

IT

L’Inferno dantesco presenta sostanzialmente una visione non tragica della realtà, basata sulla concezione cristiana dell’uomo nella sua dimensione storica ed escatologica. Eppure alcuni episodi, tra cui quello che si svolge nel canto X dell’"Inferno", sembrano non privi di tragicità a causa di una certa nobiltà d’animo dei loro protagonisti e dello stile alto il quale rimane in sintonia con essa creando un clima tragico. Per indagare la vera natura di quel “tragico” ricorreremo al concetto del realismo figurale applicato da Erich Auerbach al capolavoro dantesco, secondo cui la vita terrena è prefigurazione di quella oltremondana che, a sua volta, si presenta come adempimento definitivo dell’altra. La condizione raggiunta dalle anime esprime la quintessenza della loro vita il cui segno visivo è il contrappasso. Il conflitto più significativo sarebbe quello tra la figura e il suo adempimento, ma esso ne genera altri: tra il passato terreno e il presente infernale, tra i valori oggettivamente positivi che appartengono a quel passato e l’attuale condizione dei dannati. I conflitti in questione sono tragici solo se considerati dal punto di vista dei peccatori, non lo sono invece dalla prospettiva di Dante autore il quale mette in discussione quei valori tramite l’uso di artifici retorico-stilistici caratterizzanti i dannati e i discorsi che loro rivolgono a Dante pellegrino, decostruendo così il tragico. Tenendo conto di queste considerazioni, si cerca di dimostrare in che cosa consiste il tragico apparente di Farinata degli Uberti, uno dei “magnanimi” infernali. A prima vista egli assomiglia agli eroi delle tragedie greche, ma un attento esame fa vedere come la sua magnanimità si riveste di un’accezione negativa e in questa prospettiva va visto il legame tra la sua passione politica, degenerata in fanatismo politico, e il peccato di eresia che egli sembra ignorare.

3

Michał Wiszniewski (1794–1865), italianista, studioso e traduttore di Dante

89%

Pifko-Wadowska A.

Italica Wratislaviensia

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2021

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issue 12.2

169-185

EN

This study focuses on Michał Wiszniewski’s interest in Dante. Wiszniewski was a professor of history and literature at the Jagiellonian University of Krakow and was fond of Italy. This work aims to outline Wiszniewski’s contribution to the Polish reception of Dante in the first decades of the 19 th century. The study recalls Wiszniewski’s three Italian trips and his book, "Podróż do Włoch, Sycylii i Malty" (A Journey to Italy, Sicily and Malta), which contains numerous mentions of Alighieri. The main part of the study is dedicated to the analysis of his manuscript "Dante Alighieri", kept in the Jagiellonian Library (ms. 948 fasc. 7), which has not been carefully examined until now. This manuscript features an outline of a portion of a literature course taught by Wiszniewski in the 1830s, a lesson concerning the life and work of Dante (particularly the "Commedia"). The professor describes the two faces of Dante: the scholastic one (in prose) and the poetic one (in verse); explains the poem’s title and the structure of the afterlife; admires the extraordinary plasticity of Dante’s images; and translates into Polish a passage from the "Convivio" and three episodes from the "Inferno". The content of his lesson is compared with other earlier and contemporary Polish studies (of very limited number) on the Poet, as well as with the general trends of Dante criticism of that time and with the Dante scholarship of the Polish Romantic poets. The analysis carried out shows that Wiszniewski’s contribution to Dante studies is, in principle, close to Romantic criticism, but it also follows some Neoclassical trends. In the present study, we do not analyse the article "Studia nad Dantem" (1847) because of its uncertain attribution (as we try to show).

