“When the latest issue of Justice League is released on Wednesday by DC Comics, it will be scrutinized like no other installment in the 76-year history of that publisher of superhero adventures.
Some readers may be drawn in by its cover depicting revised incarnations of Superman and Batman, or a story line that tells of a tense first meeting between these costumed characters before they became allies.
But DC is betting that more potential customers will be attracted by an insignia that boldly declares this to be issue No. 1 of Justice League; never mind the hundreds of chapters that came before it.
Starting on Wednesday, the publisher is resetting all 52 of its continuing series, including venerable titles like Action Comics and Detective Comics that introduced Superman and Batman in the 1930s, at issue No. 1, and using the opportunity to revise or jettison decades of continuity in the heroes’ fictional lives…
…Henry Jenkins, the provost’s professor of communication, journalism and cinematic arts at the University of Southern California, said the idea of returning classic heroes to their origins long predated comic books.
Part of the nature of culture is that we retell stories that are meaningful to us, again and again, in different ways,” Mr. Jenkins said, pointing to Homer’s “Iliad,” Virgil’s “Aeneid” and Dante’s “Inferno” as “continual reboots of Greek mythology.” […] –Dave Itzkoff, The New York Times, August 30, 2011
Metro Station, University of Naples
“On March 26, the 40,000 commuters of Naples, Italy, who pass daily through the University of Naples metro station found that virtually every surface had been transformed into a candy-colored kaleidoscope by the American designer Karim Rashid. . . . He printed wire-frame patterns on quartz flooring, applied portraits of Dante and Beatrice to the stairs and tiled the walls with words coined in the digital age.” [. . .] –Shonquis Moreno, The New York Times, April 20, 2011
Contributed by Hope Stockton (Bowdoin, ’07)
Yi Zhou, The Ear (2009), The Greatness (2010)
“Imagine that van Gogh, after slicing off his ear, finds himself sucked down a passage into his own brain, which turns out to be the concentric onion of Dante’s Divine Comedy. Then capture that journey with three-dimensional digital imaging software and turn it, frame by computerized frame, into a five-minute animated movie. [. . .]
“She had her first breakthrough when she was taken on by the Jerome de Noirmont gallery in Paris in 2002. Since then, she has had a major sculpture and video projection work, ‘Paradise,’ installed in the Piazza della Signoria and the Palazzo Vecchio in Florence, in 2006 [. . .].
“Ms. Zhou’s solo show of video art, ink brush drawings and sculpture at Shanghai Contrasts, running to Dec. 9, is built around her most recent film, The Greatness, a variation on the theme of Dante’s Divine Comedy.
“The film is a sequel to The Ear: both star Pharrell Williams, one in the flesh and the other as a sculpted vase, and both explore transience and death. In The Greatness, Mr. Williams’s look-alike vase, shattered by a bullet, disintegrates into a fractured universe while the bullet, like Dante guided by Virgil, travels through visions of hell and redemption accompanied by an other-worldly soundtrack composed by Mr. Morricone.” [. . .] –Claudia Barbieri, The New York Times, December 1, 2010
Read more about The Greatness, on Vice.
Seymour Chwast’s Adaptation of Dante’s Divine Comedy (2010)
“‘I, Dante, will tell you the story of my trip to the after world… but will I come back?’ So begins Seymour Chwast’s noirish graphic adaptation of what is perhaps the world’s most famous tale of spiritual tourism, the Divine Comedy. The list of artists who have tried their hand at visually interpreting Dante’s epic is both long and distinguished, but it would be safe to say that Chwast, a co-founder of Push Pin Studios and a longtime contributor to The New Yorker, may have had the most fun with the subject since Dante himself. . .
The book is more than an original take on Dante, though. It also represents Chwast’s fresh take on the graphic novel. Chwast eschews the expected rhythm of comic panels in favor of stunning drawings that leap and tumble all over the page. One of my favorite moments is a glorious two-page spread depicting the Emperor Justinian and a chorus line of flappers and vaudeville performers as they dance a welcome to Dante (and us) across a divine expanse. Justinian, of course, is dressed to the heavenly nines in a nineteen-thirties-style pinstripe suit, vest, and bow tie, and is sporting what one can only assume is his trademark pencil mustache.” –Jordan Awan, The New Yorker, November 15, 2010
A Christmas Present for Virgil

(source unknown – retrieved on December 5, 2010)
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