Elena Lombardi – författare

Imagining the Woman Reader in the Age of Dante brings to light a new character in medieval literature: that of the woman reader and interlocutor. It does so by establishing a dialogue between literary studies, gender studies, the history of literacy, and the material culture of the book in medieval times.From Guittone d''Arezzo''s piercing critic, the ''villainous woman'', to the mysterious Lady who bids Guido Cavalcanti to write his grand philosophical song, to Dante''s female co-editors in the Vita Nova and his great characters of female readers, such as Francesca and Beatrice in the Comedy, all the way to Boccaccio''s overtly female audience, this particular interlocutor appears to be central to the construct of textuality and the construction of literary authority. This volume explores the figure of the woman reader by contextualizing her within the history of female literacy, the material culture of the book, and the ways in which writers and poets of earlier traditions imagined her. It argues that these figures are not mere veneers between a male author and a ''real'' male readership, but that, although fictional, they bring several advantages to their vernacular authors, such as orality, the mother tongue, the recollection of the delights of early education, literality, freedom in interpretation, absence of teleology, the beauties of ornamentation and amplification, a reduced preoccupation with the fixity of the text, the pleasure of making mistakes, dialogue with the other, the extension of desire, original simplicity, and new and more flexible forms of authority.

Imagining the Woman Reader in the Age of Dante brings to light a new character in medieval literature: that of the woman reader and interlocutor. It does so by establishing a dialogue between literary studies, gender studies, the history of literacy, and the material culture of the book in medieval times.From Guittone d''Arezzo''s piercing critic, the ''villainous woman'', to the mysterious Lady who bids Guido Cavalcanti to write his grand philosophical song, to Dante''s female co-editors in the Vita Nova and his great characters of female readers, such as Francesca and Beatrice in the Comedy, all the way to Boccaccio''s overtly female audience, this particular interlocutor appears to be central to the construct of textuality and the construction of literary authority. This volume explores the figure of the woman reader by contextualizing her within the history of female literacy, the material culture of the book, and the ways in which writers and poets of earlier traditions imagined her. It argues that these figures are not mere veneers between a male author and a ''real'' male readership, but that, although fictional, they bring several advantages to their vernacular authors, such as orality, the mother tongue, the recollection of the delights of early education, literality, freedom in interpretation, absence of teleology, the beauties of ornamentation and amplification, a reduced preoccupation with the fixity of the text, the pleasure of making mistakes, dialogue with the other, the extension of desire, original simplicity, and new and more flexible forms of authority.

The Oxford Handbook of Dante contains forty-four specially written chapters that provide a thorough and creative reading of Dante''s oeuvre. It gathers an intergenerational and international team of scholars encompassing diverse approaches from the fields of Anglo-American, Italian, and continental scholarship and spanning several disciplines: philology, material culture, history, religion, art history, visual studies, theory from the classical to thecontemporary, queer, post- and de-colonial, and feminist studies. The volume combines a rigorous reassessment of Dante''s formation, themes, and sources, with a theoretically up-to-date focus on textuality, thereby offering a new critical Dante. The volume is divided into seven sections: ''Texts and Textuality'';''Dialogues''; ''Transforming Knowledge''; Space(s) and Places''; ''A Passionate Selfhood''; ''A Non-linear Dante''; and ''Nachleben''. It seeks to challenge the Commedia-centric approach (the conviction that notwithstanding its many contradictions, Dante''s works move towards the great reservoir of poetry and ideas that is the Commedia), in order to bring to light a non-teleological way in which these works relate amongst themselves. Plurality and the openness of interpretationappear as Dante''s very mark, coexisting with the attempt to create an all-encompassing mastership. The Handbook suggests what is exciting about Dante now and indicate where Dante scholarship is going, or can go, in a global context.

The Oxford Handbook of Dante contains forty-four specially written chapters that provide a thorough and creative reading of Dante''s oeuvre. It gathers an intergenerational and international team of scholars encompassing diverse approaches from the fields of Anglo-American, Italian, and continental scholarship and spanning several disciplines: philology, material culture, history, religion, art history, visual studies, theory from the classical to thecontemporary, queer, post- and de-colonial, and feminist studies. The volume combines a rigorous reassessment of Dante''s formation, themes, and sources, with a theoretically up-to-date focus on textuality, thereby offering a new critical Dante. The volume is divided into seven sections: ''Texts and Textuality'';''Dialogues''; ''Transforming Knowledge''; Space(s) and Places''; ''A Passionate Selfhood''; ''A Non-linear Dante''; and ''Nachleben''. It seeks to challenge the Commedia-centric approach (the conviction that notwithstanding its many contradictions, Dante''s works move towards the great reservoir of poetry and ideas that is the Commedia), in order to bring to light a non-teleological way in which these works relate amongst themselves. Plurality and the openness of interpretationappear as Dante''s very mark, coexisting with the attempt to create an all-encompassing mastership. The Handbook suggests what is exciting about Dante now and indicate where Dante scholarship is going, or can go, in a global context.

