American Dante Bibliography for 1983

American Dante Bibliography for 1983

Anthony L. Pellegrini

This bibliography is intended to include the Dante translations published in this country in 1983 and all Dante studies and reviews published in 1983 that are in any sense American. The latter criterion is construed to include foreign reviews of American publications pertaining to Dante. I wish to express my profound appreciation to Teodolinda Barolini, Joan M. Ferrante, Christopher Kleinhenz, and Richard H. Lansing for their collegial spirit of cooperation and their substantial assistance in the abstracting of a number of items for this bibliography.

Translations

[Paradiso, excerpts] “Paradiso: Lines from a New Translation.” Translated by Stefan Brecht. In Studies in Medievalism, II, No. 3 (Summer1983): [Special Issue] “Dante in the Modern World,” edited by Kathleen Verduin, 79-85.

Presents some selected short passages from Paradiso II, III, V, VII, VIII, IX, X, XI, and XII, interspersed with a very free prose translation.

[Four Latin letters: Epistolae V-VIII.] In Babylon on the Rhone: A Translation of the Letters by Dante, Petrarch, and Catherine of Siena on the Avignon Papacy.Translated by Robert Cogan. Madrid: José Porrúa Turanzas, 1983).

Provides an English translation only, with notes, of Epistolae V-VIII, along with a general introduction discussing the state of Italy and Dante’s ideas about the kind of government needed for the Empire, as compared with the ideas of Petrarch and Saint Catherine on the subject.

Studies

Abrash, Merritt. “Dante’s Hell as an Ideal Mechanical Environment.” In Clockwork Worlds: Mechanized Environments in SF, edited by Richard D. Erlich, Thomas P. Dunn, and Arthur O. Lewis (Westport, Connecticut: Greenwood Press, 1983), 21-25. (Contributions to the Study of Science Fiction and Fantasy, 7.)

Contends that Dante genially intuited an astonishingly modern conception of an ideally mechanistic environment for the damned, a beehive contrived between two analogues of machines, the figures of Minos and Satan, with the whole standardized and repetitive infernal operation functioning automatically and without recourse.

Ammons, Elizabeth. “Infanticide and Other Ways of Mothering in Anne Redmon’s Music and Silence.” In Texas Studies in Literature and Language, XXV, No. 2 (Summer1983), 343-363.

Analyzes suggestive themes in this novel about a woman artist, which “borrows both cast and geography” from Dante’s Comedy for one of its image systems together with that of childbearing.

Anderson, David. “Mandelbaum and the Modernist Dante.” In Studies in Medievalism, II, No. 3 (Summer1983), 87-96. [Special Dante issue, q.v.] [1983]

Review-article focusing on the translations of the Divine Comedy by C.H. Sisson (see Dante Studies, C, 133-134 and 156) and of the Inferno and Purgatorio by Allen Mandelbaum (see Dante Studies, XCIX, 173-174, and CI, 193-194, 215 and 222), concluding in favor of the latter: “Mandelbaum’s Dante reflects the best principles of modern verse translation.”

Anderson, David. editor. Pound’s Cavalcanti: An Edition ... See Pound, Ezra, Pound’s Cavalcanti....

Arrowsmith, William. “Ruskin’s Fireflies.” In Pequod, XV (1983), 83-107.

First installment of a study on John Ruskin’s concept of the “Imagination Penetrative,” representing the cumulus of layer upon layer of literary and personal texts and impressions that are the resources on which the poet draws for imagery and expressive means generally. The author cites, among others, the example of Dante whose influence pervades Ruskin’s work and for whom, along with C.W. Norton, he had a consuming passion.

Baglivi, Giuseppe. “Dall’eterno al tempo: studio dantesco.”In Dissertation Abstracts International, XLIII, No. 9 (March1983), 2989A. Doctoral dissertation, Indiana University, 1982.

Reexamines the Veltro passage, Inf. I, 103-105, and re-interpreting the Commedia as a whole from this perspective, identifies the Veltro as Dante himself.

