CoSMo | Comparative Studies in Modernism <p>CoSMo | Comparative Studies in Modernism è la rivista del <a href="">Centro Studi "Arti della Modernità"</a>. Vi sono raccolti i risultati più rilevanti delle riflessioni maturate nel corso dei seminari e delle giornate pubbliche che il Centro Studi promuove.</p> <p>La rivista è strutturata in tre sezioni: <em>Percorsi</em>, <em>Focus </em>e <em>Letture</em>. Gli articoli sono pubblicati al termine di un processo di <em>peer review</em>, monitorato grazie alla piattaforma elettronica dell'Università di Torino.</p> Centro Studi Arti della Modernità | Università degli Studi di Torino it-IT CoSMo | Comparative Studies in Modernism 2281-6658 <div id="copyright_notice"> <p>Gli autori mantengono i diritti sulla loro opera e cedono alla rivista il diritto di prima pubblicazione dell'opera, contemporaneamente licenziata sotto una <a href="" target="_new">Licenza Creative Commons - Attribuzione</a> che permette ad altri di condividere l'opera indicando la paternità intellettuale e la prima pubblicazione su questa rivista.</p> </div> Scarica il sommario Daniela Fargione ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 3 4 10.13135/2281-6658/6854 Scarica l’intero fascicolo Daniela Fargione ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 1 260 10.13135/2281-6658/6855 Giving Dante a Voice <div><span style="font-family: arial, sans-serif;">The most popular painter of still lifes in the United States in the nineteenth century, William Michael Harnett (1848-1892), created an ensemble in 1883,&nbsp;<em>Still Life with Bust of Dante,</em>&nbsp;that juxtaposes the Italian poet with Marquis de Sade. Harnett’s painting foregrounds the potential of Dante as a provocative critique of the Church. On the cusp of the modernist movement, Harnett’s mediation of the poet is indicative of other appropriations to come in Anglo-American literary and artistic culture that will highlight the radical modernity of the&nbsp;<em>Divine Comedy</em>.&nbsp;</span></div> Dennis Looney ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 5 15 10.13135/2281-6658/6856 Dante, British Epic and Women’s Education <p>In eighteenth-century Great Britain the <em>Divine Comedy</em> took an active part in literary discussions on genre (epic poetry) as well as on gender (women and education). To discuss this role, I will examine in particular William Hayley’s <em>The Triumphs of Temper</em> (1781), a poem which draws on Dante’s <em>Commedia</em> to produce for English literature a new kind of heroic poetry featuring “female excellence;” and his <em>Essay on Epic Poetry</em> (1782), a scholarly essay which introduces the <em>Commedia</em> as an epic model and includes a translation of <em>Inferno</em> I-III in <em>terza rima</em>.</p> Cosetta Gaudenzi ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 19 38 10.13135/2281-6658/6514 Traces of Dante in Nineteenth Century English Poetry <p>The essay intends to offer an overview of Dante’s influence on nineteenth-century English poetry, highlighting the various appropriations and introducing a discussion on individual authors. It is an essential pivot in the development of modern and contemporary culture inasmuch as, during the nineteenth century, Italian literature seemed to flow into English literature and at the same time represent a sort of great moment in universal literature. Furthermore, with the birth of the United States, the great English tradition converges with the more mature American literature and therefore the whole focus of Western and also contemporary culture relates to an extraordinary basin in which the set of sources that complement each other, in particular Dante and English literature, establish a fundamental element for understanding the imaginary itself not only of the twentieth century but also of the contemporary one.</p> Biancamaria Rizzardi ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 39 51 10.13135/2281-6658/6584 Dante, Dante Gabriel Rossetti, and Their Verbal/Visual Personae <p>Dante Gabriel Rossetti’s <em>Dante Alighieri. The New Life (La Vita Nuova)</em>, published in <em>The Early Italian Poets from Ciullo D’Alcamo to Dante Alighieri</em> (1100-1200-1300) (1847-48, published 1861) and the innumerable sketches, drawings, and paintings he dedicated to Dante generate connections between two different epochs and cultural areas. Puzzling and enlightening, they are verbal and visual transpositions as well as original works of art that invite an enquiry into Rossetti’s interart, transcultural, and self-reflexive appropriation and re-shaping of Dante’s poetics and aesthetics.