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Agnosco Veteris, Nina C. Young

February 2, 2023 By Cory Balon

nina-c-young“In book IV of Virgil’s Aeneid, Dido, long in grief over her late husband Sychaeus’s death, is suddenly awakened from emotional slumber by the visiting Trojan hero Aeneas. In an upheaval of emotion, she proclaims, ‘Agnosco veteris vestigia flammae,’ or ‘I recognize the traces of an ancient fire.'”

“The quote resurfaces in Dante’s Divine Comedy. The overarching allegory of this epic poem traces themes of Dante’s spiritual quest through symbolism. Dante, guided by Virgil, achieves literary immortality through the act of storytelling that appropriates and amalgamates references to antiquity, classical literature, mythology, Christianity, and (then) contemporary Italian politics. In Purgatorio 30, Dante feels the presence of Beatrice and matches his emotional upheaval to that of Dido. Dante makes a final tribute to Virgil by stating, ‘conosco i segni de l’antica fiamma’ – an Italian translation of the Latin ‘Agnosco veteris vestigia flammae.’”

[. . .]

“Dante appropriates explicit cultural references and symbols as a tool to weave the narrative of the Divine Comedy. However, when I was collecting the source material for Vestigia Flammae, I abandoned explicit quotation. Rather, I tried my hand at writing imagined faux folk, modal, and fanfare-like source-music that could be mistaken for something pre-existing.”

“While episodic in construction, Agnosco Veteris is divided into three large sections. Part 1, the “Music of Before” presents the thematic source material, or sonic memories. Part 2, the “Music of Ritual” is a static reflective checkpoint during which the listener can consider the musical recollections that came before. Part 3, the “Music of After” is characterized by energetic renewal and presents a reconfigured collage of the musical material.”    -Nina C. Young
Listen to Agnosco Veteris here.

Categories: Music
Tagged with: 2015, Aeneid, Beatrice, Composers, Emotions, Memory, Spirituality, Symbolism, Time, Virgil

Pascale Marthine Tayou, Sisiphe remontant le tarmac (2013)

April 29, 2022 By Sephora Affa, FSU '24

sculpture-of-person-on-wheel-next-to-tarmac

“Miserere—In vulgar Latin, it is the first word of Psalm 50: ‘Miserere mei, Deus, secundum magnam misericordiam tuam,’ used in the Catholic liturgy in funeral services, in the rites of Lent and the Holy Week, and generally in the orations of penitence. The penitential psalm is sung in the Comedy by the rows of the dead, in the second terrace of Ante-Purgatory, and the chant, is recited in alternate verses (‘singing the “Miserere” verse by verse’ [Purgatorio, Canto V, 24]), is interrupted by an exclamation of astonishment when the souls realize from his shadow that Dante is alive. In a rather different context, however, the expression ‘Miserere mei’ is cried out by Dante at the appearance of Virgil’s shadow in the forest (Inferno, Canto I, 65).”

Retrieved from The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists by Simon Njami.

For more on the Cameroonian artist Pascale Marthine Tayou, see Wikipedia.

Categories: Visual Art & Architecture
Tagged with: 2013, Africa, Aircrafts, Art Books, Burkina Faso, Cameroon, Canto 1, Catholicism, Lent, Purgatory, Sculptures, Time, Travel

Hilbert’s Inferno

July 24, 2018 By Professor Elizabeth Coggeshall

hilbert-inferno-omni-magazine“Hell may be the most interesting part of Dante’s famous poem, but its physical existence has always been a topic of debate among philosophers and theologians. If either space or time is finite—a distinct possibility in our current theories of cosmology—how can there be room for a potentially infinite number of sinners for eternity? In what he admits is a speculative proposal, University of Edinburgh philosopher Alasdair Richmond suggests that a hell large enough for an infinite number of the damned could be contained within the boundaries of a finite space, and could provide infinitely-long punishment, even if time itself is finite—but only with the help of time travel. The quite literally devilish trick is a kind of time loop, but not an exact loop. (That would mean that the damned merely suffer through the same experience over and over, without any awareness of the eternal nature of their plight—which is not suffering enough for the traditional idea of Hell.) If the loop shifts and the gap shrinks just the tiniest bit each time around, you end up with an ever-tightening time spiral. You can fit an infinite number of spirals in a tiny amount of space the same way an infinite number of points lie between any two other points on a line. This hell, which Richmond calls ‘Hilbert’s Inferno’ (for pioneering mathematician David Hilbert), might deliver truly eternal torment to an infinite population of sufferers, while the non-suffering and temporally finite universe moves steadily onward, toward its own non-judgmental doom.” — Omni Magazine (December 12, 2017)

Richmond’s 2013 paper can be accessed in the Wiley Online Library (institutional login required).

Categories: Written Word
Tagged with: 2013, 2017, Hell, Inferno, Philosophy, Space, Time, Time Travel

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How to Cite

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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