Imagining the Woman Reader in the Age of Dante brings to light a new character in medieval literature: that of the woman reader and interlocutor. It does so by establishing a dialogue between literary studies, gender studies, the history of literacy, and the material culture of the book in medieval times.From Guittone d'Arezzo's piercing critic, the 'villainous woman', to the mysterious Lady who bids Guido Cavalcanti to write his grand philosophical song, to Dante's female co-editors in the Vita Nova and his great characters of female readers, such as Francesca and Beatrice in the Comedy, all the way to Boccaccio's overtly female audience, this particular interlocutor appears to be central to the construct of textuality and the construction of literary authority. This volume explores the figure of the woman reader by contextualizing her within the history of female literacy, the material culture of the book, and the ways in which writers and poets of earlier traditions imagined her. It argues that these figures are not mere veneers between a male author and a 'real' male readership, but that, although fictional, they bring several advantages to their vernacular authors, such as orality, the mother tongue, the recollection of the delights of early education, literality, freedom in interpretation, absence of teleology, the beauties of ornamentation and amplification, a reduced preoccupation with the fixity of the text, the pleasure of making mistakes, dialogue with the other, the extension of desire, original simplicity, and new and more flexible forms of authority.

The Oxford Handbook of Dante contains forty-four specially written chapters that provide a thorough and creative reading of Dante's oeuvre. It gathers an intergenerational and international team of scholars encompassing diverse approaches from the fields of Anglo-American, Italian, and continental scholarship and spanning several disciplines: philology, material culture, history, religion, art history, visual studies, theory from the classical to the contemporary, queer, post- and de-colonial, and feminist studies. The volume combines a rigorous reassessment of Dante's formation, themes, and sources, with a theoretically up-to-date focus on textuality, thereby offering a new critical Dante. The volume is divided into seven sections: 'Texts and Textuality'; 'Dialogues'; 'Transforming Knowledge'; Space(s) and Places'; 'A Passionate Selfhood'; 'A Non-linear Dante'; and 'Nachleben'. It seeks to challenge the Commedia-centric approach (the conviction that notwithstanding its many contradictions, Dante's works move towards the great reservoir of poetry and ideas that is the Commedia), in order to bring to light a non-teleological way in which these works relate amongst themselves. Plurality and the openness of interpretation appear as Dante's very mark, coexisting with the attempt to create an all-encompassing mastership. The Handbook suggests what is exciting about Dante now and indicate where Dante scholarship is going, or can go, in a global context.

The Oxford Handbook of Dante contains forty-four specially written chapters that provide a thorough and creative reading of Dante's oeuvre. It gathers an intergenerational and international team of scholars encompassing diverse approaches from the fields of Anglo-American, Italian, and continental scholarship and spanning several disciplines: philology, material culture, history, religion, art history, visual studies, theory from the classical to the contemporary, queer, post- and de-colonial, and feminist studies. The volume combines a rigorous reassessment of Dante's formation, themes, and sources, with a theoretically up-to-date focus on textuality, thereby offering a new critical Dante. The volume is divided into seven sections: 'Texts and Textuality'; 'Dialogues'; 'Transforming Knowledge'; Space(s) and Places'; 'A Passionate Selfhood'; 'A Non-linear Dante'; and 'Nachleben'. It seeks to challenge the Commedia-centric approach (the conviction that notwithstanding its many contradictions, Dante's works move towards the great reservoir of poetry and ideas that is the Commedia), in order to bring to light a non-teleological way in which these works relate amongst themselves. Plurality and the openness of interpretation appear as Dante's very mark, coexisting with the attempt to create an all-encompassing mastership. The Handbook suggests what is exciting about Dante now and indicates where Dante scholarship is going, or can go, in a global context.

In The Wings of the Doves, Elena Lombardi undertakes a detailed reading of Dante''s Inferno V - the canto of Francesca da Rimini and her doomed love for her brother-in-law, Paolo Malatesta, a richly layered episode within the Divine Comedy, which continues to challenge readers today, blurring the distinction between poetry and doctrine, pity and condemnation, and literature and reality. Lombardi plays on the complex nature of the canto in order to shed light on a larger and much-debated theme in medieval culture - the relation between spiritual and erotic forms of love and desire. Eschatology and law, pilgrimage and beauty, the role of affective practices in the religious and social spheres, intertextuality and the medieval culture of reading are just some of the themes that come together to unravel this tale of adultery and its bordering with the soul''s search for God. The Wings of the Doves examines the flexibility of the medieval notion of desire to unearth the hidden meanings of this complex story of lust and love and the radical nature of medieval love poetry.