</p> Paola Spinozzi ##submission.copyrightStatement## 2022-06-29 2022-06-29 20 53 66 10.13135/2281-6658/6861 A Turning Point <p>This essay investigates Walter Pater’s reception of Dante. From his juvenile production to his later writings, Pater’s oeuvre is interspersed with references, quotations, or allusions to Dante, and often directly discusses important aspects of the poet and his works. Pater strongly sensualises Dante’s idea of love, which he sees as functional to his own exploration of sensoriality. In this sense, his reading of Dante emphasises the features of Dante’s realism (and symbolism) that are closer to his own poetics, interpreting them as emblematic of his artistic ideal of the fusion of matter and spirit. Moreover, Pater views Dante as instrumental in some of the cultural-historical phenomena – the Renaissance, Romanticism, modernity – which are pivotal for his aestheticist conception of history.</p> Giovanni Bassi ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 67 94 10.13135/2281-6658/6598 “I Am the Means and Not the End” <p>The celebrated epigraph to <em>Howards End</em> (1910), “only connect”, provides a fitting motto for the life and work of Edward Morgan Forster. With the epigrammatic intensity of a manifesto, the famous locution also encapsulates the compositional principle of Forster’s art, informed by intertextual references and quotations, ranging from Pope to Whitman, from Plato to Shakespeare, from Shelley to Dante. Less explicit than that of other models, the presence of the Sommo Poeta permeates Forster’s fictional as well as critical universe like a basso continuo, to use one of the musical metaphors so dear to the English writer: while Dante’s spirit can be caught in the literary interstices in which the narration aspires to become vision – in his early novels and most notably in Forster’s fictional representation of Dante in the supernatural tale “A Celestial Omnibus” (1911) –, the Italian poet features as a privileged interlocutor in Forster’s criticism and journals. This essay intends to retrace the forms and development of this artistic dialogue starting from the lecture on Dante that Forster delivered in 1907 for the Working Men’s College, the result of a study of the Florentine poet and of<em> The Divine Comedy</em> over which, as the author wrote in 1958, he had “put in quite a lot of work”.</p> Raffaella Antinucci ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 95 112 10.13135/2281-6658/6643 “What Dante means to me” <p>The paper takes its title from a lecture given by T.S. Eliot in 1950, in which he pointed out the lessons Dante had taught him. In fact Dante remains Eliot’s chief model and point of reference throughout his work. His first collections present characters and encounters reminiscent of Dante’s dialogues with the damned and purging souls in the afterlife. Eliot saw in Dante “the great master of the disgusting”, authorizing his own descent into the sordid world of the Sweeney poems of 1920. But Dante is also a guide to an earthly paradise, to bliss and acquiescence in God’s will – states of mind approached in the poems written after Eliot’s conversion, which are meditative soliloquies rather than confrontations with others. In Dante Eliot detected, surprisingly, “the Catholic philosophy of disillusion”, that is, his own somber view of fallen humanity. This position is shared to some extent by Robert Frost (whose characters are often in pain, and whose worldview is dark, if ironic). Other modernists, like Wallace Stevens and Ezra Pound, are more optimistic about the pursuit of worldly happiness, and so come well within Protestant tradition. Dante is barely alluded to by Stevens, who attempted to write as if there were no precedent, while the entire project of Pound’s <em>Cantos</em> is Dantean, even in the violence of their denunciations and maddening topicality, as well as in their recurrent revelations of a proximate paradise.</p> Massimo Bacigalupo ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 113 121 10.13135/2281-6658/6516 A Divine Graphic Comedy <p>The <em>Divine Comedy </em>is one of the most famous and timeless narrative poems, being still translated into several languages and inspiring movie adaptations (from Pasolini to Greenaway), pop and rock music, advertisement videogames and graphic novels.The transformations the text has gone through throughout the years reveal several different interpretations of Dante’s work and of its meaning. This essay aims at tracing a history of Dante-based graphic novels in the Anglo-American tradition<em>. </em>Particular attention is devoted to Birk and Sanders’ <em>Dante’s Inferno </em>(2004) and to Seymour