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"La Vita Nuova" ( Dante ), 1997.
Examines the poet's views on love and creative writing as expressed in his poetry and his relationship with Beatrice.
1,350 words (approx. 5.4 pages), 1 source, $ 47.95
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From the Paper
"In La Vita Nuova, Dante expresses his views on romantic love and literary creation, arguing essentially that the two are inextricably bound together. This does not mean that as love goes, so necessarily goes literary creation. To the contrary, Dante seems clearly to be saying at times that the most critical periods in his relationship with Beatrice have produced the most passionate and remarkable poetry. The study will argue that the process whereby Dante comes to understand and experience love in a mature, spiritual and transcendent sense is a process which for him requires the recording of his experiences in poetry which crystallizes those experiences for his vigilant examination. Love for Dante is a means of spiritual and creative awakening.
To a poet of passion such as Dante, what matters is not a "healthy" or "non-dysfunctional" relationship such as might be ..."
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Dante's "La Vita Nuova", 2006.
An analysis of Dante's use of the phrase "love and the gentle heart" in his collection of poetry entitled "La Vita Nuova".
1,615 words (approx. 6.5 pages), 3 sources, MLA, $ 52.95
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Abstract
This paper analyzes Dante Alighieri's testament to romantic love and his own love for Beatrice in "La Vita Nuova". Through an analysis of the theme, tone and structure of the 25 sonnets contained in "La Vita Nuova", the paper explains that Dante uses the poignant sonnet form to convey the nature of his love for Beatrice and that his use of the the phrase "love and the gentle heart" refers to the type of mature love shared between the spouses in an old married couple.
From the Paper
"The third and fourth lines of the poem use a teasingly sardonic analogy to emphasize the poet's main point. "...each from the other one as well divorced / as reason from the mind's reasoning." The use of the word "divorce" serves as a double entendre, referring both to two ordinary objects being rendered as well as to two persons dissolving their marital vows. As divorce is the exact opposite from union, the poet creates some dynamic tension through the use of phrases like "one thing" and "the other one" in conjunction with the word "divorce." The repetition of the word "one" in lines one and three acts as a unifying devise in this initial stanza. Similarly, the last line of stanza one contains another word repetition: "reason" and "reasoning." The poet could have easily selected a synonym for either "reason" or "reasoning." Dante's choice implies a conscious use of word repetition that parallels the repetition of the word "one." The repetition helps emphasize the poem's central themes. Finally, the concept of reason differs greatly from the concept of love." Love and reason are in fact often in direct opposition to one another. The irony of love being compared to reason mirrors the contrast between love and divorce in this first stanza."
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Literary Comparison: "La Vita Nuova" and "Amores", 2006.
This paper examines and analyzes the similarities and the differences in Dante's "LaVita Nuova" and Ovid's "Amores."
1,780 words (approx. 7.1 pages), 0 sources, $ 57.95
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Abstract
This paper details the similarities and the differences in both works of poetry by Dante and Ovid. For example: When comparing Dante's "LaVita Nuova" to Ovid's "Amores," the main difference that quickly becomes apparent is one of attitude. This paper explores both poets' attitude towards love and the extent to which their own lives coincide with their writing. Both poets describe love in religious terms, where love plays the role of a god. Dante elevates his character to sainthood upon her death whereas Ovid, in sharp contrast, views his leading character in a more flippant and superficial manner. This well-written paper details the plots and characters of both works of poetry.
From the Paper
"Dante is much more contemplative of love as a concept and of the lady that he loves. The Provencal tradition is transcended when love is described not only in loftily idealistic terms, but also when the lady in question is viewed as significant in spiritual terms. Beatrice, of whom Dante writes, is described in nothing but the purest terms. The poet meets her when he is a young child, and throughout the work learns lessons about love through her. In his view, Beatrice is a creature of unsurpassed beauty, who is able to satisfy the dreams of a child, the desires of a young man and the highest aspirations of the mature artist, from whose point of view he is writing. Not only is she an extremely ideal woman; she is also nearly Christ-like in her perfection."
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Dante's "Vita Nuova", 2005.
This paper discusses Dante's "Vita Nuova", a poetic revelation of his own 'new life'.
1,540 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
This paper explains that the main thrust of the primary narrative thread or 'plot' of Dante's Vita Nuova ("New Life") is the love of the poet for the beautiful Beatrice, a woman from Dante's social circle, who was holy and beautiful in her manner and countenance but married to another man. The author points out that "New Life" means a new life of a person as a result of renewed faith, feeling, spirituality and insight. The paper relates that, in this writing, poetic creation, religious understanding and personal romance are lifted to the heights of greater Christian worship and comprehension of the divine project for all humanity.
