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"In this book, Verdicchio provides a canto-by-canto analysis of Paradiso. He maintains that the cantica can allegorically be seen as a commentary on the political and religious establishment, framed as the punitive action of the DXV announced at the end of Purgatorio, denouncing the illicit and destructive alliance between the House of Anjou and the Church. Verdicchio focuses on the relationship that Dante establishes among the ten heavens, into which the poet divides the cantica and their equivalent in the Arts and Sciences of the Trivium and Quadrivium, as outlined in the Convivio. This approach provides the key to interpreting the cantos and the discourse of the inhabitants of Paradise who appear, on the surface, blameless. However, it is the earthly and human side of the blessed souls that captures Dante's attention, and this dichotomy is revealed in his characterization of the heavens. Poetic allegory and irony are the two principal modes of this cantica, and the source of much of its comedic complexity. As one of the characters puts it, "in Heaven we do not repent but we smile." A highly original and comprehensive reading, The Poetics of Dante's Paradiso demonstrates that the intricacies of Dante's text reveal subversive undercurrents and a subtle irony, employed to deliver a critique of the Church and Empire of his own time"--Jacket. "In the world of Dante scholarship, there is a real need for studies such as The Poetics of Dante's Paradiso, which challenge our notions of the principal souls of the Paradiso. Rooted in a close analysis of the poem, Massimo Verdicchio's intelligent interpretation is supported by relevant textual evidence and provides an important counterpoint to the canonical readings of the cantica." "Traditional readings of Dante's Paradiso have largely considered this third cantica of the Commedia as a poem apart. It deals with those blessed souls in Paradise who are free of sin and beyond punishment, in contrast to the sinners in the previous two cantica, and is thus no longer based on the principle of contrapasso. At the literal level this is true in that all the characters one encounters are either those who have been saved, religious leaders, or saints. However, at the allegorical level, as Massimo Verdicchio argues in The Poetics of Dante's Paradiso, the blessed souls still have something to hide, something shameful in their past earthly life, which is revealed nonetheless."

Heaven in literature. --- Dante Alighieri, --- Paradiso (Dante Alighieri)

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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.

Speculative grammar. --- Modistic grammar --- Grammar, Comparative and general --- Latin language, Medieval and modern --- Scholasticism --- Grammar --- Augustine, --- Dante Alighieri, --- Avgustin, --- Augustinus, Aurelius, --- Augustyn, --- Augustin, --- Ughasṭīnūs, --- Agostino, --- Agustí, --- Augoustinos, --- Aurelius Augustinus, --- Augustinus, --- Agustín, --- Aurelio Agostino, --- Episkopos Ippōnos Augoustinos, --- Augoustinos Ipponos, --- Agostinho, --- Ōgostinos, --- Agostino, Aurelio, --- אוגוסטינוס הקדוש --- أغسطينوس، --- 奥古斯丁 --- Dante Alighieri --- Alighieri, Dante --- Dante, Alighieri --- Alih'eri, Dante --- Language. --- Desire in literature --- Love in literature --- Speculative grammar --- Language and languages --- Syntax --- Augustinus, Aurelius --- Agostinho --- Augustine of Hippo --- Augustine d'Hippone --- Agostino d'Ippona --- Augustin d'Hippone --- Augustinus Hipponensis, sanctus --- Sant'Agostino --- Augustinus van Hippo --- Aurelius Augustinus --- Aurelio Agostino --- 聖アウグスティヌス --- アウグスティヌス --- Alihii︠e︡ri, Dante, --- Alaghieri, Dante, --- Aldigeri, Dante, --- Aligeri, Dante, --- Allighieri, Dante, --- Aligerius, Dantes, --- Aligheri, Dante, --- Alighieri, Dante, --- Alleghieri, Dante, --- Durante Alighieri, --- Tan-ting, --- Danding, --- Dāntī Alījyīrī, --- Alīyīrī, Dāntī, --- Dante Alih'i︠e︡ri, --- Dante, --- Dant Aligīeri, --- Aligīeri, Dant, --- Dantte, --- Tantte, --- Dantis Alagherius, --- Danthe Alighieri, --- Alighieri, Danthe, --- Dante Alig'i︠e︡ri, --- Alig'i︠e︡ri, Dante, --- Ailígiéirí, Dainté, --- Dantė Aligjeris, --- Dānté ʼAligiyéri, --- Makākavi Tāntē, --- Tāntē Alikiyari, --- Alikiyari, Tāntē, --- אליגיירי דנטי --- אליגירי, דנטי --- דאנטי אליגיירי --- דאנטי אליגיירי, --- דאנט, --- דנטה אליגיירי, --- דנטה אליגירי, --- דנטי אליגיארי, --- דנטי אליגירי, --- دانتى ألغييري --- دانتي أليجيري،, --- ダンテ, --- Данте Аліґгіері, --- Augustine --- Linguistics --- Philology --- Grammar, Comparative and general Syntax --- Paradiso (Dante Alighieri) --- Inferno (Dante Alighieri) --- Infierno (Dante Alighieri) --- U 'nfiernu (Dante Alighieri) --- 'Nfiernu (Dante Alighieri)