IT

Lo studio si concentra sull’interesse per Dante dimostrato da Michał Wiszniewski, professore di storia e letteratura presso l’Università Jagellonica di Cracovia, e un appassionato italianista. L’obiettivo che ci si pone è quello di delineare il contributo di Wiszniewski per la ricezione polacca di Dante nei primi decenni del XIX secolo. Nello studio vengono ricordati i tre viaggi italiani del professore e il suo libro "Viaggio in Italia, in Sicilia e a Malta" contenente numerose menzioni dell’Alighieri. La parte principale dello studio è dedicata all’analisi del suo manoscritto "Dante Alighieri", custodito presso la Biblioteca Jagellonica (ms. 948 fasc. 7), finora non esaminato attentamente. Si tratta di un abbozzo di una parte del corso di letteratura tenuto da Wiszniewski negli anni Trenta. La lezione riguarda la vita e l’opera di Dante (in particolare la "Commedia"). Il professore distingue due volti di Dante: quello scolastico (in prosa) e quello poetico (in versi), spiega il titolo del poema e la struttura dell’aldilà, ammira la straordinaria plasticità delle immagini dantesche, traduce in polacco un passo del "Convivio" e tre episodi infernali. Il contenuto del discorso viene confrontato con i precedenti e contemporanei studi polacchi, di numero assai limitato, sul Poeta, nonché con le tendenze generali della critica dantesca dell’epoca e con il dantismo dei poeti romantici polacchi. L’analisi eseguita dimostra che il contributo dantesco di Wiszniewski è in linea di massima vicino alla critica romantica, ma contiene anche dei punti di tendenza neoclassica. Nel presente studio non si prende in considerazione l’articolo "Studia nad Dantem" del 1847, in quanto si tratta di un testo di incerta attribuzione, come si prova a dimostrare. È perciò evidente che il problema dell’apporto di Wiszniewski alla ricezione di Dante in Polonia resta ancora un interessante campo da indagare.

4

Il dantismo di Józef Ignacy Kraszewski

89%

de Carlo A. F.

Postscriptum Polonistyczne

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2022

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vol. 30

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issue 2

1-10

EN

Both, Dante Alighieri’s ouevre and him as a person, ignited a grand, incessant passion and unflinching interest of Józef Ignacy Kraszewski (1812–1887), which was fueled by a deep sense of awe. Kraszewski’s works thrive on Dantean motifs mediated by the 19th-century culture that was saturated with the latter. Dante’s towering persona reigned over the 19th century, the era during which not only his ouevre but also his person were idolised, often by applying a political key to him. The Polish writer’s narrative and lyrical output bears a palpable residuum of the Divine Comedy – an inexhaustible source of inspiration he continually aluded to by references, quotes, suggestions, and reworking of topics and motifs. After scrutinising literary reminescences of the Divine Comedy recognised in Kraszewski’s works, the article proceeds to focus on reverbarations and echoes traced back to the masterpiece’s part one, in particular Inferno V (the fifth song) and their relationship with the source text. The astounding fate that befell Paolo and Francesca creates a context for the analysis of a narrative poem Paolo. Powieść wenecka (‘Paolo. A Venetian Tale’; 1843) and a novel Pod włoskim niebem (‘Under the Sky of Italy’; 1845).

PL

Postać i twórczość Dantego Alighieri bardzo wcześnie wzbudziły w Józefie Ignacym Kraszewskim (1812–1887) niesłabnące zainteresowanie oraz wielką pasję, ożywioną głębokim i pełnym czci podziwem. Twórczość Kraszewskiego żywi się motywami dantejskimi zaczerpniętymi z XIX-wiecznej kultury, która była nimi przesiąknięta. Wiek XIX rządzony jest przez wybitną postać Dantego i charakteryzuje się prawdziwym kultem nie tylko dzieła, lecz także osoby poety, często ujmowanej w kluczu politycznym. W narracyjnym i lirycznym dorobku polskiego pisarza silnie wyczuwalna jest pamięć Boskiej Komedii – niewyczerpanego źródła inspiracji, z którym autor prowadzi nieustanny dialog poprzez odniesienia, cytaty, sugestie, przepracowywanie tematów i motywów. Po przyjrzeniu się reminiscencjom Boskiej Komedii rozpoznawalnym w twórczości Kraszewskiego artykuł skupia się na echach pochodzących z pierwszej księgi, w szczególności z pieśni V, i ich relacji ze źródłem. W związku z tym w świetle niezwykłego losu epizodu Paola i Franceski analizowana i kontekstualizowana jest powieść poetycka Paolo. Powieść wenecka (1843) oraz powieść Pod włoskim niebem (1845) Kraszewskiego.

5

Реминисцентная полифония в эпилоге Реквиема Анны Ахматовой

88%

Ерохина И.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2010

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issue 3

24-32

RU

The article focuses on the functioning of crossing quotations in Anna Akhmatova's Requiem. The author demonstrates that the image of the monument in the Epilogue is based on complex semantic relationships with the genre model of XXX Ode by Horace and the reminiscences of Dante's Divine Comedy.

6

„Wędrowiec-dantofil” w rodzinnej Italii. Stanisław Vincenz a włoska tradycja artystyczna

87%

Żmidziński J.