Barricelli, Jean-Pierre (Joint author). “Dante and Rulfo: Beyond Time through Eternity.”SeeRodríguez-Alcalá, Hugo....

Benoit, Raymond. “Dante’s Inferno, Canto V, 4-15.”In Explicator, XLI, No. 3 (1983), 2.

Sees in the soul confessing all before Minos a re-enactment of the Sacrament of Penance, but in dramatic contrast to what might have been, with possible salvation of the sinner.

Bergin, Thomas G. “Dante’s Provencal Gallery” (1965). Reprinted in Dante in America . . . (q.v.), 325-344. [1983]

Bergin, Thomas G.“The Presence of Dante.” In Sewanee Review, XX, No. 2 (1983), 261-269.

Omnibus review of recent translations of Dante and works on Dante: The Divine Comedy, trans. by C.H. Sisson; the Purgatorio, trans. by Allen Mandelbaum; Purgatorio, trans. by Mark Musa; Rime, trans. by Patrick S. Diehl; George Holmes, Dante; Approaches to Teaching Dante’s “Divine Comedy,” edited by Carole Slade; Mary T. Reynolds, Joyce and Dante; William Anderson, Dante the Maker; and Jerome Mazzaro, The Figure of Dante: An Essay on the “Vita Nuova,” all separately listed in full below, under Reviews.

Bernardo, Aldo S. (Joint editor). See Dante, Petrarch, Boccaccio: Studies in the Italian Trecento in Honor of Charles S. Singleton ....

Bigongiari, Dino. “The Art of the Canzone” (1950). Reprinted in Dante in America ... (q.v.), 228-243. [1983]

Bommarito, Domenico. “Il mito di Ulisse e la sua allegorizzazione in Boezio e Dante. Ulisse: il tema dell”homo insipiens.”‘ In Forum Italicum, XVII, No. 1 (1983), 64-81.

Moving from Boethius’ treatment of Ulysses as a figure of the sapiens who is master of his passions in the Consolatio Philosophiae, the author argues that Dante reprises the same concepts in the Comedy: his Ulysses’ sin is insipientia (absence of sapientia) and with him Dante seeks to condemn a human prototype who had been idolized in the past and was resurfacing in his own times.

Caserta, Ernesto G. “Gli studi danteschi di Rocco Montano.”In Dante Studies, CI (1983), 145-166.

Offers an assessment and appreciation of Montano’s Dantean studies, finding them often polemical, but invariably essential, innovative, seminal. Not adequately recognized, for example, is Montano’s elaboration of the now widely accepted crucial distinction between Dante-Poet and Dante-Protagonist for a proper reading of the Commedia. The author also highlights Montano’s countering of a tendency to read Dante’s poem according to a modern sensibility, by placing Dante in his own historico-cultural context.

Cassell, Anthony K.“Pier della Vigna’s Metamorphosis: Iconography and History.” In Dante, Petrarch, Boccaccio: Studies in the Italian Trecento ... (q.v.), 31-76. [1983]

Marshals rich historical, Biblical, exegetical, and iconographical evidence to coordinate with the poet’s diction, imagery, and allusions in Inferno XIII, in order to demonstrate that Pier della Vigna, far from the tragically innocent victim of Romantic interpretation, was indeed a criminal, guilty of “corruption in office, perversion of justice, and self-enrichment at the expense of the innocent and the state.” Though his protesting words may play upon the pity of the ignorant Dante-wayfarer, Pier is aptly condemned by the all-knowing Dante-poet to his proper place in the penal system of Hell, incorporating all the manifold elements that identify Pier for what he really was and underscoring a parallel between him and the canonical epitome of avarice and suicide, Judas Iscariot. Comes with fourteen half-tone illustrations.

Cavalcanti, Guido. The Sonnets and Ballate of Guido Cavalcanti. With translation and introduction by Ezra Pound. Westport, Connecticut: Hyperion Press, 1983. xxiv, 119 p.