From the Paper
"This confusion between Mary and Beatrice is not entirely unintentional upon Dante's part. It is partly reflective of the ailing, troubled mind of the narrator as he lays ill in bed. But it is also indicative of how Beatrice has served as Dante's poetic inspiration and muse over the course of his life. Dante, has not adored her like a man, but worshipped her from afar, as if she were a religious figure of adoration. He does not know her, intimately on a sexual level or on a personal and friendly level like a human being or a woman-Dante only bears witness to the lady in her socially and personally manifested beauty and piety, as if she were a statue, or a great queen, an ideological icon and representation of all that is good in heaven."
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"La Dolce Vita", 2008.
This paper analyzes the history, culture and architecture of Italy in Federico Fellini's film "La Dolce Vita".
1,889 words (approx. 7.6 pages), 2 sources, MLA, $ 60.95
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Abstract
The paper examines Federico Fellini's Italian film "La Dolce Vita" within the context of its times. The paper looks at how the architecture in the film gives the movie greater resonance and depth and reveals the limitations in the character Marcello's pleasure-seeking view of the world. The paper is of the opinion that the film is a masterpiece by a master-craftsman that uses the architecture of Rome as a most effective tool.
From the Paper
"The period 1950-1960 was a difficult one in some respects for Italy. The nation's glory as the seat of power for the Roman Empire was obviously far in the past and the country was still suffering the lingering effects - loss of life and international disgrace - of Mussolini's unhinged efforts to gain for himself (and, secondarily, his country) power and standing by aligning (however uneasily) with Hitler; moreover, the country's embarrassing foray into North Africa during the war years (and during the lead-up to the war) was still fresh in mind. While it can be over-stated, one is tempted to suggest that the events of less than two decades earlier - along with the terrible human toll they exacted - fed a burgeoning cynicism that made Italian young people of the age disinclined to accept the mores of their parents; after all, the Second World War had been, for all intents and purposes, their parents' war. When viewed within that context, the spiritually bankrupt nature of many of La Dolce Vita's characters and the sense of decadence which pervades the film throughout seems to hint at a culture that has lost its way and turned against the strict injunctions and moral coda of earlier times."
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Marcello Rubini in Federico Fellini's "La Dolce Vita"., 2008.
This paper applies existential-humanistic psychology to the character of Marcello Rubini in Federico Fellini's film, "La Dolce Vita".
1,666 words (approx. 6.7 pages), 5 sources, APA, $ 54.95
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Abstract
The paper explores how humanistic and existentialist psychology could help Marcello, the lead character in Federico Fellini's film, "La Dolce Vita". The paper shows the unhappiness inherent in Marcello's lifestyle and discusses how Marcello needs a father figure or a stern therapist that could authoritatively guide the boy towards manhood.
From the Paper
"In Fellini's 1960 film classic, La Dolce Vita, Marcelo Mastroianni plays a wandering play-boy journalist (Marcello Rubini) who seems unable to commit to anyone or to anything. For example, he threatens throughout to write a novel, but never really makes any substantive process on the matter. In terms of his personal relationships, Marcello appears to move from one woman to another without any great enthusiasm for establishing a meaningful relationship with any one of them."
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Dante?s ?Inferno?: The Teacher and The Student, 2002.
This paper presents a detailed examination of the relationship between Dante and Virgil in Dante?s "Inferno".
690 words (approx. 2.8 pages), 1 source, MLA, $ 24.95
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Abstract
The paper states that in Dante?s "Inferno" the personality characteristics of Dante and Virgil and their relationship is extremely important to the context of the story. The writer uses examples and character analysis to present this relationship.
From the Paper
"Dante is not a gifted man intellectually. He is a bit of a bumbling guy who seems to need a lot of supervision and guidance to get through life. He was however, a firm spiritual believer who followed his heart when it comes time to believe in Virgil."
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"The Divine Comedy" - Dante Alighieri's "Inferno", 2007.
A discussion of the epic poem "The Divine Comedy" by Dante Alighieri, focusing on canto III of Dante's "Inferno".
1,192 words (approx. 4.8 pages), 4 sources, MLA, $ 40.95
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Abstract
This paper examines the scholars and the de-contextualization of Dante's "Inferno" - with special emphasis upon canto III. The paper summarizes the scene when a fearful Dante first enters Hell and discusses its significance in terms of understanding Dante and his world. The paper also looks at how intellectuals view Dante's "Inferno". The writer believes that the work stands out as a classic example of the medieval allegory play taken to new rhetorical heights. The writer concludes that it is also an example of how even the simplest works, if powerfully wrought, can spark wide discussion among academics who seek out meanings unimagined by the author.
