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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.
The Oxford Handbook of Dante contains forty-four specially written
chapters that provide a thorough and creative reading of Dante's
oeuvre. It gathers an intergenerational and international team of
scholars encompassing diverse approaches from the fields of
Anglo-American, Italian, and continental scholarship and spanning
several disciplines: philology, material culture, history,
religion, art history, visual studies, theory from the classical to
the contemporary, queer, post- and de-colonial, and feminist
studies. The volume combines a rigorous reassessment of Dante's
formation, themes, and sources, with a theoretically up-to-date
focus on textuality, thereby offering a new critical Dante. The
volume is divided into seven sections: 'Texts and Textuality';
'Dialogues'; 'Transforming Knowledge'; Space(s) and Places'; 'A
Passionate Selfhood'; 'A Non-linear Dante'; and 'Nachleben'. It
seeks to challenge the Commedia-centric approach (the conviction
that notwithstanding its many contradictions, Dante's works move
towards the great reservoir of poetry and ideas that is the
Commedia), in order to bring to light a non-teleological way in
which these works relate amongst themselves. Plurality and the
openness of interpretation appear as Dante's very mark, coexisting
with the attempt to create an all-encompassing mastership. The
Handbook suggests what is exciting about Dante now and indicate
where Dante scholarship is going, or can go, in a global context.
Landscapes of Desire in the Poetry of Vittorio Sereni is the first
book-length study in English on Vittorio Sereni (1913-83), one of
the major figures of Italian twentieth-century poetry. It argues
that a key innovation of Sereni's poetry is constituted in the way
in which, from Frontiera [Frontier] (1941) to Stella variabile
[Variable Star] (1981), he reworks the boundaries of poetic space
to construct a lyric 'I' radically repositioned in the textual
universe with respect to its predecessors: an 'I' that is
decentred, in limine, and struggles to subordinate the world to its
point of view. Through an interdisciplinary framework that bridges
psychoanalytic, linguistic, and poetic theory, two main dimensions
of Sereni's work are revisited and reassessed. The first is the
role of liminality, which is presented as a condition of writing
and as the mark of a desiring subject whose most desired object is
the complete poem or total identity that elude him. The second is
Sereni's relationship to the Italian poetic tradition, including
Dante, Petrarch, Leopardi, and Montale, who mediate his contact
with a textual beyond that slips further and further from view. The
study maps, through close-reading, the poet's evolving use of
deictic reference (spatio-temporal coordinates, demonstratives,
personal pronouns) and the progressive transformation of the poem
into a place of frustrated desire that occludes fulfilment. It
argues that Sereni's particular brand of experimentalism develops
from this point and that he represents a unique moment in the
history of twentieth-century Italian poetry in the way in which he
adapts pre-existing models of lyric discourse to new modes of
expression.
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