![]() Verranno a tal fine esaminate, più metodicamente di quanto non sia stato fatto, le tecniche “memorative” (anamnestiche, diremmo oggi) utilizzate da Dante per ripercorrere la sua vicenda di poeta e amante in relazione a Beatrice, oggetto trascendente del suo, almeno inizialmente, immanentissimo, e perciò fallimentare, desiderio amoroso. **Italiano - Il presente studio intende affermare la centralità dell’immagine del cerchio e del suo centro in quanto figura portante (se non addirittura generativa) della Vita nuova. In Dante’s case, the revelatory, “mandalic” experience of the Vita nuova was to become the keystone for the further poetic and visionary quest attested to by the Commedia. As a matter of fact, it is that alien and yet most intimate core of Being which impels from within the primary “id-entity” of those who, having succeeded in reaching the center (of the circle, and of their innermost being), achieve their existential pilgrimage of reintegration from the multiplicity of the phenomenic world to originary oneness. From the labyrinths of Gothic cathedrals to Indo-buddhist mandalas, these amount to one and the same idea of a path toward enlightenment aiming for a revelation of the Center, of that “Id”, which is only apparently distinct from one’s own Self. In the final section of this essay, the identitary quest undertaken by Dante through the process of recollection, with the visual support of the image of the circe, is inscribed in the broader context of the centuries-long multicultural tradition of psycho-cosmograms. In the guise of “sententia,” such higher meaning contains and animates the project of the “libello“ in its entirety. There he was able to find that higher meaning which could consecrate his earthly amorous aventure, transmuting it into an accomplished existential quest. In borrowing from the rhetorical, philosophical and monastictic memorative techniques of the Middle Ages, Dante carried out a sapiential-experiential journey which, starting at the circumference (that is to say, at the phenomenic margins of existence), eventually led him to the center of the circle of his own being. ![]() To this end it examines more systematically than has heretofore been done the “memorative” (in today’s terms, anamnestic) techniques used by Dante in reviewing his life as a poet and as a lover in relation to Beatrice - the transcendent object of his (at least initially) immanent, and hence potentially errant, amorous desire. ![]() ![]() **English - This article intends to affirm the pivotal, indeed generative role played by the image of the circle and its center in Dante’s Vita nuova. ![]()
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