From the Paper
"Ultimately, the canto, like the rest of the cantica, is a potential mirror into the world in which Dante Alighieri lived as well as a mirror into his own inner turmoil as a devout Christian seeking a purpose to his life as well as answers to questions that presumably many devout Christians were asking in the fourteenth century. To start with, the canto (in the original Italian, anyway) was written in the demanding terza rima rhyme pattern (Scott para.2) and, even in English translations, the text can be difficult to follow as Dante tries to bend the language into shapes and forms to which it does not adhere willingly."
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"The Inferno of Dante", 2002.
Tracing the relationship of Dante and Virgil based on Robert Pinsky's translation, "The Inferno of Dante".
751 words (approx. 3.0 pages), 3 sources, APA, $ 26.95
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Abstract
This paper examines the relationship between Dante and Virgil as depicted in Pinsky's translation. Their relationship throughout poem is filled with symbolism. The epic poem is about Dante who journeys through the underworld and Virgil, the Roman poet, serves as his guide. The paper shows how Virgil symbolizes knowledge and safety to Dante, who is at times uncertain and timid about traversing such treacherous terrain.
From the Paper
"Robert Pinsky is a distinguished poet and translator of "The Inferno of Dante" (Farrar, Straus & Giroux, 1994). The "Inferno" -- which is the first part of Dante's "Divina Commedia" -- remains a popular and compelling poem for modern readers; there have been at least fifty English versions of the "Inferno" in this century alone. Of course, any translator must rely on previous translations and commentators in undertaking such an ambitious task, and Pinsky has said that he depended largely on Charles Singleton's scholarly, painstakingly literal prose translation (1970), and on the best-known nineteenth-century American verse translation, by Henry Wadsworth Longfellow (1867). "
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Dante's "Inferno", 2004.
A review of Cantos Five and Thirteen from Dante's "Inferno".
899 words (approx. 3.6 pages), 1 source, MLA, $ 31.95
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Abstract
This paper details two cantos from the tale of Dante's "Inferno" and attempts to derive how accomplished a writer Dante actually was because of his use of imagination and reality through a review of Cantos Five and Thirteen. It assesses Dante's skill in telling his story by tying together his vivid imagination with his ability to describe people realistically. It shows how, in Dante?s hell, the sins of the individual souls describe both how the individuals lived their lives before death and how they will spend eternity after death and how Dante?s imagination mixed with reality made his tormented characters believable and opened a window into their lives.
From the Paper
"Dante had a definite interplay between reality and imagination. For example, one would think that with the many tortures and the constant torment, these levels of hell would reek horrendously. Although not from either Canto five or thirteen, this example demonstrates how the author combined real and imagined to describe the smell of hell and his imagination makes it very real. ?Dante arrives at the verge of a rocky precipice which encloses the seventh circle, where he sees the sepulchre of Anastasius the heretic; behind the lid of which pausing a little, to make himself capable by degrees of enduring the fetid smell that steamed upward from the abyss, he is instructed by Virgil concerning the manner in which the three following circles are disposed, and what description of sinners is punished in each.? (DANTE) Dante captures the stench precisely."
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Twelve-Step Program to Escaping Dante?s Hell, 2002.
A comparison of the hell described in Dante's "The Inferno" to the twelve-step program required by an alcoholic to pass by AA.
3,585 words (approx. 14.3 pages), 9 sources, MLA, $ 100.95
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Abstract
Dante?s "The Inferno" paints an incredibly vivid picture of what Hell is like. The journey Dante undertakes in order to progress pass his ?lost? stage and escape Hell can be likened to the 12-Step Program a recovering alcoholic must complete in order to finally escape from the clutches of drinking to excess. This paper explores Dante?s journey through the perspective of this 12-Step Program. By going through each step, one can witness the introspective and emotional self-examination Dante goes through, with a little help from his support group, in order to get out of Hell.
From the Paper
"The first step that every recovering alcoholic must take involves the process of admitting his or her problem. Alcoholics must acknowledge that they are helpless when battling their addiction and they must admit that this addiction to drink has wreaked havoc on their lives to the point where they have lost control (Alcoholic Anonymous, 1955, 59). Dante?s predicament is no different to that of an alcoholic struggling to regain control over his or her life. At the beginning of the poem, Dante is portrayed as having gotten lost on the path of life and trying to get back on the right path. Using imagery, Dante recalls that ?in the middle of his life, he [finds] himself lost in a dark forest, having lost the right path while half asleep.? "
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A. Dante's "Inferno", 2006.
This paper discusses the concepts of crime and punishment as presented in Dante's "Inferno".