Photographic reprint of the 1912 edition (Boston: Small, Maynard); Italian and English version on facing pages. Includes three sonnets to Dante, Vedesti al mio parere ogni valore, Io vengo il giorno infinite volte, and Dante, un sospiro messager del core. In his introduction ( xi-xxiv) Pound draws suggestive poetic links between Dante and Guido.

Cavalcanti, Guido. See Pound, Ezra, Pound’s Cavalcanti....

Chiampi, James T. “Dante’s Pilgrim and Reader in the ‘Region of Want.”‘ In Stanford Italian Review, III, No. 2 (1983), 163-182.

In this dense hermeneutic meditation, the author views Dante’s pilgrim, the poem itself, and the reader as undergoing the same spiritual development (or exercitatio animi), involving a journey along the way of truth from the visibilia, or signs, through the invisibilia, to res, of God Himself. The process is marked by the inadequate guidance of Virgil, arrested at the stage of the child, and the effectual guidance of Beatrice graduated to the progressive stages with which the pilgrim matures in wisdom. The author dwells on the many metaphorical and imagistic terms of maturation and especially of hunger and food/nutrition, which, like the poem as a whole, serve the poet’s procedure, not for the primary value of literary effect or artistic beauty, but for effectively fulfilling his mission of leading mankind, bound to the ways of this world, to the way of Truth. Indeed “the entire Paradiso is actually an immense banquet of deifying knowledge wherein the pilgrim finds the truth of his being by feeding upon the truth....” Even the poet’s addresses to the reader, in turn, echo the Beatricean sternness that is guiding his own spiritual transformation along the way of the poem, suggesting the proportion, Dante:reader::Beatrice:Dante. Dante, “like Augustine eating of God has been changed into Him [and] thus may call himself a lamb militant.”

Chiarenza, Marguerite Mills. “Boethian Themes in Dante’s Reading of Virgil.” In Stanford Italian Review, III, No. 1 (1983), 25-35.

Argues that we can better understand the role of the Aeneid in the Comedy in the light of Boethius’Consolatio Philosophiae, especially Book IV. Virgil’s stoic pessimism did not go unnoticed by Dante; Anchises cannot give Aeneas the consolation Cacciaguida gives Dante. Cacciaguida’s prophecy is the supplanting and resolution not just of previous prophecies, but of Virgil’s whole human perspective. The pilgrim’s exile, as he fears it, is Fate in the Boethian sense, while Cacciaguida’s interpretation of that exile is a reflection of the Boethian view of Providence. The central example of Fate in the Comedy is the Aeneid, which is reread providentially: thus, Dante chose to save Ripheus because of Virgil’s fatalistic “dis aliter visum” (Aen. II, 428). The corrections of the Aeneid in the Comedy are not so much Christian readings superimposed on a pagan text as Providence’s readings superimposed on Fate.

Chiarenza, Marguerite Mills.“Time and Eternity in the Myths of Paradiso XVII.” In Dante, Petrarch, Boccaccio: Studies in the Italian Trecento . . . (q.v.), 133-150. [1983]

Shows how the mythical allusions and the imagery in Cacciaguida’s prophecy confirm the eventual happy outcome of Dante-pilgrim from fall into exile in the contingency of this temporal life to ultimate triumph, on the pattern, not of the myth of Phaeton, but that of Hippolytus, who was eventually resurrected as Virbius. (See also the author’s article on “Hippolytus’ Exile ...” in Dante Studies, LXXXIV, 65-68.)

Cioffari, Vincenzo. “Inferno XIII from Laurentian Pluteo 40.2 and Its Sources.” In Dante Studies, CI (1983),1-25.