Poznańskie Studia Polonistyczne. Seria Literacka

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2020

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issue 38

77-101

EN

The article is the first attempt at a holistic view of Stanisław Vincenz’s relationship with Italian culture. Since his youth, Vincenz would visit the Italian Peninsula travelling to Venice and, already as an emigrant after World War II, made a few visits to Naples and Tuscany. These journeys resulted in numerous comments included in his essays on Dante Alighieri, as separate overview Z perspektywy podróży (From a traveller’s perspective) and List z Neapolu. Dialog z Czesławem Miłoszem (A letter from Naples. A dialogue with Czesław Miłosz). Italian journeys, interest in Dante and Italian culture (architecture, painting, folk rituals) brought numerous Italian motifs in the tetralogy Na wysokiej połoninie (On a high mountain pasture). The key element is included in volume II, Zwada (Conflict), which describes a group of loggers cutting down trees in a primeval Carpathian forest. In this part, a young Italian dies and is buried after a Hutsul funeral ritual which is not understood by the foreigners. The analysis of the abovementioned motifs shows how important Italian culture was to Vincenz, also in a very personal sense, given the Vincenz family’s distant Venetian roots. One may even claim that for the writer, Italy was almost a family land. Personifying the European spirit, Italy was his “broader” homeland.

7

Controversy over the Power Between the Papacy and the Empire in the light of Marsilius’ of Padua Defensor pacis

87%

Białas A.

Peitho. Examina Antiqua

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2010

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vol. 1

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issue 1

145-159

EN

The most famous medieval controversy over the power and the temporal dominion took place between the papacy and the empire. One of the greatest advocates of the imperial domination was Marsilius of Padua, the author of an original work that demonstrated the advantage of acknowledging the emperor’s superiority over the Pope’s. The Defensor pacis, written between 1319 and 1324, was devoted to the dispute on such sovereignty issues as proving that the Pope should be subordinate to the Emperor, and not vice versa. The Defensor pacis takes issue with numerous arguments and views uttered by the papal camp and uses the appropriate quotations from the Bible and Aristotle to show their weakness and inconsistency. The work comprises three parts. The first part is a description of the ideal system, i.e., an elective monarchy, with the specified role of a ruler and a clear indication of the sovereignty of the people. The second and third parts present a challenge to the arguments of the papal camp (including the famous argument of the “power keys”) and analyze the general situation of the Church, suggesting the necessary reforms. Thus, the whole work becomes a compendium of knowledge on appropriate governance.

PL

The most famous medieval controversy over the power and the tempo‑ ral dominion took place between the papacy and the empire. One of the greatest advocates of the imperial domination was Marsilius of Padua, the author of an original work that demonstrated the advantage of acknowledging the emperor’s superiority over the Pope’s. The Defensor pacis, written between 1319 and 1324, was devoted to the dispute on such sovereignty issues as proving that the Pope should be subordinate to the Emperor, and not vice versa. The Defensor pacis takes issue with numerous arguments and views uttered by the papal camp and uses the appropriate quotations from the Bible and Aristotle to show their weak‑ ness and inconsistency. The work comprises three parts. The first part is a description of the ideal system, i.e., an elective monarchy, with the specified role of a ruler and a clear indication of the sovereignty of the people. The second and third parts present a challenge to the arguments of the papal camp (including the famous argument of the “power keys”) and analyze the general situation of the Church, suggesting the neces‑ sary reforms. Thus, the whole work becomes a compendium of knowl‑ edge on appropriate governance.

8

Křesťansko-muslimské diskuse nad Dantovou Božskou komedií

75%

Kropáček L.

Historie – Otázky – Problémy (History, Issues, Problems)

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2014

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vol. 6

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issue 2

245-254

EN

Examination of the Islamic sources of inspiration behind Danteʼs imagination raises a debate over the extent of this influence and on the poetʼs personal opinions regarding historical facts, philosophy, theology, mysticism, courtly poetry and divine love, as well as Danteʼs reception within the ferment of subsequent history down to this day. Contemporary attitudes towards Danteʼs relationship to Islamic culture diverge sharply into opposing views.

9

On Mystical Metamorphosis in Christianity and Islam: Dante’sDivine Comedyand Rumi’sMasnaviin Comparative Perspective

75%

Seblini N.