1,240 words (approx. 5.0 pages), 1 source, MLA, $ 42.95
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Abstract
This paper explains that, in the "Inferno", Dante states that people are evil and cannot change and that the punishment people receive is fitting to their crime. The author disagrees with Dante and believes that punishing people in a way that is fitting to the crime will only work to reinforce the kind of behavior that led to the crime and will lead to people being defined by their crimes thus reinforcing the idea that people cannot change. The paper stresses that a system, such as Dante's, where the punishment fits the crime does nothing to make the person be responsible for their own actions.
Table of Contents:
Crime and Punishment in Dante's Era
Crime and Punishment Today
From the Paper
"In the Inferno, Dante travels through the ten levels of hell. In each level, he sees people that have been guilty of certain crimes. In each case, the people are being punished in a way that is fitting to their crime. The people who sinned via wrath are seen to be attacking each other. The thieves have been turned into snakes. The people who committed suicide have to spend their lives as trees. This suggests that people do not change. In this way, a person who does wrong is seen as evil with this not able to be changes. With this belief, there is no suggestion that people can learn from their mistakes and become better people. The punishments describe also suggest that people will continue to act as they did on earth if they are given freedom."
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Dante and Catholicism, 2007.
This paper examines the treatment of the Catholic faith in Dante's work.
1,642 words (approx. 6.6 pages), 3 sources, MLA, $ 53.95
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Abstract
In this article, the writer studies the writings of Dante Alighieri and notes that he makes comment of the current political and religious world in which he lived. The writer points out that in so doing, Dante created a likely unintended controversy, with regard to the way in which things were done in the church and politics. Further, the writer notes that Dante disagreed with this in many ways, but attempted to pacify this controversy through his works, especially with his 'Inferno'. The writer concludes that through Dante's inclusion of many ideals and standards of his faith, some have seen his works as spiritual and worthy quests, yet his emphasis on self-determination and self-judgment was contrary to the validity of the central authority of the Catholic faith, regardless of his desire to embrace it.
From the Paper
"Dante, traced his own personal economic and political trials through his experiences in a system, not unlike that described by his Catholic faith, and yet in so doing he must have known that he would challenge the Catholic ideal of centralized authority and power. Though some say his intention was to make sense of his problems and his seeking of salvation through this exercise with no intention of harming his faith or its standards but he hesitated in his debates, as if uncertain that he held any or all of the answers he was seeking in his pilgrimage of the mind."
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Dante's "Purgatoria", 2002.
An explanation of the theology of Dante's "Purgatoria" or purgery.
2,224 words (approx. 8.9 pages), 3 sources, MLA, $ 69.95
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Abstract
This paper anlyzes Dantes "Purgatorio". Dante?s Divine Comedy depicts three possibilities of life after death: Inferno, or Hell, where the unsaved spend eternity, Purgatorio or Purgery, where the saved who still have some sins to account for go, and finally Paradiso, or Paradise, the final destiny of the faithful. The Canto?s of each possibility are told through the viewpoint of Dante and Virgil, who make the journey together. The discussion that follows is focused on the insights and meaning derived from the two artists? journey through Purgatorio.
From the Paper
"The main, spiritual meaning of Purgatorio focuses on the fact that it is a transitory state between the death of the body and the spirit?s ascendance to heaven. In contrast to Inferno, the souls doing penance here have the hope of its end and of their final admission into paradise. The atmosphere in this place also substantiates the feeling of hope. The souls here are praising and worshiping God. The joyous atmosphere is further substantiated by the four holy stars that Dante sees when entering Purgatory. These symbolize virtues rather than sins."
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Dante?s ?Divine Comedy?, 2004.
This paper discusses the arts within Dante?s ?Divine Comedy?.
3,020 words (approx. 12.1 pages), 1 source, MLA, $ 88.95
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Abstract
This paper explains that Dante uses the essence of art throughout the ?Divine Comedy? through his use of symbols, even as he is utilizing the themes of structure and the heroic journey. The author points out that Dante uses light and shadow, which is known as chiaroscuro, to portray a sense of emotional content and to depict sin and redemption or the possibility of redemption. The paper relates that Dante employs the color green to symbolize nourishment, hope, joy, and growth and uses gold as the color of the sun and leadership.
From the Paper
"The common view of Hell is a dark place where sinners are to burn for all eternity. This view is found numerous times in the Bible, with Christ referring to the fires that are never quenched in the New Testament. The first part of the "Divine Comedy" is "The Inferno". It is the story of his journey through the nine levels of Hell. The structure of Hell, as Dante has envisioned it, corresponds to a moral hierarchy, or levels of 'sin'. The physical structure reflects the spiritual beliefs of the time, which is considered the ultimate truth."
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