In this study, Professor Kelly analyzes Dante's understanding of the meanings of tragedy and comedy in his undisputed works, especially the 'De vulgari eloquentia' and the 'Comedia'. He finds that Dante's criteria concerned subject-matter and style, not emotions like happiness and sorrow, or plot movement from one mood to another, or humor or the lack of it. He considered Vergil's 'Aeneid' and his own lyric poems to be tragedies because of their sublime subjects and their use of elevated style and vocabulary. He considered the 'Inferno', along with the 'Purgatorio' and the 'Paradiso', to be a comedy because of the range of subjects and styles. Dante's commentators, in contrast, tended to have a plot-based understanding of these genres, and they attributed similar views to Dante himself. On the basis of both content and style, Kelly concludes that the 'Epistle to Cangrande' is not by Dante, except possibly for the first three paragraphs, and therefore ascribes it to Pseudo-Dante. It was not compiled as we have it until the last quarter of the fourteenth century, but it incorporated an earlier anonymous 'accessus' to the 'Comedia'. This 'accessus' drew heavily on Guido da Pisa's commentary, and it in turn was used by Boccaccio.

The overwhelming concentration on questions of allegory in Dante studies, Franco Masciandaro contends, has come at the expense of considerations of the poem's literal dimension. And while the dramatic quality of the Divine Comedy is often recognized, few critics have made it the object of sustained inquiry. In Dante as Dramatist, Masciandaro refocuses on the "poetry of the theater" in the Commedia by examining Dante's interpretation of the myth of the Earthly Paradise as it is represented in a number of key episodes of Inferno and Purgatorio. His principal objective is twofold: to analyze Dante's dramaturgy, especially the creative force of the tragic rhythm that the scenes under scrutiny produce as they succeed one another; and to show how Dante stages the action of the pilgrim's journey to the Earthly Paradise as the fundamental conflict between the dream of a future, second innocence, which ignores the tact of evil, and the recovery of another innocence, analogous to that found in Eden before the Fall. Dante as Dramatist will be of unique interest not only to students and scholars of Dante but also to those who study dramatic forms in literature and theories of the tragic.

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.

Dante's Comedy and the Ethics of Invective in Medieval Italy proposes a new approach to invective and comic poetry in Italy during the thirteenth and fourteenth centuries and opens the way for an innovative understanding of Dante’s masterpiece. The Middle Ages in Italy offer a wealth of vernacular poetic invectives—polemical verses aimed at blaming specific wrongdoings of an individual, group, city or institution— that are both understudied and rarely juxtaposed. No study has yet provided a scholarly examination of the connection between this medieval invective tradition, and its elements of humor, derision, and reprehension in Dante’s Comedy. This book argues that these comic texts are rooted in and actively engaged with the social, political, and religious conflicts of their time. Political invective has a dynamic ethical orientation that is mediated by a humor that disarms excessive hostility against its individual targets, providing an opening for dialogue. While exploring medieval comic poems by Rustico Filippi (from Florence), Cecco Angiolieri (from Siena), and Folgore da San Gimignano, this study unveils new biographical data about these poets retrieved from Italian state archives (most of these data are published here in English for the very first time), and ultimately shows what the medieval invective tradition can add to our understanding of Dante’s Comedy.

Through an historical and philological lens, this book explores passages from Dante's Commedia which reveal elements inspired byprocessions, pageants, liturgical drama, psalm singing, or dance performance. The sacred poem finds influence in medieval theories of the performing arts as well as actual performances which Dante would have seen in churches or town squares. Dante's Performance opens a new perspective from which to consider the Commedia: Dante expected his contemporary readers to recognize references to and echoes of psalms, sacred plays, and performative practices. Twenty-first-century readers are tasked with reconstructing a cultural framework which allows us to grasp those same textual references. From the dramatization of the harrowing of hell in Inferno IX, to Beatrice's celebratory return on top of Mount Purgatory, to the songs of the blessed, this study connects Dante's language to coeval theoretical and practical texts about performance. If hell is "the Middle Age's theatrum diaboli," purgatory stages a performed purification through songs and acting, while paradise offers the spectacle of blessed spirits within the heavenly spheres as an aid to human understanding (Par. IV 28-39).

Offers an analysis of the presence and significance of female characters in Dante's 'Comedy'. Commencing with the tabulations of women listed in "Inferno IV" and "Purgatorio XXII", to which may be added the grouping in "Paradiso XXXII", this work traces the symmetry and symbolic import of these clusters.

The Paget Toynbee lectures on Dante have taken place in Oxford since the mid-1990s. Named after the great medieval scholar of the first half of the twentieth century, they have been delivered by the major Dante experts of our time. This volume gathers together twelve of the most significant lectures, given by internationally renowned scholars such as Zygmunt Baranski, John Barnes, Lino Leonardi, Emilio Pasquini, Michelangelo Picone, Jonathan Usher and the late Peter Armour. The topics range from key questions such as Dante, Ovid and the poetry of exile, to ground-breaking work on obscenity in the Divine Comedy .

The essays in this volume probe current critical assumptions about the celebrated Italian poet, literary theorist, moral philosopher, political theorist.

A study of Chaucer's definition of tragedy - with special reference to Troilus -and its lasting influence on English dramatists. This book is concerned with the medieval idea of what constituted tragedy; it suggests that it was not a common term, and that those few who used the term did not always intend the same thing by it. Kelly believes that it was Chaucer's work which shaped notions of the genre, and places his achievement in critical and historical context. He begins by contrasting modern with medieval theoretical approaches to genres, then discusses Boccaccio's concept of tragedy before turning to Chaucer himself, exploring the ideas of tragedy prevalent in medieval England and their influence on Chaucer, and showing how Chaucer interpreted the term. Troilus and Criseyde is analysed specifically as a tragedy, with an account of its reception in modern times; for comparison, there is an analysis of how John Lydgate and Robert Henryson, two of Chaucer's imitators, understood and practiced tragedy. Professor HENRY ANSGAR KELLY teaches at UCLA.