CLEaR

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2016

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vol. 3

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issue 2

16-24

EN

Journey emerges in multiple faces in literature. But when this substantial subset of quests adopts the mystical aspect, it creates a mystery that triggers the discovery sense in human beings. The present article develops a comparative analysis on the complex nature of mystical metamorphosis as expressed in two of the most influential writings of the East and West: Rumi’s Masnavi and Dante’s Divine Comedy. The first part discusses the concept of mysticism and poetry, and reveals the nature of their connection. The second part of this work investigates the historical setting of Dante’s and Rumi’s lives in relation to the social environment of the time. The last part emphasizes the idea of mystical metamorphosis as expressed in the Divine Comedy and Masnavi through two fundamental vehicles: love and faith. This work demonstrates how, in a world rife with wars and misery, mysticism provides a vital key to building a strong bridge between Islam and Christianity, and on a larger scale, to metamorphosizing the “clash of civilizations” into a “confluence of civilizations”.

10

„Piekło” XX wieku – translacje wizualne poematu Dantego w ujęciu Roberta Rauschenberga

75%

Wakuła K.

Przegląd Humanistyczny

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2016

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vol. 60(1 (452))

131-146

PL

The aim of the text is to analyse Robert Rauschenberg’s illustrations for Dante’s Inferno as the examples of a correspondence between literature and visual arts. It also raises the issues of the mutual relation between a word and an image and the function of an illustration in a writing. In addition, two other polysemiotic artworks of American precursor of pop-art are discussed.

11

Cerberus and the others. Monsters from the Divine Comedy

75%

Ciseri L. M.

Forum Poetyki

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2022

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issue 30

EN

Lorenzo Montemagno Ciseri jest autorem dwóch książek o Dantem, w których analizuje potwory zamieszkujące dantejskie światy. Są to: Mostri: la storia e la storie, (Roma: Carocci editore, 2018) oraz Cerbero e gli altri. I mostri nella Divina Commedia (Roma: Carocci editore, 2021). Przetłumaczone fragmenty pochodzą z książki drugiej, są to odpowiednio: Wprowadzenie (s. 9–15) oraz obszerne partie (od Trzech bestii do Meduzy) piekielnego rozdziału trzeciego: I mostri della Commedia: Inferno (s. 47–61). Całość rozdziału przedstawia się następująco: Trzy bestie, Charon, Minos, Cerber, Erynie (Furie) i Meduza, Minotaur, Centaury, Harpie, Gerion, Skazańcy, Diabły Malebranche’a, Węże i Kakus, Giganci, Lucyfer (s. 47–89). Dantejskie prace Ciseriego nie były dotąd tłumaczone na język polski (prawdopodobnie jest to pierwsza w ogóle translacja tekstu włoskiego badacza).

PL

W tekście zaprezentowano metodę detalicznej lektury poematu Dantego, czytanego poprzez analizę teratologiczną. Namysł nad opisanymi w dziele wybitnego Włocha potwornościami i potworami pozwala przywrócić Boską komedię współczesności. Czytelnik zauważa znaczenie detalu w procesie poznawania i rozumienia tekstu, co propedeutycznie stanowi doskonały wstęp do poematu, a także uczy określonego sposobu lektury dostrzegającej literackie imponderabilia i poddającej je analizie.

12

Numa Łepkowski i historia nieznanej dedykacji Norwida

71%

Cedro A.

Studia Norwidiana

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2011

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vol. 29

135-156

EN

In 2010 in the blog nonsolusblog.wordpress.com information appeared about finding in the collection of the Illinois University Library a copy of the Italian edition of Dante's Divine Comedy that had belonged to Cyprian Norwid. Probably Norwid had this copy in the Berlin prison, and on the basis of it he translated fragments of the Italian masterpiece. On the title page, beside the poet's signature, there is the inscription “Florencja 1846” (Florence 1846). The date is a riddle, as in the light of the present knowledge it does not seem likely that Norwid could be in Italy in that year The dedication in the book (“To N. Łepkowski in remembrance of 1854 in America) has made it possible to establish that its addressee, Numa Łepkowski, was born in Volhynia about 1805, he studied at the Warsaw University, and then he fought in the November Uprising. Together with a large group of Polish veterans (234 people) he was deported to the United States, among others with August Antoni Jakubowski. Until his death (28 May 1887) Łepkowski made his living by playing the guitar: he composed music, gave concerts, but first of all he taught playing this instrument in the most famous New York homes. He was also active in organizations of the Polish community in America, and he took part in the social life of the New York elites. It was probably because of his high social status and extensive relations that Norwid met him. The death of the composer and his rank as a musician was noted in obituaries in several American, and even New Zealand newspapers Under Norwid's signature on the title page of the book there is an imprint of a signet-ring, in which elements of the Topór coat of arms, the poet's family sign, can be recognized. This is an additional premise that allows deciding that the book belonged to the poet's library.

