Dennis Looney – författare

Freedom Readers: The African American Reception of Dante Alighieri and the Divine Comedy is a literary-historical study of the many surprising ways in which Dante Alighieri and the Divine Comedy have assumed a position of importance in African American culture. Dennis Looney examines how African American authors have read, interpreted, and responded to Dante and his work from the late 1820s to the present.In many ways, the African American reception of Dante follows a recognizable narrative of reception: the Romantic rehabilitation of the author; the late-nineteenth-century glorification of Dante as a radical writer of reform; the twentieth-century modernist rewriting; and the adaptation of the Divine Comedy into the prose of the contemporary novel. But surely it is unique to African American rewritings of Dante to suggest that the Divine Comedy is itself a kind of slave narrative. Only African American "translations" of Dante use the medieval author to comment on segregation, migration, and integration. While many authors over the centuries have learned to articulate a new kind of poetry from Dante's example, for African American authors attuned to the complexities of Dante's hybrid vernacular, his poetic language becomes a model for creative expression that juxtaposes and blends classical notes and the vernacular counterpoint in striking ways. Looney demonstrates this appropriation of Dante as a locus for black agency in the creative work of such authors as William Wells Brown, the poet H. Cordelia Ray, Richard Wright, Ralph Ellison, Amiri Baraka, Gloria Naylor, Toni Morrison, and the filmmaker Spencer Williams.Looney fruitfully suggests that we read Dante's Divine Comedy with its African American rewritings in mind, to assess their effect on our interpretation of the Comedy and, in turn, on our understanding of African American culture.

Freedom Readers: The African American Reception of Dante Alighieri and the Divine Comedy is a literary-historical study of the many surprising ways in which Dante Alighieri and the Divine Comedy have assumed a position of importance in African American culture. Dennis Looney examines how African American authors have read, interpreted, and responded to Dante and his work from the late 1820s to the present.In many ways, the African American reception of Dante follows a recognizable narrative of reception: the Romantic rehabilitation of the author; the late-nineteenth-century glorification of Dante as a radical writer of reform; the twentieth-century modernist rewriting; and the adaptation of the Divine Comedy into the prose of the contemporary novel. But surely it is unique to African American rewritings of Dante to suggest that the Divine Comedy is itself a kind of slave narrative. Only African American "translations" of Dante use the medieval author to comment on segregation, migration, and integration. While many authors over the centuries have learned to articulate a new kind of poetry from Dante's example, for African American authors attuned to the complexities of Dante's hybrid vernacular, his poetic language becomes a model for creative expression that juxtaposes and blends classical notes and the vernacular counterpoint in striking ways. Looney demonstrates this appropriation of Dante as a locus for black agency in the creative work of such authors as William Wells Brown, the poet H. Cordelia Ray, Richard Wright, Ralph Ellison, Amiri Baraka, Gloria Naylor, Toni Morrison, and the filmmaker Spencer Williams.Looney fruitfully suggests that we read Dante's Divine Comedy with its African American rewritings in mind, to assess their effect on our interpretation of the Comedy and, in turn, on our understanding of African American culture.

Ludovico Ariosto (1474–1533), one of Italy’s greatest poets, was a leading figure of sixteenth-century Italian humanism. After some years working in the household of Cardinal Ippolito d’Este, to whom he dedicated his dazzling romance epic Orlando Furioso (1516), Ariosto settled in Ferrara under the patronage of Ippolito’s brother Alfonso. He continued to write throughout his life, publishing 214 letters, five plays, seven satires in verse, and dozens of lyric poems in Italian and Latin. Ariosto’s Latin poems, translated into English for the first time in this volume, are remarkable for their erudition, technical virtuosity, and playfulness. This edition provides a new Latin text, the first to be based on a collation of the autograph manuscript and editio princeps, and offers a unique insight into the Latin formation of one of the Renaissance’s foremost vernacular writers.

Translated here for the first time into English, Sergio Zatti's The Quest for Epic is a selection of studies on the two major poets of the Italian Renaissance, Ludovico Ariosto and Torquato Tasso, by one of the most important literary critics writing in Italy today. An original and challenging work, The Quest for Epic documents the development of Italian narrative from the chivalric romance at the end of the fifteenth century to the genre of epic in the sixteenth century. Zatti focuses on Ariosto's Orlando Furioso, written in the early 1500s, and progresses to Tasso's Jerusalem Delivered, written at the end of the century, but also touches briefly on Boiardo, Ariosto's great predecessor at the Estense court in Ferrara, as well as on Pulci, Trissino, and many other Italian writers of the period. Zatti highlights the critical debates over narrative form in the sixteenth century that become signposts on the way to literary modernity and the eventual rise of the modern novel. Albert Russell Ascoli's introduction provides context by mapping Zatti's criticism and situating it among Italian and Anglo-American literary critical studies, making a case for the contribution this book will have for English-language readers.