Wall Street Journal, September 12, 2007, p. A2 (retrieved on January 15, 2008)
Contributed by Ruth Caldwell
Citings & Sightings of Dante's Works in Contemporary Culture
Wall Street Journal, September 12, 2007, p. A2 (retrieved on January 15, 2008)
Contributed by Ruth Caldwell
“. . .Keeping murderers and warmakers submerged in boiling blood, for example, is manageable in the near term but cannot be sustained for all eternity, since the energy expenditure required to heat blood forever will eventually constrain even Our ability to undertake other desirable projects, such as the continuance of the universe as a whole. We face a similar energy crisis with regard to evil counsellors, whom We have promised to incinerate everlastingly; with regard to blasphemers, sodomites, usurers, and doers of violence against Us, who must be tortured without end on heated sand; and with regard to Count Ugolino, Archbishop Ruggieri, and others who are permanently frozen in ice. The avaricious could conceivably be put to work ceaselessly twisting the heads of diviners and fortune-tellers, or keeping flatterers covered with filth, or cladding hypocrites in leaden mantles, but not even We can unwrite the terms of Our own first law of thermodynamics.” [. . .] –David Owen, The New Yorker, January 7, 2008
Contributed by Patrick Molloy
“In general, scholars do not think of impression management as an intentionally deceptive or nefarious practice. It is more like social lubrication without a drink in your hand. Those studying it online have found that when people misrepresent themselves, it is often because they are attempting to express an idealized or future version of themselves–someone who is thinner or has actually finished Dante’s Inferno.” [. . .] –Stephanie Rosenbloom, The New York Times, January 3, 2008
“Dante’s Paradiso is the least read and least admired part of his Divine Comedy. The Inferno‘s nine circles of extravagant tortures have long captured the popular imagination, while Purgatorio is often the connoisseur’s choice. But as Robert Hollander writes in his new edition of the Paradiso, ‘One finds few who will claim (or admit) that it is their favorite cantica.’ (A cantica, or canticle, is one of the three titled parts of the poem.) The time is ripe to reconsider Paradiso‘s neglect, however, since three major new translations of the poem we know as the Divine Comedy are coming to completion. (Dante simply called it his Comedy; in what was perhaps the founding instance of publishing hype, divine was added by a Venetian printer in 1555.) Hollander’s edition, produced with his wife, Jean, was published this summer, and two more are due out next year: one by Robin Kirkpatrick and the other—the one I’m holding out for—by Robert M. Durling and Ronald L. Martinez.” [. . .] –Robert P. Baird, Slate, December 24, 2007
“A theatergoer’s heart could be forgiven for sinking upon learning that the production she was scheduled to see at Theater for the New City was a riff on Dante called ‘The Divine Reality Comedy’ and featured a ‘Born to Buy’ critique set in ‘Paradise.’ But that heart lifted upon hearing that Peter Schumann’s ragtag collective, the Bread and Puppet Theater, was the company undertaking said riff.” [. . .] –Claudia La Rocco, The New York Times, December 1, 2007
All submissions will be considered for posting. Bibliographic references and scholarly essays are also welcome for consideration.
Coggeshall, Elizabeth, and Arielle Saiber, eds. Dante Today: Citings and Sightings of Dante’s Works in Contemporary Culture. Website. Access date.