Foundation Sacrifice in Dante's &"Commedia&" is the first book to take an anthropological approach to the Divine Comedy, applying it to a previously unexplored dimension of Dante's great poem. Ricardo Quinones examines foundation sacrifice&—the death of another that has become a parable for existence&—as a unifying theme that connects the three parts of the poem. In the process, Quinones gives new life to the Purgatorio, treating it not only as a sequel but actually as a dramatic response&—in revealing detail&—to the Inferno. His motif allows him to reintegrate the Paradiso into the poem as a whole, thus restoring it as a poetic event to critical appreciation.

Foundation Sacrifice in Dante's &"Commedia&" is the first book to take an anthropological approach to the Divine Comedy, applying it to a previously unexplored dimension of Dante's great poem. Ricardo Quinones examines foundation sacrifice&—the death of another that has become a parable for existence&—as a unifying theme that connects the three parts of the poem. In the process, Quinones gives new life to the Purgatorio, treating it not only as a sequel but actually as a dramatic response&—in revealing detail&—to the Inferno. His motif allows him to reintegrate the Paradiso into the poem as a whole, thus restoring it as a poetic event to critical appreciation.

This study explores how Dante represents violence in the Comedy and reveals the connection between contemporary private and public violence and civic and canon law violations. Although a number of articles have addressed particular aspects of violence in discrete parts of Dante’s oeuvre, a systematic treatment of violence in the Commedia is lacking. This ambitious overview of violence in Dante’s literary works and his world examines cases of violence in the domestic, communal, and cosmic spheres while taking into account medieval legal approaches to rights and human freedom that resonate with the economy of justice developed in the Commedia. Exploring medieval concerns with violence both in the home and in just war theory, as well as the Christian theology of the Incarnation and Redemption, Brenda Deen Schildgen examines violence in connection to the natural rights theory expounded by canon lawyers beginning in the twelfth century. Partially due to the increased attention to its Greco-Roman cultural legacy, the twelfth-century Renaissance produced a number of startling intellectual developments, including the emergence of codified canon law and a renewed interest in civil law based on Justinian’s sixth-century Corpus juris civilis. Schildgen argues that, in addition to “divine justice,” Dante explores how the human system of justice, as exemplified in both canon and civil law and based on natural law and legal concepts of human freedom, was consistently violated in the society of his era. At the same time, the redemptive violence of the Crucifixion, understood by Dante as the free act of God in choosing the Incarnation and death on the cross, provides the model for self-sacrifice for the communal good. This study, primarily focused on Dante’s representation of his contemporary reality, demonstrates that the punishments and rewards in Dante’s heaven and hell, while ostensibly a staging of his vision of eternal justice, may in fact be a direct appeal to his readers to recognize the crimes that pervade their own world. Dante and Violence will have a wide readership, including students and scholars of Dante, medieval culture, violence, and peace studies.

The Paget Toynbee lectures on Dante have taken place in Oxford since the mid-1990s. Named after the great medieval scholar of the first half of the twentieth century, they have been delivered by the major Dante experts of our time. This volume gathers together twelve of the most significant lectures, given by internationally renowned scholars such as Zygmunt Baranski, John Barnes, Lino Leonardi, Emilio Pasquini, Michelangelo Picone, Jonathan Usher and the late Peter Armour. The topics range from key questions such as Dante, Ovid and the poetry of exile, to ground-breaking work on obscenity in the Divine Comedy .

A comprehensive guide to Dante’s life and literature, with an emphasis on his Commedia. This text looks at the influences that shaped Dante’s writing, and the reception of his work by later readers, from the 14th century to the present. Introduces Dante through four main approaches: the context of his life and career; his literary and cultural traditions; key themes, episodes and passages in his own work, especially the Commedia; and the reception and appropriation of his work by later readers, from the fourteenth century to the present Written by an expert Dante scholar Provides new translations of substantial passages from Dante’s poems and from the world of his contemporaries Includes explanatory diagrams of Dante’s 'other-worlds', and a section of illustrations by medieval and modern artists Builds a vivid and complex picture of Dante's imagination, intellect and literary presence Helpful bibliographies include relevant web resources

Reading Dante's Commedia alongside Jacques Derrida's later religious writings, Francis J. Ambrosio explores what these works reveal about religion as a fundamental dynamic of human existence, about freedom and responsibility, and about the significance of writing itself. Ambrosio argues that both the many telling differences between them and the powerful bonds that unite them across centuries show that Dante and Derrida share an identity as religious writers that arises from the human experiences of faith, hope, and love in response to the divine mystery of being human. For both Dante and Derrida, Ambrosio contends, "scriptural religion" reveals that the paradoxical tension of freedom and absolute responsibility must lead to the mystery of forgiveness, a secret that these two share and faithfully keep by surrendering to its necessity to die so as always to begin again anew.

Dante's persistent and pervasive presence has been a remarkable feature of modern writing since the late eighteenth century. This collection of essays by an international group of scholars emphasizes that presence in the work of major British and Irish writers (such as Blake, Shelley, Joyce and Heaney). It also focuses on responses in America, the Caribbean and Italy and deals with appropriations of Dante's work by poets (from Gray to Walcott) and novelists (such as Mary Shelley and Giorgio Bassani, and Gloria Naylor).