As a specimen of his work in progress for providing source materials from unedited manuscripts of the earliest commentaries, the author presents here from Laurentian Pluteo 40.2 the key canto, Inferno, XIII, for determining chronological sequence of the commentaries. In parallel columns are reproduced the Plut. 40.2 text on the left and on the right the sources of the commentaries—primarily from the Commentum of Benvenuto da Imola and the Expositiones of Guido da Pisa.

Cioffari, Vincenzo.“Latin Commentary on Paradiso XI from Egerton 943.” In Forum Italicum, XVII, No. 1 (1983), 53-63.

Discusses the Egerton 943 in light of other fragmentary manuscripts, all pointing to the existence of an integral Latin commentary which he designates the Anonimo latino, important for being one of the earliest, and presents a transcription of the part dealing with Paradiso XI, with which it abruptly ends, probably because the commentator was a Dominican and the Florentine chapter had issued an order in 1335 against reading the Commedia.

Colish, Marcia L.The Mirror of Language: A Study in the Medieval Theory of Knowledge. Revised Edition. Lincoln: University of Nebraska Press, 1983. xvii, 339 p.

Includes a substantial chapter on Dante in the context of her general thesis of a theory of signs, verbal in nature, that was current from the patristic period to the fourteenth century. For the original edition (Yale University Press, 1968) see Dante Studies, LXXXVII (1969), 156.

Cooksey, Thomas Lynch. “Dante’s Victorians: The Use of Dante by Carlyle, Tennyson, and Rossetti.” In Dissertation Abstracts International, XLIII, No. 12 (June 1983), 3918A. Doctoral dissertation, University of Oregon, 1982.

The three Victorian writers are found to be influenced, each in his own way, by Dante as rehabilitated by the Romantics.

Cro, Stelio. “Calderon and Dante: The Concept of a Total Art.”In Revista canadiense de estudios hispanicos, VIII, No. 1 (1983), 95-109.

Compares Calderón with Dante in their total art, i.e., of teaching the highest truth, and the means by which it is revealed by God in artistic endeavor, but contrasts the specific means employed by the two artists for expressing the highest ideals of their respective times. Both clarified their aesthetic approaches through self-exegesis in their works and shared the same focus on the polysemy of allegory based on Holy Scriptures. Although it is clear that Calderon conceived particularly his Autos sacramentales according to Dantean allegory and also shared Dante’s unified theological vision of the world, his own “total vision” was expressed in more concrete terms than Dante’s “visual music,” as evidenced by his dramatic works in which his allegories are visualized and therefore appealed to a larger audience than Dante’s learned readers.

Crookes, David Z.“Dante’s Paradiso, Canto XXI.” In Explicator, XLI, No. 3 (1983), 3-5.

Suggests that in the context of allusions to wheels and rotation in this canto the specific verses 58-60 may be a metaphor-pun based on two common medieval string instruments, the sinfonia (hurdy-gurdy, activated by a wheel, or rota) and the rota (crowd, or crwth).

Culbertson, Diana. “Dante, the Yahwist, and the Sins of Sodom.” In Italian Culture, IV (1983), 11-23.

Male sexual acts are metaphorical in the Yahwist (Genesis 19: Sodom and Gomorrah) and in Dante, who borrows much of his imagery for Inferno XV and XVI from Genesis. The Yahwist writer is not concerned with homosexuality, but with acceptance of the true God and charity for strangers. The people of Sodom used rape to express contempt and hatred for the “neighbor”; rape signified contempt for captured soldiers and, in Jewish culture, also religious persecution. In Inferno XV as well, sodomy is a metaphor for indifference to the life of grace, for the choice of humanistic immortality as a substitute for eternal life with God. Moreover, such a sin is one that Dante, who was preoccupied by both the humanistic and the spiritual implications of immortality and who knew that the Comedy would make him literally immortal, had reason to fear: he knew what Brunetto did not know, that literary immortality is not salvific.

Dante in America: The First Two Centuries. Edited by A. Bartlett Giamatti. Binghamton, N.Y.: Medieval and Renaissance Texts and Studies, 1983. xii, 412 p. illus.

