“Dante Alighieri, nel suo celeberrimo poema, peregrinò fino al paradiso, lasciandosi alle spalle prima inferno e poi purgatorio. L’excursus di Cesc Fabregas è differente: attualmente all’Arsenal, una sorta di purgatorio calcistico vista la volontà di partire, il calciatore deve decidere se scendere tra le fiamme e congiungersi al Diavolo, oppure salire verso l'”eden” dorato di Barcellona, città natale e sede del club campione d’Europa.” [. . .] –Matteo Calcagni, Tutto Mercato Web, July 22, 2011
A.N. Wilson, “Dante in Love” (2011)
“Dante is considered the greatest of all European poets–yet his most famous work, The Divine Comedy, remains widely unread.
Fueled by a lifetime’s obsession with Dante Alighieri and his work, the distinguished historian A. N. Wilson tells the remarkable story of the poet’s life and passions during the extraordinary political turbulence of thirteenth-century Europe. An impoverished aristocrat born in Florence, then the wealthiest city in Europe, Dante was the most observant and articulate of writers and was as profoundly absorbed in his ambition to be a great poet as he was with the central political and social issues of his time. The emergence of independent nation-states, the establishment of a modern banking system and currency, and the rise of Arabic teachings and Greek philosophy were all momentous events that Dante lived through. Amid this shifting political terrain, Wilson sets Dante in context with his great contemporaries–Giotto, Aquinas, and Pope Boniface VIII–and explains the significance of Beatrice and the part she has played in all our Western attitudes toward love and sex.” —Powells
BYU’s Divine Comedy
“In 1994 two BYU students were in a communications class together and found that they had a common love of sketch comedy that was clean but still really, really funny. They decided to start a comedy troupe. They held auditions for cast members and behold, Divine Comedy was born. Each year a few members would leave the group and they would hold auditions to replace them. Being in Divine Comedy is a bit like being the Dread Pirate Roberts.” —Divine Comedy, Brigham Young University
Milla Jovovich, “The Divine Comedy” (1994)
“. . .The Divine Comedy was a proud effort by Jovovich, who resolutely guarded and shaped her emergence as a singer. She personally hyped her pre-release album as “a mix between Kate Bush, Sinead O’Connor, This Mortal Coil, and The Cocteau Twins.” To help move the album along, the label released a free sampler disc (I still have mine) which featured the wonderful single ‘Gentleman Who Fell.’
Largely acoustic and immensely charming, ‘Gentleman Who Fell’ was a minor alternative rock hit. The problem was that it wasn’t enough to carry the album as far as the album should have gone. After the simple success of ‘Gentleman Who Fell’, the album, and its subsequent single attempts (‘Bang Your Head,’ ‘It’s Your Life’) barely registered despite very positive reviews.” [. . .] –Matt Rowe, The Morton Report, July 13, 2011
“The Limits of Social Networks”
“While toying around with Google+, Kevin Cheng wonders if it’s worth grouping everyone he knows: [O]nce I’ve created these fancy Circles, will I actually remember who will see a given post? From my experience organizing my Facebook and address book, I’ve found that I don’t remember the complex taxonomies I dream up. In fact, I don’t know that I can list every person that’s in my “Family” group in Flickr even though it’s less than twenty. When compounded with the high overhead of maintenance and likely outdated groups over time, it’s even less likely that I’ll know who I’m actually sharing a post with.” –Andrew Sullivan, The Daily Beast, July 20, 2011
Contributed by Steve Bartus (Bowdoin, ’08)
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