Chwast’s graphic novel, <em>Dante’s Divine Comedy </em>(2010), which is the only ‘translation’ into a poster design style. This paper also examines how the <em>Divine Comedy</em> changes migrating from its original context to the contexts that characterized the different adaptations and remediations, and from its original poem form to new genres. It argues that the graphic novel is the genre better able to give to a contemporary reader a new Dante’s <em>Divine Comedy </em>keeping intact the delicate balance between words and imagines (the long history of the <em>Divine Comedy’s </em>illustration testifies it: from Botticelli to Joshua Reynolds, from Gustave Doré, to William Blake until Guttuso, see Battaglia Ricci 2018). Between losses and compensations, the graphic novel establishes a dialogue with its reader on several levels, depending on the expertise of source work and stimulating the reading (or the re-reading) of the classic; in this way they could be considered a strategy of survival of the classic.</p> Elisa Fortunato ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 123 132 10.13135/2281-6658/6505 Delving ‘Underground’ <p style="font-weight: 400;">More than one contemporary Irish poet becomes anxious when quoting Dante, not only because Dante is the unsurpassable poet of all times, but also because Heaney’s improvisations on the Florentine poet appear, in Ireland, to carry more weight than that of the Italian poet himself.&nbsp;The path Heaney followed in his ‘research’ mainly meant ‘digging’ into the depths of history, language and myth. Dante, in particular, had surely not been studied prior to Hopkins and Frost, Hughes and Hardy, MacDiarmid and Larkin, MacCaig and Maclean, all the poets Heaney had read and, in part, even met before producing some of his middle- and late-career masterpieces. From the very beginning, Heaney’s ‘underground’ theme was his personal process of ‘digging’.&nbsp;In his interviews and essays, Heaney often quoted the&nbsp;<em>Inferno</em>&nbsp;and the&nbsp;<em>Purgatorio</em>&nbsp;and his insights into the ‘underground’ were often presented as spatial and symbolic contraries: surface/underground; high/low; light/darkness, outside/inside, hell/heaven; demon/angel, etc.&nbsp;The attraction to Dante and the presence of the Florentine poet as a background influence on Heaney’s poetry is here underlined by exploring some of his key collections and poems.&nbsp;</p> Marco Fazzini ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 133 145 10.13135/2281-6658/6604 Like a Medieval Journeyman with His Poem in His Hand <p>Charles Wright is one of the contemporary American poets who have most profoundly absorbed Dante’s <em>Commedia</em> into their work. This paper places Wright’s&nbsp; interest in Dante in context, focusing on <em>Purgatorio</em> as the canticle he relates to most in his poetry, and the book closest to his own poetics. Examples taken from various texts support this reading of Wright’s relationship with the medieval Florentine poet.</p> Antonella Francini ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 147 164 10.13135/2281-6658/6488 John Kinsella <p>Among the many re-uses of Dante’s <em>Comedy</em> in contemporary artistic expressions (movies, music, novels, poetry) the essay presents John Kinsella’s trilogy, <em>Divine Comedy. Journeys Through a Regional</em> <em>Geography </em>(2008),<em> On the Outskirts </em>(2017), and <em>Musical Dante </em>(2021). Here Dante’s poem inspires an ecological poetry in defense of the multiplicity of life on our planet. The paper discusses why Dante inspires such a poetic discourse on one of the most topical and urgent problems. Presenting the similarities and differences between Dante’s and Kinsella’s poetry, evident in the structures and in the concept of Nature, it eventually indicates their profound affinity in the ethical sphere and regarding the focus on small territories as case studies for the entire world.</p> Erminia Ardissino ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 165 179 10.13135/2281-6658/6473 From Cocito to Avalon via Shaft Lake <p>Alice Munro’s “Pictures of the Ice” is a reflection on betraying and being betrayed that aggrandizes the ordinary to epic proportions and expands the personal and the local into the historical, the mythical and the canonical. Her pictures of the ice look like ordinary snapshots of a Canadian winter phenomenon, but they are indexed to several canonical counterparts evidencing felony and ranging from Dante’s frozen lake at the bottom of the <em>Inferno</em> to James Hogg’s <em>The Private Memoirs and Confessions of a Justified Sinner</em> (1824) or James Galt’s <em>Bogle Corbet or the Emigrants</em> (1831) and including references to Walter Scott’s <em>Marmion: A Tale of Flodden Field</em> (1808) as well Tennyson’s “The Passing of Arthur” from <em>Idylls of the King</em> (1859-1885).