“Una serie di link per non perdersi nella selva oscura di eventi dedicati al Sommo Vate nel 700esimo anno dalla sua morte.” –Cristiana Solinas, Paroledavendere, March 26, 2021
Two essays by Lorenzo Coveri on Dante reception
For Andersen: Il Mensile di Letteratura e Illustrazione per il Mondo dell’Infanzia, Lorenzo Coveri wrote “Dante700: di tutto un pop” March 25, 2021, with many references to Dante’s reception in 20th century Italian culture.
For Mentelocale, he wrote “Dantedì 2021. Cantare Dante, da Petrolini a De André, da Jovanotti a Fedez, tra rock e poesia,” March 25, 2021.
An imaginary interview with Dante on the ills of today’s world (2021)
“Signor Alighieri, è un onore poter scambiare alcune battute con lei all’inizio di questo 2021 in cui si celebrerà la ricorrenza dei 700 anni dalla sua morte. Ci saranno convegni, festival, ma ahimè mi tocca dirle che tutto avverrà sotto l’incognita di una pandemia. “Uhm… Mentre scrivevo la cantica terza de la Commedia, un’immagine mi turbò: vedevo la terra, da lontano. Era come una picciola aiuola, che ci fa però così feroci…” –Stefano Massini, La Repubblica, March 24, 2021
An anonymous artist/s’ work inspired byInferno (2016)
This series of 14 paintings–each painting paired with a quotation from the poem–begins as such:
“In 2016[1], a previously unknown manuscript of Dante Alighieri’s Divine Comedy was discovered in Florence, Italy: BNE[2] Ms. II I 928. The discovery of this manuscript has reignited debate about the possible survival of the original version of Dante’s poem, written in his own hand. Until now, the study of Dante’s poem has been based upon copies of the poem made after his death in 1321[3]. Scholars have found that the text of this newly discovered manuscript does not significantly differ from the other known copies of the Divine Comedy. BNE Ms. II I 928 nonetheless has unique features. Perhaps most remarkably, scholars have found that the text of the poem is written in a mirror script, i.e., from right to left. This blog[4] is dedicated to dissemination[5] of news about the restoration and interpretation of the manuscript, undertaken in the historic Sala Manoscritti (Manuscript Room)[6] of the BNE in Florence. –Beata Viatrix[7] “
This incipit is followed by explanatory footnotes (1-7). The artist/s do not name themselves on the website where this is posted: Explicit Liber Erratus.
In an email we wrote to the contributor of this citing asking for clarification, “Beata Viatrix” responded as such: “Those of us who have studied the manuscript do not yet know who made its illustrations or when. The ongoing restoration might in the future help to illuminate questions regarding authorship and historical interpretation. We have already found some intriguing evidence of multiple hands in the manuscript. Those hands are in various states of decomposition, so their usefulness for ultimately identifying the manuscript’s creators remains in question.”
Silk stole illustrations by Marco Brancato for Orequo
Illustrator Marco Brancato’s Inferno, Purgatorio, and Paradiso silk stoles for the luxury Italian fashion company, Orequo.
Contributed by Angela Lavecchia
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