Dante Today

Citings & Sightings of Dante's Works in Contemporary Culture

“5 Things To Know About Schiaparelli’s Dante-Inspired SS23 Couture Show,” Vogue Article

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“From divisive foam animal heads to Daniel Roseberry’s meditation on Dante’s Inferno, British Vogue’s fashion critic Anders Christian Madsen shares five things to know about Schiaparelli’s spring/summer 2023 couture show, which opened Couture Fashion Week this season.

[. . .]

“In his self-penned show notes, Roseberry cited Dante’s Inferno as the inspiration behind the collection, likening its protagonist’s uncertain journey into hell to the doubt that falls upon a designer like himself when he sits down to design. ‘This collection is my homage to doubt,’ he wrote. ‘I wanted to step away from techniques I was comfortable with and understood, to choose instead that dark wood where everything is scary but new.’ The feeling of the inferno appeared more as a spiritual reference than a direct one, unless your idea of hell is being trapped inside a massive faux taxidermy wolf, Midsommar style. (Naomi Campbell, who was given the honour, seemed typically unfazed.) Along with the lion and the snow leopard, it represented the animals Dante equates to lust, pride and avarice. A reference to the friendly giants he encounters in hell, a hammered brass and patina handmade giant’s head hit the runway with equal theatrical effect.

[. . .]
“Roseberry’s show notes finished on a sentimental key: ‘Inferno, Purgatorio, Paradiso,’ he wrote, referring to the three books that make up The Divine Comedy. ‘One cannot exist without the others. It is a reminder that there is no such thing as heaven without hell; there is no joy without sorrow; there is no ecstasy of creation without the torture of doubt. My prayer for myself is that I remember that always – that, on my most difficult days, when inspiration just won’t come, I remember that no ascension to heaven is possible without first a trip to the fires, and the fear that comes with it. Let me embrace it always.’ As a wise lion once said: Hakuna matata.”    –Anders Christian Madsen, “5 Things to Know About Schiaparelli’s Dante-Inspired SS23 Couture Show”, Vogue, January 23, 2023
For more on the show (and the controversies it stirred), see the New York Times‘ coverage here and here.
Contributed by Caleb Taylor (Florida State University ’26) and others. Thanks to all who sent links!

“The Fractal Consciousness of Dante’s Divine Comedy”, Essay by Mark Vernon (2021)

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“Dante Alighieri was early in recognizing that our age has a problem. He was the first writer to use the word moderno, in Italian, and the difficulty he spotted with the modern mind is its limited capacity to relate to the whole of reality, particularly the spiritual aspects. This might sound surprising, given that his masterpiece, the Divine Comedy, is often described as one of the most brilliant creations of the medieval imagination. It is taken to be a genius expression of a discarded worldview, not the modern one, from an era in which everything was taken to be connected to the supreme reality called God. But Dante was born in a time of troubling transition. He realized that this cosmic vision was being challenged, and he didn’t seek to reject it or restore it, but to remake it.

“This brings us to the heart of why Dante still matters today. He stresses ways of knowing about life based on experiencing and undergoing, as opposed to studying or inspecting. They bring an understanding that isn’t about accumulating information and sorting data but trusting feeling and following insights.

“The vision is tremendous and simple and is a gloriously articulated reflection on everyday human consciousness. We are aware and can be aware of being aware. And this is Dante’s message for now: in a way, all we have to do to rediscover the essence of our intelligence, and the capacity to relate to the whole of reality – particularly in its spiritual aspects – is turn towards our felt experience, and examine what we find. There is presence and freedom, intention and imagination, truth in stories and transformations of time. To grow in this sense is to get better at being alive.”[. . .]    –Mark Vernon, Aeon, July 20, 2021 (retrieved April 11, 2022)

Read the full text of psychotherapist and writer Mark Vernon’s essay here.

See our other post relating to Mark Vernon and his work here.

Dante was wrong. There are in fact 10 circles of hell. Article, IFA Magazine (2022)

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On March 10, 2022, British-owned IFA Magazine posted an article titled “Dante was wrong. There are in fact 10 circles of hell.” The authors state:

“The tenth is occupied by former Government housing ministers and is named Ineptitude.

“If you’re into psychological self-flagellation, have a read. If you’re not, all you need to know is that, in the final three months of last year, a lot less houses were built than in the preceding quarter and the same quarter of 2020. In short, the housebuilding omnishambles continues apace.” [. . .]    —IFA Magazine, March 10, 2022 (retrieved March 22, 2022)

 

Vision Magazine’s, “Dante Alighieri and The Divine Comedy“

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vision-magazine-on-dante“The Comedy demonstrates the significant influence of Greek philosophy. Dante didn’t read Greek; it seems his philosophical grounding came from religious convent schools founded by Dominican or Franciscan monks. Scholars suggest that the Dominicans would have instilled in their pupil the methodology of Thomas Aquinas’s magnum opus, Summa Theologica. They would likewise have grounded him in the writings of Aristotle and the church Fathers. The logic of Aristotle, which had been out of vogue for centuries, regained popularity in the decades preceding Dante’s birth, giving rise to Christian rationalism. Thus, even though the Bible is by far the most dominant source for the Comedy, in Dante’s hands Scripture became materia poetica, reshaped through an Aristotelian moral system.

“In terms of the idea of the human soul, for example, Dante ‘follows the dominant Western tradition,’ namely ‘that each human soul is created by God, destined for union with a particular human body, and infused by God into the embryo before birth’ (The Cambridge Companion to Dante. This Western tradition owes much not only to Aristotle’s ideas but to his mentor Plato’s concept of the eternal soul, denying only its preexistence. Yet Dante was not a dualist in the Cartesian or Neoplatonic sense. According to Dante scholar Robin Kirkpatrick, ‘his very conception of a human soul denies that he could be. For Dante—as for Aristotle—the soul, or (in Italian) anima, is neither more nor less than the animating form of the body.'” [. . .]    –Daniel Tompsett and Donald Winchester, Vision Magazine, 2013.

Marica Mentier, “The History of Happiness,” The Science of Emotions

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“[Marica] Mentier recounts how she encountered Dante’s Commedia in college and cites the famous valedictory by Virgil in Purg. 27: ‘Take henceforth your pleasure as your guide.’ She continues, ‘Over the course of his journey, he has acquired the wisdom to know where true happiness lies, and now his heart will unerringly guide him there.’ (p.17)” –Contributor Alan R. Perry

Contributed by Alan R. Perry (Gettysburg College)

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Coggeshall, Elizabeth, and Arielle Saiber, eds. Dante Today: Citings and Sightings of Dante’s Works in Contemporary Culture. Website. Access date.

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