“Regional carrier Air Nostrum has become the second Spanish airline after Volotea to support electric aircraft developer Dante Aeronautical. Dante says the three companies have made a joint presentation to Spain’s transport ministry in a bid to receive financial support from the European Recovery Fund for the development of fully electric regional air transport links in the country. The partners submitted a proposal for a €42 million ($50 million) budget to convert in-service aircraft for 9-19 passengers to ‘100% electric’ operation, Dante says. Noting that electrification of existing aircraft promises to be faster than the ‘long and costly development’ of an all-new design, Dante says certification of the first aircraft is scheduled for 2024, while ‘versions of various aircraft’ are to be become operational by 2026.” [. . .] –Cirium, FlightGlobal, March 24, 2021.
Cole Porter, “You’re The Top” (2009)
“you’re a rose/ you’re Inferno’s Dante/ you’re the nose/ on the great Durante” –Cole Porter, Youtube, 2009.
Pinacoteca Dantesca
“Nel gennaio del 1994 quando riceve dal Prof. Corrado Gizzi l’allora Direttore dell’istituto di Studi e Ricerche ‘Casa di Dante in Abruzzo’ l’invito a realizzare un’ opera con soggetto dantesco a scelta dell’artista da destinare alla Pinacoteca F. Bellonzi , Sughi sta ancora lavorando ad un gruppo di dipinti dal Titolo Andare dove? Il nucleo principale del ciclo risale agli anni 1991-1992, Sughi a proposito scrive :
“’Sono gli anni dell’implosione dell’Unione Sovietica , la fine per molti di una speranza di un’ideologia che aveva attraversato tutta la prima metà e una parte cospicua della seconda metà del 900. Tanti avevano creduto in questa ideologia , in questa prima grande rivoluzione socialista , ma sappiamo tutte le rivoluzioni hanno il destino di essere tradite e alla fine gettano nello smarrimento , nella paura, nella lontananza da se stessi tutti gli uomini che ci avevano creduto. … Da questo presupposto è nato il ciclo Andare dove ? … poi si è dilatato e non riguardava più l’implosione, la caduta del Comunismo come nei primi dipinti ( L’uomo con le valigie, Addio alla casa rossa)ma il destino dell’uomo, e sono venuti questi quadri verdi con degli uomini nel paesaggio o che guardano da una terrazza o che sembrano persi nel contemplare, tutti intitolati Andare dove? Quasi che l’uomo si trovi in una situazione critica, di passaggio e cerchi la sua identità all’interno di un labirinto che in questi quadri è rappresentato dalla natura.’
in A.C. Quintavalle, Sughi, Catalogo della mostra al Complesso del Vittoriano, Roma, Skira editore, Milano 2007, pag. 190.
“Al centro della tela in piedi la figura di Dante ferma, quasi restia alla mano tesa, appena accennata di Virgilio , che gli si offre d’innanzi, a ragione della forte dominante nel canto I dell’Inferno del tema dello smarrimento, del dubbio e della paura si inserisce perfettamente,senza forzatura alcuna , nella discorso pittorico che Sughi allora stava svolgendo.” [. . .] –Alberto Sughi, Arte32.
Hyperallgeric: “Why is Dante the Florentine still present with us 700 years after his death?”
“Recognition of the poem’s importance began very early. The first man to write a commentary on The Divine Comedy was Dante’s eldest son, Jacopo. A full exegesis of the work came several decades later. There are 800 early manuscripts of the poem in existence
“It is in some of these that we begin to see the different ways in which artists responded to this often dense and difficult text, with its multiple layers of meaning. First we spot small illustrations of the poem’s principal characters at the beginning of each hand-scribed canto. A little later, scenes from the poem begin to appear in churches, on frescoes by Luca Signorelli in Orvieto Cathedral (c. 1500), for example.
“The most important visual interpreters of the poem were three: Sandro Botticelli, who lived in the 16th century, William Blake, and Gustave Doré, both of whom lived in the 19th: a Florentine (like Dante himself), an Englishman, and a Frenchman.” [. . .] –Michael Glover, Hyperallergic, February 13, 2021.
Will Brewbaker on Shane McCrae’s “Sometimes I Never Suffered”
“This act of holding together both heaven and earth pervades Shane McCrae’s Sometimes I Never Suffered, the prolific poet’s latest collection. Racial injustice, economic inequality, simple human cruelty — McCrae addresses all of these subjects, these facts of the world, head-on — while, like Dante, transposing the literal into the otherworldly. [. . .]
“The final two poems in Sometimes I Never Suffered return explicitly to Dantean territory. Famously, the last word in each section of Dante’s Comedy is the Italian word ‘stelle,’ meaning ‘stars.’ In a sly parallel, McCrae makes this Limber’s last word, too. After describing meeting one of those souls who were ‘babies when they died […] [who] walk around in sailor hats with blank / Looks on their faces’ — another ingenious creation — Limber says:
… when I tried to talk to
Him it was like I wasn’t there
So I peeked in his mouth
and in his mouth was the whole sky and stars
“Not only does this final line offer a remarkably coherent cosmic scope, but it also serves as a segue into the book’s last movement — a multipage poem that returns to the hastily assembled angel’s story and finds the angel first building, then climbing the ladder to heaven.” [. . .] —Will Brewbaker, Los Angeles Review of Books, October 13, 2020.
Read more of Brewbaker’s reviews here.
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