13

Meduza, osłona i wysłannik niebios. Tajemnice Pieśni IX „Piekła” Dantego według nadinterpretacji Giulia Leoniego w powieści „I delitti dellaMedusa”

65%

Raczyńska A.

Studia Europaea Gnesnensia

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2015

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issue 12

129-140

EN

Giulio Leoni, a modern Italian writer, is the author of five crime novels inspired by the life and works of Dante Alighieri. He presents Dante as a detective who investigates mysterious crimes of the early 14th-century Florence, Rome and Venice. Although Leoni has gained an international fame, there are very few studies which examine the connections between the “Divine Comedy” and his books. My article aims to analyze the overinterpretation of Canto IX of the “Inferno” in the novel “I delitti della Medusa”.

14

Kręgi piekielne Holokaustu. Czy metafora „piekło dantejskie” jest adekwatna w stosunku do Zagłady?

62%

Stachula A.

Studia Żydowskie. Almanach

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2012

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vol. 2

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issue 2

225-233

EN

The experience of the Holocaust is hard to express in the present, free world by people who have never experienced life in the ghetto or in the concentration camp. The best way to make the experiences of the extermination period is reference to the tradition shaped by the symbolism of hell. The metaphor of “The Dante’s hell”, ho-wever, seems to be too narrow in relation to the victims of the Holocaust. Neverthe-less, the use of the hell metaphor in relation to the experience of the Holocaust is mo-tivated. By delving into what is common to humanity becomes more likely, though not quite possible, to understand the experience of the Shoah.

PL

Doświadczenie Holokaustu jest trudne do wyrażenia w dzisiejszym, wolnym świecie przez ludzi, którzy nigdy nie doświadczyli życia w getcie czy w obozie koncentracyjnym. Najlepszym sposobem przybliżenia doświadczeń okresu zagłady jest odwołanie się do tradycji ukształtowanej przez symbolikę piekła. Metafora „piekła Dantego” wydaje się jednak zbyt wąska w odniesieniu do ofiar Holokaustu. Niemniej użycie metafory piekła w odniesieniu do doświadczenia Holokaustu jest bardzo interesujące. Poprzez zagłębienie się w to, co wspólne dla ludzkości, staje się bardziej prawdopodobne, choć nie całkiem możliwe, zrozumienie doświadczenia Zagłady.

15

Polemiche a distanza fra Firenze e Venezia. Sulla perduta «Risposta» di Paolo Paruta alla «Lettera XXX» dello pseudo-Dante a Guido da Polenta (secondo XVI sec.)

62%

Giani M.

e-Scripta Romanica

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2019

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vol. 7

60-78

EN

The essay provides all available data useful for the discovering of an up-to-now lost text by Paolo Paruta (Venice, 1540-1598), the Risposta [Reply] to Lettera XXX by Pseudo-Dante, a fake letter published in 1547 by Florentine Anton Francesco Doni, in order to arouse a bitter anti-Venetian controversy. New evidence shows that one copy of Paruta's Risposta lay in Gian Vincenzo Pinelli library (located in Padua). In fact, Paruta and Pinelli shared a lot of interests and friends in the middle and late 16th century Padua and Venice.

IT

Il saggio presenta tutti i dati disponibili utili al ritrovamento di un testo per ora fantasma, quale la Risposta di Paolo Paruta (Venezia, 1540 - 1598) alla Lettera XXX dello pseudo-Dante, falso d’autore editando il quale nel 1547 il fiorentino Anton Francesco Doni scatenò una violenta polemica politica anti-veneziana. Nuove ricerche dimostrano come nella celebre biblioteca padovana di Gian Vincenzo Pinelli fosse conservata una copia della Risposta. Paruta e Pinelli, infatti, condividevano molti interessi e conoscenze negli ambienti della Padova e della Venezia del Secondo Cinquecento.