In medieval culture, the consideration of language is deeply connected to other aspects of the system of knowledge. One interesting connection takes place between theories of language and theories of larger concepts such as love and desire. The Syntax of Desire is an interdisciplinary examination of the interlacing operation of syntax and desire in three medieval 'grammars:' theological, linguistic, and poetic.Exploring three representative aspects of medieval language theory, Elena Lombardi uncovers the ways in which syntax and desire were interrelated in the Middle Ages. She suggests that, in Augustine's theology, the creative act of God in the universe emerges as a syntax that the human individual must interpret by means of desire; in the linguistic theory of the Modistae, she sees the syntax of language as parallel to a syntax of reality, one organized by the desiring interplay of matter and form; in Dante's poetry, she argues that the language of the fallen human is bound together by the syntax of poetry, an act of desire that restores language to its primitive innocence. In addition to detailed analyses of medieval texts, The Syntax of Desire examines some aspects of the same relationship in light of contemporary linguistics, philosophy of language, and psychoanalysis.

Dantean Dialogues is a collection of essays by some of the world's most outstanding Dante scholars., These essays enter into conversation with the main themes of the scholarship of Amilcare Iannucci (d. 2007), one of the leading researchers on Dante of his generation and arguably Canada’s finest scholar of the Italian poet.The essays focus on the major themes of Iannucci’s work, including the development of Dante’s early poetry, Dante’s relation to classical and biblical sources, and Dante’s reception. The contributors cover crucial aspects of Dante’s work, from the authority of the New Life to the novelty of his early poetry, to key episodes in the Comedy, to the poem’s afterlife. Together, the essays show how Iannucci’s reading of central cruxes in Dante’s texts continues to inspire Dante studies – a testament to his continuing influence and profound intellectual legacy.

Dantean Dialogues is a collection of essays by some of the world's most outstanding Dante scholars., These essays enter into conversation with the main themes of the scholarship of Amilcare Iannucci (d. 2007), one of the leading researchers on Dante of his generation and arguably Canada’s finest scholar of the Italian poet.The essays focus on the major themes of Iannucci’s work, including the development of Dante’s early poetry, Dante’s relation to classical and biblical sources, and Dante’s reception. The contributors cover crucial aspects of Dante’s work, from the authority of the New Life to the novelty of his early poetry, to key episodes in the Comedy, to the poem’s afterlife. Together, the essays show how Iannucci’s reading of central cruxes in Dante’s texts continues to inspire Dante studies – a testament to his continuing influence and profound intellectual legacy.

Dantean Dialogues is a collection of essays by some of the world's most outstanding Dante scholars., These essays enter into conversation with the main themes of the scholarship of Amilcare Iannucci (d. 2007), one of the leading researchers on Dante of his generation and arguably Canada’s finest scholar of the Italian poet.The essays focus on the major themes of Iannucci’s work, including the development of Dante’s early poetry, Dante’s relation to classical and biblical sources, and Dante’s reception. The contributors cover crucial aspects of Dante’s work, from the authority of the New Life to the novelty of his early poetry, to key episodes in the Comedy, to the poem’s afterlife. Together, the essays show how Iannucci’s reading of central cruxes in Dante’s texts continues to inspire Dante studies – a testament to his continuing influence and profound intellectual legacy.

In medieval culture, the consideration of language is deeply connected to other aspects of the system of knowledge. One interesting connection takes place between theories of language and theories of larger concepts such as love and desire. The Syntax of Desire is an interdisciplinary examination of the interlacing operation of syntax and desire in three medieval 'grammars:' theological, linguistic, and poetic.Exploring three representative aspects of medieval language theory, Elena Lombardi uncovers the ways in which syntax and desire were interrelated in the Middle Ages. She suggests that, in Augustine's theology, the creative act of God in the universe emerges as a syntax that the human individual must interpret by means of desire; in the linguistic theory of the Modistae, she sees the syntax of language as parallel to a syntax of reality, one organized by the desiring interplay of matter and form; in Dante's poetry, she argues that the language of the fallen human is bound together by the syntax of poetry, an act of desire that restores language to its primitive innocence. In addition to detailed analyses of medieval texts, The Syntax of Desire examines some aspects of the same relationship in light of contemporary linguistics, philosophy of language, and psychoanalysis.