Conveniently gathers together, reprinted from various sources, a representative selection of 23 pieces (1819-1981) designed to portray the development of Dante criticism in the United States during the first two centuries of the nation’s existence. The authors, in chronological order of their selected essay, are: Gray, Da Ponte, Longfellow (2), Norton, Lowell, Harris, Santayana, Rand, Wilkins, Grandgent, Pound, Silverstein, Eliot, Bigongiari, Singleton, Tate, Fergusson, Mazzeo, Bergin, Freccero, Hollander, Fitzgerald. The essays are separately registered by author in this bibliography. There is an editorial preface by A.B. Giamatti. The facts of original publication of the essays are duly indicated in a list of”Bibliographical Sources” ( 411-412).

“Dante in the Modern World,” edited by Kathleen Verduin. See Studies in Medievalism, II, No. 3 (Summer): special Dante issue (q.v.).

Dante, Petrarch, Boccaccio: Studies in the Italian Trecento in Honor of Charles S. Singleton. Edited by Aldo S. Bernardo and Anthony L. Pellegrini. Binghamton, N.Y.: Medieval and Renaissance Texts and Studies, 1983. xxviii, 366 p. front., illus.

Contains eight essays of Dantean interest by A.K. Cassell, M.M. Chiarenza, J.M. Ferrante, J. Freccero, R. Hollander, R.E. Kaske, E. Raimondi, and A. Vallone, which are separately listed in this bibliography. The volume comes with a Preface, Tabula Gratulatoria, Introduction (paying tribute to Singleton as a leading Dantista of our time), and The Publications of Charles S. Singleton.

Da Ponte, Lorenzo. “Critique of Certain Passages in Dante” (1825). Reprinted in Dante in America . . . (q.v.), 27-34. [1983]

De Bonfils Templer, Margherita. “La donna gentile del Convivio e il boeziano mito d’Orfeo.”In Dante Studies, CI (1983), 123-144.

Relates the donna gentile episode in the Vita nuova to Boethius’ treatment of the Orpheus myth in the De Consolatione Philosophiae (with its central figure of Philosophia), involving a turning back with difficulty and inconsolably toward lost sensual bonds. The Convivio (with its theme of intellectual love), in turn, with particular reference to II, i, is seen as a transitional stage in the philosophical-spiritual development of Dante’s love from the literal Beatrice of the Vita nuova, notwithstanding the final sonnet with its vision of a spiritual love not yet attained, to the achievement of the latter in the Commedia. Dante’s conflating of the allegorized donna gentile in the Convivio with the donna gentile of the Vita nuova serves as a transition to the ultimate synthesis of the polysemous figure of Beatrice in the Commedia.

De Panizza Lorch, Maristella.“Dante’s World: The Challenge of a Text.” In Teaching Language Through Literature XXIII, 1 (December, 1983), 15-31.

Treats her experience of teaching a special course on Dante (in English) at Columbia University.

Della Terza, Dante.“L’italianistica negli Stati Uniti.” In Bollettino di italianistica, I, No. 2 (1983), 195-204.

Offers a brief but pointed review of recent Italian studies in the United States, including special reference to Dante studies, with particular mention of the work of John Freccero, Robert Hollander, and G.R. Sarolli, in the wake of Singleton and Auerbach.

Di Scipio, Giuseppe C. “The Hebrew Women in Dante’s Symbolic Rose.” In Dante Studies, CI (1983), 111-121.

Cites Biblical and exegetical evidence to account for Dante’s particular variant (from the Biblical) order of Hebrew women (Mary, Eve, Rachel, Sara, Rebecca, Judith, Ruth) in their alignment to demarcate the two sections representing the Old and New Testaments in the White Rose described in Paradiso XXXII. Generally speaking, moreover, each of the seven women noted for their excellence is in some way a figura ecclesiae, their number in turn being associated, among other things, with the seven churches of Apocalypse.