16

Nobile e ignobile simbolismo islamico nella 'Divina Commedia'

62%

Balducci M. A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2020

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vol. 20

3-30

RU

Within the mysteries of 'The Divine Comedy', it seems that the culture of Muslims is well known to Dante, above all thanks to the mediation of works such as the 'Book of Muhammad’s Ladder '(Kitāb al‑miʿrāj), the 'Travels of Marco Polo' and various writings of friar Riccoldo of Montecroce. Islam is considered a danger, yet it is also admired in Dante’s vision, for its scientific height reached in the Middle Ages. Love is the essential concept of the whole message of Christianity: it is caritas, a universal embrace that includes every aspect of man and harmonizes it. Muhammad, despite his original Christian spiritual formation, according to Dante, did not understand the concept of caritas. Therefore, he deceived others and himself, founding a new creed and a different faith, which is by no means superfluous from a Dantean point of view. Indeed, it is useless and dangerous as a heresy, due to its same nature that generates schism and, precisely, war. It is natural, in this sense, that Muhammad finds himself in hell in the vision of The Divine Comedy, grotesquely oppressed by his guilt of fraud, because he has shared the circle of love (the all‑encompassing and Trinitarian perfection of Love) with all the hatred of his anger. However, beyond all the Muslim limits of a culture of submission and the doctrine that arises from it, Dante reveals to us in his 'Paradise' a possible salvation also for Islam (apparently damned); and this for a very subtle yet strong way: the mystical way in its perfect sentimental Truth, which is tolerant, fraternal and inclusive.

DE

Within the mysteries of 'The Divine Comedy', it seems that the culture of Muslims is well known to Dante, above all thanks to the mediation of works such as the 'Book of Muhammad’s Ladder' (Kitāb al‑miʿrāj), the 'Travels of Marco Polo' and various writings of friar Riccoldo of Montecroce. Islam is considered a danger, yet it is also admired in Dante’s vision, for its scientific height reached in the Middle Ages. Love is the essential concept of the whole message of Christianity: it is caritas, a universal embrace that includes every aspect of man and harmonizes it. Muhammad, despite his original Christian spiritual formation, according to Dante, did not understand the concept of caritas. Therefore, he deceived others and himself, founding a new creed and a different faith, which is by no means superfluous from a Dantean point of view. Indeed, it is useless and dangerous as a heresy, due to its same nature that generates schism and, precisely, war. It is natural, in this sense, that Muhammad finds himself in hell in the vision of The Divine Comedy, grotesquely oppressed by his guilt of fraud, because he has shared the circle of love (the all‑encompassing and Trinitarian perfection of Love) with all the hatred of his anger. However, beyond all the Muslim limits of a culture of submission and the doctrine that arises from it, Dante reveals to us in his Paradise a possible salvation also for Islam (apparently damned); and this for a very subtle yet strong way: the mystical way in its perfect sentimental Truth, which is tolerant, fraternal and inclusive.

PL

Rozpatrując zagadki "Boskiej Komedii", można przyjąć, że kultura muzułmańska była dobrze znana Dantemu, przede wszystkim poprzez dzieła takie jak "Księga Drabiny Mahometa", "Podróże Marco Polo" czy prace Riccolda z Montecroce. Islam jest uznawany za zagrożenie, a jednak podziwiany w wizji Dantego. Miłość jest postrzegana jako kluczowy element chrześcijaństwa, jest to caritas i obejmuje ona każdy aspekt życia człowieka, utrzymując go w harmonii. Według Dantego Mahomet nie rozumiał tej koncepcji, dlatego stworzył nowy rodzaj wiary. Zgodnie z wizją "Boskiej Komedii" Mahomet znalazł się w piekle, z poczuciem winy z powodu oszustwa. Z kolei w "Raju" Dante wskazuje, że zbawienie jest możliwe również w islamie, gdzie Prawda jest tolerancyjna, braterska i całkowita.

17

Rooted Deep: Discovering the Literary Identity of Mythopoeic Fantasist George Macdonald

51%

Jeffrey Johnson K.

Linguaculture

|

2014

|

vol. 2014

|

issue 2

25-44

EN

This paper is a conversational reassessment of George MacDonald, the Victorian fantasist who so profoundly shaped such writers as C.S. Lewis and J.R.R. Tolkien. Primary research challenges the common portrayal of MacDonald as an accidental novelist, revealing instead his clear trajectory and vocation as a devoted literary scholar. Clarifying the definition of mythopoeic as applied by the Oxford Inklings to MacDonald draws attention to their conviction that attentive response to one’s literary roots is what engenders novel literature with transformative potential. Further research proves this to be in keeping with the work and legacy of MacDonald and his mentor A.J. Scott. An intentional participation in this relational nature of literary tradition is a crucial element of the work and legacy to which the Inklings and their successors are heirs.

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Rooted Deep: Discovering the Literary Identity of Mythopoeic Fantasist George Macdonald