By Kantorovich Aharon
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Additional info for An Ideal Model for the Growth of Knowledge in Research Programs
Or as James Wood pointedly observed: it is less that Dante’s Hell is life-like, than that our life can be Hell-like. The poem’s narration begins on the eve of Good Friday 1300, when the pilgrim Dante awakens in a dark wood, with no memory of how he came to be lost. Repulsed from the hill of Purgatory by three beasts, he appeals to the figure of the poet Virgil, who will guide him through Hell and Purgatory. Beatrice will then show him through Paradise, where Virgil, as “a rebel to His law,” may not enter.
Kenneth Gross, “Infernal Metamorphoses: An Interpretation of Dante’s ‘Counterpass,’” Modern Language Notes 100, no. 1 (1985): pp. 183, 184–85. 56 TEODOLINDA BAROLINI ON DANTE AND ULYSSES [Teodolinda Barolini is a professor of Italian at Columbia University and author of Dante’s Poets: Textuality and Truth in the Comedy (1984) and The Undivine Comedy: Detheologizing Dante (1992). ] The pilgrim flies on the “piume del gran disio,” and the saturation of the Commedia with flight imagery—Ulyssean flight imagery—is due to the importance of desire as the impulse that governs all questing, all voyaging, all coming to know.
The simultaneity of love and hatred leads to the violent eroticism of the sixth stanza of the canzone. ͗. ͘ Even the lover, although unable to save himself, seems to realize something of his fate when he refers to Amor not as “Segnor” but as “esto perverso” (41) [“this evil one”], and also when he speaks of his “caldo borro” (60; cf. “burrato” in Inf. XII, 10 and XVI, 114). ͗. ͘ In their depiction of a misguided lover’s downward path to hell, the rime petrose complement the upward movement of the Commedia.
An Ideal Model for the Growth of Knowledge in Research Programs by Kantorovich Aharon