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Rachel Owen's hauntingly beautiful illustrations for Dante's
Inferno take a radically new approach to representing the world of
Dante's famous poem. The images combine the artist's deep cultural
and historical understanding of 'The Divine Comedy' and its
artistic legacy with her unique talent for collage and printmaking.
These illustrations, casting the viewer as a first-person pilgrim
through the underworld, prompt us to rethink Dante's poem through
their novel perspective and visual language. Owen's work, held in
the Bodleian Library and published here for the first time,
illustrates the complete cycle of thirty-four cantos of the Inferno
with one image per canto. The illustrations are accompanied by
essays contextualising Owen's work and supplemented by six
illustrations intended for the unfinished Purgatorio series. Fiona
Whitehouse provides details of the techniques employed by the
artist, Peter Hainsworth situates Owen's work in the field of
modern Dante illustration and David Bowe offers a commentary on the
illustrations as gateways to Dante's poem. Jamie McKendrick and
Bernard O'Donoghue's translations of episodes from the 'Inferno'
provide complementary artistic interpretations of Dante's poem,
while reflections from colleagues and friends commemorate Owen's
life and work as an artist, scholar and teacher. This stunning
collection is an important contribution to both Dante scholarship
and illustration.
Essays investigating the question of time, and how it was
perceived, both in philosophical/religious terms, and in reality.
How was time experienced in the Middle Ages? What attitudes
informed people's awareness of its passing - especially when
tensions between eternity and human time shaped perceptions in
profound and often unexpected ways? Is it a human universal or
culturally specific - or both? The essays here offer a range of
perspectives on and approaches to personal, artistic, literary,
ecclesiastical and visionary responses to time during this period.
They cover a wide and diverse variety of material, from historical
prose to lyrical verse, and from liturgical and visionary writing
to textiles and images, both real and imagined, across the literary
and devotional cultures of England, Italy, Germany and Russia. From
anxieties about misspent time to moments of pure joy in the here
and now, from concerns about worldly affairs to experiences of
being freed from the trappings of time, the volume demonstrates how
medieval cultures and societies engaged with and reflected on their
own temporalities.
Poetry in Dialogue in the Duecento and Dante provides a new
perspective on the highly networked literary landscape of
thirteenth- and fourteenth-century Italy. It demonstrates the
fundamental role of dialogue between and within texts in the works
of four poets who represent some of the major developments in early
Italian literature: Guittone d'Arezzo, Guido Guinizzelli, Guido
Cavalcanti, and Dante. Rather than reading the cultural landscape
through the lens of Dante's works, significant though they may be,
the first part of this study reconstructs the rich network of
literary, especially poetic dialogue that was at the heart of
medieval writing in Italy. The second part uses this reconstruction
to demonstrate Dante's engagement with, and indebtedness to, the
dynamics of exchange that characterised the practice of medieval
Italian poets. The overall argument-for the centrality of dialogic
processes to the emerging Italian literary tradition-is underpinned
by a conceptualisation of dialogue in relation to medieval and
modern literary theory and philosophy of language. By triangulating
between Brunetto Latini's Rettorica, Mikhail Bakhtin's 'dialogism',
and as sense of 'performative' speech adapted from J. L. Austin,
Poetry in Dialogue shows the openness of its corpus to new
dialogues and interpretations, highlighting the instabilities of
even the most apparently fixed, monumental texts.
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