In recent decades the concept of Mediterranean has been cited with increasing frequency in relation to the study of medieval literatures. And yet, in what sense would Dante’s Comedy be ‘Mediterranean’? Is it because of its Greek-Arabic and Islamic sources? Dante and the Mediterranean Comedy analyzes the ideological function of references to the sea in the study of the Comedy undertaken by Enrico Cerulli, a scholar of Somali-Ethiopian languages, and a colonial governor of ‘Italian East Africa.’ Then it presents novel lines of inquiry on the reception and appropriation of the poem, such as the presence of Islamic sources in early commentaries of the Comedy, and cross-cultural allusions to Dante’s Hell in some graffiti on the walls of the Spanish Inquisition prison in Palermo. The image of the Mediterranean that seeps through the poem and through the history of its circulation is vivid yet hardly idyllic.
İçerik tablosu
1. Introduction: A Mediterranean Comedy.- Part I. History of Criticism.- 2. A Post-Colonial Comedy: Enrico Cerulli on Dante.- 3. Beyond Good and Evil? More on Cerulli and Italian Orientalism.- Part II. Exercises in Criticism.- 4. Exposing Maometto’s Contrapasso: The Arabic Sources from Spain and the Early Commentators on the Commedia.- 5. A Transreligious Hell: Dante in the Prisons of the Inquisition in Palermo.- 6. The City Lament: Mediterranean Microecologies of Courtly Love.- 7. Conclusion: A Sea of Differences.
Yazar hakkında
Andrea Celli is Associate Professor of Italian and Mediterranean Studies at the University of Connecticut, USA.
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