Tambling The Poetry of Dante's Paradiso

Lives Almost Divine, Spirits that Matter
1. Auflage 2021
ISBN: 978-3-030-65628-7
Verlag: Springer International Publishing
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 314 Seiten, eBook

Reihe: Progress in Mathematics

This book argues that Paradiso – Dante’s vision of Heaven – is not simply affirmative. It posits that Paradiso compensates for disappointment rather than fulfils hopes, and where it moves into joy and vision, this also rationalises the experience of exile and the failure of all Dante’s political hopes. The book highlights and addresses a fundamental problem in reading Dante: the assumption that he writes as a Catholic Christian, which can be off-putting and induces an overly theological and partisan reading in some commentary. Accordingly, the study argues that Dante must be read now in a post-Christian modernity. It discusses Dante's Christianity fully, and takes its details as a source of wonder and beauty which need communicating to a modern reader. Yet, the study also argues that we must read for the alterity of Dante’s world from ours. 

Zielgruppe

Research

Autoren/Hrsg.

Tambling, Jeremy

Inhaltsverzeichnis

1 Introduction: Reading Paradiso Out of Time

2 Within the Shadow of the Earth

3 Dancing in the Sun: Paradiso—Cantos 10–14

4 Mars, Jupiter, Saturn: History and Its Reversals

5 Fixed Stars, Diasporic Times: Paradiso 22–27

6 Angels: Paradiso 28 and 29

7 The Ultimate Vision: Paradiso 30–33

Über Autor(innen)

Jeremy Tambling is Professor of English at SWPS Warsaw (University of Social Sciences and Humanities), Poland. Prior to this, he was Professor of Literature at Manchester University, UK, and Professor of Comparative Literature, University of Hong Kong, Hong Kong. He has written widely on Dante, psychoanalysis, urban literary studies, and Victorian literature. Previous publications on Dante include Dante and Difference: Writing in the Commedia (1988), Dante: A Critical Reader (ed.1999), and Dante in Purgatory: States of Affect (2012).