See Roberto Benigni’s website Tutto Dante for more information and photos.
Contributed by Dorothea Herreiner
Citings & Sightings of Dante's Works in Contemporary Culture
See Roberto Benigni’s website Tutto Dante for more information and photos.
Contributed by Dorothea Herreiner
The 2006 movie, The Painted Veil, based on a novel by Somerset Maugham ultimately derives from the author’s fascination with Pia, a character in Dante’s Purgatorio. This discussion of the movie quotes from Maugham’s preface to the novel:
“The idea for the novel began when Maugham was studying Italian under the tuition of the daughter of his landlady in Tuscany before World War I (he had by then decided to abandon a career in medicine for the life of a writer). While working through Dante’s Purgatorio, he came upon this line, spoken by the adulterous wife Pia: Siena mi fe’; disfecemi Maremma. (Siena made me, Maremma unmade me.) Ersilia (for so the tutor was named) explained that Pia was a noblewoman of Siena whose husband, suspecting her of adultery and afraid on account of her family to put her death, took her down to his castle in the Maremma valley, the noxious vapors of which he was confident would kill her off. But she took so long to die that he grew impatient and had her tossed out a window. As Maugham explains in his preface to the novel: ‘I do not know where Ersilia learnt all this. The note in my own Dante was less circumstantial, but the story for some reason caught my imagination. I turned it over in my mind and for many years from time to time would brood over it for two or three days. I used to repeat to myself the line: Siena mi fe’; disfecemi Maremma. But it was one among many subjects that occupied my fancy and for long periods, I forgot it. Of course I saw it as a modern story, but I could not think of a setting in the world of today in which such events might plausibly happen. It was not till I made a long journey in China that I found this.'” –Edward T. Oakes, First Things, January 10, 2007
Contributed by Patrick Molloy
“…Inside the building that tranquillity gives way to a comic-book version of Dante’s Divine Comedy, with strict divisions between various worlds. Visitors enter via an internal bridge that crosses over an underground atrium. From here, a vast hall conceived on the scale of a piazza leads to a cafeteria overlooking the calm surface of a reflecting pool. On one side of the hall looms the ziggurat form of the museum; on the other, a wall of glass-enclosed offices. Here the spectral glow of the interior of the cast-glass skin evokes the stained-glass windows of a medieval cathedral.” –Nicolai Ouroussoff, The New York Times, May 26, 2007
Contributed by Darren Fishell (Bowdoin, ’09)
From the last scene in Gianni Schicchi, one of Puccini’s three operas comprising Il Trittico, recently performed at the Metropolitan Opera in New York. “Seeing the two lovers, he (Gianni Schicchi) is moved. He smiles, takes off his hat, and turns to address the audience in a spoken epilogue: ‘Tell me, gentlemen, if Buoso’s wealth could have gone to better ends than this? For this prank, I have been condemned to the Inferno, and so be it; but with all due respect to the great father Dante, if you have been amused, grant me extenuating circumstances!’ He makes a motion of applause and bows to the audience.'” —Stanford
The other two operas in Il Trittico also have Divine Comedy themes: “Puccini’s last operas abandon realism. The Trittico rebuilds the old vertical, spiritual theater, encompassing all the gradations of nature. Puccini’s original plan was to make the panels episodes from Dante; though that didn’t happen, they still constitute a divine comedy. Il Tabarro is set in an urban inferno, Suor Angelica in a convent which serves as the heroine’s purgatory, Gianni Schicchi in a mercenary Florence which from the heights of Fiesole looks like a radiant paradise. Because Dante’s was a journey through the undiscovered country, all three works map Orphic voyages into the underworld.” –Peter Conrad, Opera Info (retrieved on May 15, 2007)
See pzweifel for Tuscan sites connected with Gianni Schicchi (retrieved on May 15, 2007).
Contributed by Patrick Molloy
“The lawyer, played by Jim Carrey is having a terrible day and when he meets the witness he will be questioning in court later that afternoon, the guy asks, ‘how ya doin?’ and Fletcher Reed (played by Carrey) responds, ‘I’ve slipped into the 7th circle of hell how does it look like im doing!!!'” –Yoni Shemesh
Contributed by Yoni Shemesh (Bowdoin, ’09)
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.