Questo articolo, accresciuto di un ampio repertorio iconografico originale, presenta i risultati ... more Questo articolo, accresciuto di un ampio repertorio iconografico originale, presenta i risultati dello studio “Adulterio e omosessualita: la problematica dell'amore irregolare nella Divina Commedia”, facente parte di un progetto di ricerca diretto da Grzegorz Chojnacki presso la Facolta Teologica dell'Universita di Stettino in Polonia: Milośc jest nam dana i zadana. Komentarz do posynodalnej adhortacji apostolskiej „Amoris laetitia” papieza Franciszka, Pod redakcją ks. Grzegorza Chojnackiego, Szczecin: Uniwersytet Szczecinski, 2017, 9-58.
L?arte dantesca di un pittore fiorentino contemporaneo, in maniera apparentemente casuale, sembra... more L?arte dantesca di un pittore fiorentino contemporaneo, in maniera apparentemente casuale, sembra tornare a dar vita a una capolavoro del Rinascimento perduto durante un naufragio nel mare Tirreno
The sacrilege of Vanni Fucci, the beast of Pistoia, in the Divine Comedy This hermeneutic analysi... more The sacrilege of Vanni Fucci, the beast of Pistoia, in the Divine Comedy This hermeneutic analysis presents a reflection on the complex nature of the concept of theft in the Christian world, compared to the pagan one. The author develops the idea of the desperate blasphemy of the infernal prisoner as a form of unconscious prayer. Vanni Fucci from Pistoia, the sacrilegious and blasphemous character of Dante’s Inferno, is analyzed by referring to the fundamental difference between the classical and medieval philosophical perception of metamorphosis as a symbol.
Within the mysteries of 'The Divine Comedy', it seems that the culture of Muslims is well... more Within the mysteries of 'The Divine Comedy', it seems that the culture of Muslims is well known to Dante, above all thanks to the mediation of works such as the 'Book of Muhammad’s Ladder' (Kitāb al‑miʿrāj), the 'Travels of Marco Polo' and various writings of friar Riccoldo of Montecroce. Islam is considered a danger, yet it is also admired in Dante’s vision, for its scientific height reached in the Middle Ages. Love is the essential concept of the whole message of Christianity: it is caritas, a universal embrace that includes every aspect of man and harmonizes it. Muhammad, despite his original Christian spiritual formation, according to Dante, did not understand the concept of caritas. Therefore, he deceived others and himself, founding a new creed and a different faith, which is by no means superfluous from a Dantean point of view. Indeed, it is useless and dangerous as a heresy, due to its same nature that generates schism and, precisely, war. It is natur...
... delle Esperidi, abbandonan-dosi forse allo spettro fallace di un'ultima speranza... more ... delle Esperidi, abbandonan-dosi forse allo spettro fallace di un'ultima speranza." Ed 6 proprio nella seconda parte del libro IV dell'Eneide che sul personaggio fem-minile, da un punto di vista della figurazione poetica, Virgilio riversa un ... 308 MARINO ALBERTO BALDUCCI ...
Questo articolo, accresciuto di un ampio repertorio iconografico originale, presenta i risultati ... more Questo articolo, accresciuto di un ampio repertorio iconografico originale, presenta i risultati dello studio “Adulterio e omosessualita: la problematica dell'amore irregolare nella Divina Commedia”, facente parte di un progetto di ricerca diretto da Grzegorz Chojnacki presso la Facolta Teologica dell'Universita di Stettino in Polonia: Milośc jest nam dana i zadana. Komentarz do posynodalnej adhortacji apostolskiej „Amoris laetitia” papieza Franciszka, Pod redakcją ks. Grzegorza Chojnackiego, Szczecin: Uniwersytet Szczecinski, 2017, 9-58.
L?arte dantesca di un pittore fiorentino contemporaneo, in maniera apparentemente casuale, sembra... more L?arte dantesca di un pittore fiorentino contemporaneo, in maniera apparentemente casuale, sembra tornare a dar vita a una capolavoro del Rinascimento perduto durante un naufragio nel mare Tirreno
The sacrilege of Vanni Fucci, the beast of Pistoia, in the Divine Comedy This hermeneutic analysi... more The sacrilege of Vanni Fucci, the beast of Pistoia, in the Divine Comedy This hermeneutic analysis presents a reflection on the complex nature of the concept of theft in the Christian world, compared to the pagan one. The author develops the idea of the desperate blasphemy of the infernal prisoner as a form of unconscious prayer. Vanni Fucci from Pistoia, the sacrilegious and blasphemous character of Dante’s Inferno, is analyzed by referring to the fundamental difference between the classical and medieval philosophical perception of metamorphosis as a symbol.
Within the mysteries of 'The Divine Comedy', it seems that the culture of Muslims is well... more Within the mysteries of 'The Divine Comedy', it seems that the culture of Muslims is well known to Dante, above all thanks to the mediation of works such as the 'Book of Muhammad’s Ladder' (Kitāb al‑miʿrāj), the 'Travels of Marco Polo' and various writings of friar Riccoldo of Montecroce. Islam is considered a danger, yet it is also admired in Dante’s vision, for its scientific height reached in the Middle Ages. Love is the essential concept of the whole message of Christianity: it is caritas, a universal embrace that includes every aspect of man and harmonizes it. Muhammad, despite his original Christian spiritual formation, according to Dante, did not understand the concept of caritas. Therefore, he deceived others and himself, founding a new creed and a different faith, which is by no means superfluous from a Dantean point of view. Indeed, it is useless and dangerous as a heresy, due to its same nature that generates schism and, precisely, war. It is natur...
... delle Esperidi, abbandonan-dosi forse allo spettro fallace di un'ultima speranza... more ... delle Esperidi, abbandonan-dosi forse allo spettro fallace di un'ultima speranza." Ed 6 proprio nella seconda parte del libro IV dell'Eneide che sul personaggio fem-minile, da un punto di vista della figurazione poetica, Virgilio riversa un ... 308 MARINO ALBERTO BALDUCCI ...
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