Recepient, 2013 Guggenheim Fellowship Dante’s Vita Nova (circa 1292–1295) depicts the joys and sorrows, the discoveries and conflicts of Dante’s early love for Beatrice—who would achieve later and even greater fame in Commedia—starting with his first sighting of her and culminating in his prevision of Beatrice among the beatified in heaven. Award-winning translator and poet Andrew Frisardi channels the vigor and nuance of Dante’s first masterpiece for a modern audience. The “little book,” as Dante calls it, consists of thirty-one lyric poems—mostly sonnets—embedded in a prose narrative, which both recounts an apparently autobiographical set of events also evoked in the poems and offers analysis of the poems’ construction in the medieval critical tradition of divisio textus, or division of the text. Dante selected poetry he had written before age twenty-eight or so and wrote the prose to shape it into a story. The poems anthologize Dante’s growth as a poet, from the influence of his earliest mentors to the stylistic and thematic breakthroughs of his poetic coming-of-age. The interplay of poetry and prose in Vita Nova, along with the further distinction in the latter between autobiography and critical divisioni, presents a particular challenge for any translator. Frisardi faithfully voices the complex meter and rhyme schemes of the poetry while capturing the tone of each of the prose styles. His introduction and in-depth annotations provide additional context for the twenty-first-century reader.

This original volume proposes a novel way of reading Dante’s Vita nova, exemplified in a rich diversity of scholarly approaches to the text. This groundbreaking volume represents the fruit of a two-year-long series of international seminars aimed at developing a fresh way of reading Dante’s Vita nova. By analyzing each of its forty-two chapters individually, focus is concentrated on the Vita nova in its textual and historical context rather than on its relationship to the Divine Comedy. This decoupling has freed the contributors to draw attention to various important literary features of the text, including its rich and complex polysemy, as well as its structural fluidity. The volume likewise offers insights into Dante’s social environment, his relationships with other poets, and Dante’s evolving vision of his poetry’s scope. Using a variety of critical methodologies and hermeneutical approaches, this volume offers scholars an opportunity to reread the Vita nova in a renewed context and from a diversity of literary, cultural, and ideological perspectives. Contributors: Zygmunt G. Barański, Heather Webb, Claire E. Honess, Brian F. Richardson, Ruth Chester, Federica Pich, Matthew Treherne, Catherine Keen, Jennifer Rushworth, Daragh O’Connell, Sophie V. Fuller, Giulia Gaimari, Emily Kate Price, Manuele Gragnolati, Elena Lombardi, Francesca Southerden, Rebecca Bowen, Nicolò Crisafi, Lachlan Hughes, Franco Costantini, David Bowe, Tristan Kay, Filippo Gianferrari, Simon Gilson, Rebekah Locke, Luca Lombardo, Peter Dent, George Ferzoco, Paola Nasti, Marco Grimaldi, David G. Lummus, Helena Phillips-Robins, Aistė Kiltinavičiūtė, Alessia Carrai, Ryan Pepin, Valentina Mele, Katherine Powlesland, Federica Coluzzi, K. P. Clarke, Nicolò Maldina, Theodore J. Cachey Jr., Chiara Sbordoni, Lorenzo Dell’Oso, and Anne C. Leone.

This volume provides the first systematic study of the translation and reception of Dante’s Vita Nova in the Anglophone world, reconstructing for the first time the contexts and genesis of its English-language afterlife from the early nineteenth century to the present day. Dante is one of the foremost authors of the Western canon, and his Vita Nova has been repeatedly translated into English over the past two centuries. However, there exists no comprehensive account of the critical, scholarly, and creative English-language reception of Dante’s work. This collection brings together scholars from Dante studies, translation studies, English studies, and book history to examine the translation and reception of the Vita Nova among modern English-speaking publics, in both academic and non-academic contexts, and thus represents a major contribution to Dante studies. The Afterlife of Dante’s Vita Nova in the Anglophone World will be an essential reference point for scholars and students in English and Italian studies, literary and cultural studies, and translation and reception studies in the UK, Ireland, the USA, and Italy, where Dante is taught and researched.

Essays by leading critics, poets, and scholars that explore the work of recent U.S. poet laureate and Pulitzer prize winner Louise Glück

The anarchist origins of Italian fascism are vividly described in this multiple biography of four anarchists who demonstrated extreme individualist tendencies. Leandro Arpinati began his political career as an anarchist, but went on to lead the Bologna fascists and become Mussolini's Minister of the Interior and the «Second Duce of Fascism.» Massimo Rocca was the extreme anarchist-individualist who goaded Mussolini into openly declaring his stance in favor of intervention in the First World War. Maria Rygier was a leader among the Bologna anarchists who reshaped the revolutionary ideas of the left in terms acceptable to the right. Torquato Nanni helped fuse the left wing of Fascism to the right wing of Bolshevism. All were friends of the young Mussolini, but were among the first to express disillusionment with fascism. By 1934, they had been arrested for «anti-fascist activities» and forced into external or internal exile. Despite Arpinati's and Nanni's participation in the Resistance a decade later, communist partisans assassinated them on the day of Liberation in April 1945. This book's analysis of the motives behind their assassination leads to conclusions about the use of the Myth of the Resistance as a paradigm for government in postwar Italy. It also suggests a model by which political parties have been appended to major personalities according to the degree to which they opposed fascism.

This celebration of the poet's passionate love for his immortal Beatrice weaves together rapturous sonnets and canzoni with prose commentaries and an autobiographical narrative. A predecessor to The Divine Comedy, La Vita Nuova (The New Life) also serves as an ever-relevant treatise on the art and technique of poetry.