&nbsp; Through the synchronisation of the distant and the near, the personal and the historical, the legendary and the biblical, Munro collapses frontiers between the infinitely small and the infinitely large and generates a new topography of the moral universe.</p> Héliane Ventura ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 181 194 10.13135/2281-6658/6474 Mary Jo Bang’s “Inferno” <p>The multitude of appropriations, transformations, reinterpretations, and rewritings of Dante’s <em>Comedy</em> through a variety of media and cultural productions testifies Dante’s hold on modern imagination. Due to its plurilingualism, visual vividness, meticulous graphic descriptions, and polyphonic auditory allusions, this universally acclaimed masterwork has been made accessible to all ages and cultures. One recent example of controversial rewriting is Mary Jo Bang’s translation of Dante’s <em>Inferno</em> (2012), which includes references to contemporary (popular) culture and figures: from Mick Jagger to Freud, from Stephen Colbert to the Addams Family, from Bob Dylan to Ronald Rumsfeld and Qaddafi. Bang’s version is here analyzed in the light of Edwin Gentzler’s theory of post-translation studies to reflect on the translator’s (sub)version and on the role of translation as rewriting in the age of digital revolution.</p> Daniela Fargione ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 195 210 10.13135/2281-6658/6658 Dorothy L. Sayers and Feminist Archival Historiography in Dante Studies <p>This article compares the vociferous Dantean archive of Dorothy L. Sayers with the deafening silence that swallowed up the of the first generation of British women <em>dantiste</em>, whose achievements lie dispersed across general collections and print archives. My documentary reconstruction counters these narrow representational politics to by placing Sayers’ experience within a longer historiographical perspective which recovers the role of Victorian foremothers as agents of production and mediation (interpretation, transmission, circulation, and popularisation) of Dante’s critical and scholarly knowledge across different media, genres, and generations of readers at the turn of the twentieth century.</p> Federica Coluzzi ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 213 229 10.13135/2281-6658/6510 Vagliami il lungo studio e il grande amore <p>My paper focuses on Valentine Giamatti’s collection of Dante Alighieri’s <em>Divine Comedy</em> editions at Mount Holyoke College. The son of Italian immigrants, Giamatti (1911-1982) followed a path that was unusual in the Italian-American community at that time, graduating both from Yale (B.A.) and Harvard (Ph.D.). He joined the faculty at Mount Holyoke in 1940, at a very delicate moment in the USA-Italian political relations. Giamatti’s collection of Dante editions originated from a wedding gift. Over the years it grew to include over two hundred volumes in many languages. It contains rare editions (including the first Florentine edition of the <em>Commedia</em> with drawings after Botticelli, and the first edition with the adjective ‘Divina’ in print) and curious ones (such as <em>L’Inferno di Topolino</em>). Seven centuries after Dante’s death, the Giamatti collection is the perfect gateway for a reflection on his collecting style and on the immense relevance of Dante’s poem in American culture.</p> Ombretta Frau ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 231 248 10.13135/2281-6658/6515 Dante e le narrazioni <p>Il saggio affronta, a partire dall’intenso volume in oggetto e citato nel titolo, l’importanza e la centralità del Dante “narratore” ovvero del Dante che sa guidarci per un viaggio insuperabile in ogni tipo di oltremondo, di avventure e di incontri. Non a caso nel volume recensito questo aspetto appare, per i narratori contemporanei coinvolti, primario ed è un elemento decisivo della moderna ricezione di Dante. La “lettera” del testo dantesco insomma non va sottovalutata ed è anzi essenziale viatico etco non meno che estetico per la comprensione del mondo di ieri come di oggi. Nel dar conto di questa particolare vocazione dantesca al “narrare” il saggio si appoggia ovviamente al volume di riferimento che raccoglie testimonianze preziose dei maggiori scrittori contemporanei a livello internazionale.</p> Gian Mario Anselmi ##submission.copyrightStatement## 2022-06-28 2022-06-28 20 251 257 10.13135/2281-6658/6798