Dante Alighieri: The Divine Comedy. A new translation by J. G. Nichols. Pp. 541. Richmond, Surrey: Alma Classics, 2012. Hb. £20. Dante: The Divine Comedy. Translated, edited, and introduced by Robin Kirkpatrick. Pp. 677. London: Penguin, 2012. Pb. £14.99. Dante: The Divine Comedy. A new verse translation by Clive James. Pp. xxx + 526. London: Picador, 2013. Hb. £25. Dante Alighieri: Vita Nuova. Translated by Anthony Mortimer. Pp. xii + 235. Richmond, Surrey: Oneworld Classics, 2011. Pb. £8.99.

2014 ◽  
Vol 23 (3) ◽  
pp. 373-377
Author(s):  
Alistair Elliot
Keyword(s):  
Dante Alighieri ◽  
Divine Comedy ◽  
Vita Nuova ◽  
The Divine Comedy

Medieval Interpretation of Phonation Through the Divine Comedy, by Dante Alighieri

2022 ◽  
pp. 019459982110730
Author(s):  
Martha Borraccini ◽  
Matteo Marinini ◽  
Michele Augusto Riva
Keyword(s):  
Middle Ages ◽  
Dante Alighieri ◽  
Medical Knowledge ◽  
Divine Comedy ◽  
Word Formation ◽  
Medieval Period ◽  
Vocal Cords ◽  
The Divine Comedy ◽  
And Function ◽  
Dual Functions

The anatomic and medical knowledge of people throughout history is unexpectedly evident in some of the poems and texts written by intellectuals of the time. This article attempts to understand the conception of laryngology in the Middle Ages by analyzing the Divine Comedy, written by the Italian poet Dante Alighieri (1265-1321) at the beginning of the 14th century. In the text, Dante mentions the throat several times. He recognizes that the larynx has the dual functions of allowing respiration (dead souls recognize that the poet is alive through movement of his throat when breathing) and speech (souls with their throat cut cannot speak). However, Dante does not seem to know of the existence of vocal cords, thinking that it is the tongue that allows for word formation. In general, Dante’s poem indicates that the anatomy and function of the throat were known during the medieval period, although this knowledge was not precise.

scholarly journals Siete voi qui, ser Brunetto?». I volti di Brunetto Latini: rappresentazione e autorappresentazione

2017 ◽  
Vol 23 ◽  
pp. 96-107
Author(s):  
Noemi Ótott
Keyword(s):  
Dante Alighieri ◽  
Divine Comedy ◽  
Point Of View ◽  
Republican Rome ◽  
The Divine Comedy ◽  
The Creation

As in portrait (attributed to Giotto) of Brunetto Latini and Dante Alighieri, history has tended to pair the two poets, who were both exiled from their native Florence. The role played by Brunetto Latini in Florence’s history paralleled that of the orator Cicero in Republican Rome and Dante, his student, was Florence’s Virgil. The famous “Brunetto’s Song” (Canto XV of Inferno) has generated many controversies, determined and justified by an uninterrupted and secular reflection. The encounter between the protagonist-traveler and his master has great importance also from the point of view of the creation of The Divine Comedy. But the old florentine intellectual does not only appear in this canto: in fact, he is the author and, at the same time, the protagonist of the famous opera Il Tesoretto, a didactic-allegorical poem written in volgare. In my study I focus on the figure of Brunetto Latini and on his representation by Dante. At first I examine the protagonist Latini: how he appears in the canto and what his part is in The Divine Comedy. Then I concentrate on the author Latini and I try to identify the poet’s voices in the texts and descriptions according to the context.

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