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O przekładach Boskiej komedii Dantego na język rosyjski

100%
Ziomek M.
Między Oryginałem a Przekładem
|
2014
|
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
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Arranging the onymic space in Dante Alighieri´s Divine comedy : a classification for part Inferno

75%
Kalashnikov A.
Acta onomastica
|
2016
|
vol. 56
93-104
EN
The Divine Comedy by Dante Alighieri (1265-1321) whose 750th anniversary is celebrated in 2015 represents a most interesting model of universe combining it with the allegory of the political situation in Tuscany in the eye of the Trcento society. The book is also famous for an extensive number of the names of notable people and places known in the poet´s time. The paper is going to be a study of the onymic space involving personalia and place names in part Inferno of Dante´s Divine Comedy and an attempt to present the worldview of the early 14th century through the proper names used in the poem. The classification-based onymic analysis based on the may show that Dante´s work is special among other masterpieces of the Middle Ages and the early Renaissance as it established a literary tradition of making references to current events incorporating the names of real people and places.
3
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Nobile e ignobile simbolismo islamico nella 'Divina Commedia'

62%
Balducci M. A.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
|
2020
|
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.
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