Dante is now freer and more ours. The eighteenth century has put it back in the center – time.news


Seven centuries ago, in the night between 13 and 14 September, Alighieri died. Balance sheet of a long year that celebrated it, reread it and handed it over (again) to the future. And from 13 September, the book for children by Daniele Aristarco and Marco Som will be on newsstands with Corriere: dedicated to the Comedy

What will the long party dedicated to Dante, In the Eighteenth century of death (which occurred on the night between 13 and 14 September 1321)? He will leave us the image of a closer and more familiar Dante, of a multiple, metamorphic and changing Dante. A widespread and popular Dante, if possible even more loved. Especially at the lads, who for months handled it, represented it, read it, listened to it, drew it, discussed it, even mistreated it, someone set it to music, others played it rewritten. There are those who had serious doubts about the celebrations, and all the more about the Danted, because celebrations are by definition solemnity or futility, there is no escape from the saturation effect. Fortunately, this too has left us the eighteenth century: a less disdainful haughtiness of scholars. There are philologists, there are biographers, there are historians, art historians, critics, linguists, philosophers, theologians. There have been splendid editions and useless books, new comments (many), illuminating essays and improbable reconstructions, adaptations, parodies, vademecum, actualizing interpretations, stylistic analyzes and absurd reasoning. Not to mention the exhibitions: in Forl in Ravenna in Florence in Pisa, often record-breaking exhibitions in a not-so-happy year. And those to come, such as the review on manuscripts and incunabula which involves the libraries of the capital cities of Emilia-Romagna and which is accompanied by a video-monologue by Alberto Casadei. Meanwhile, as many as 200 Tuscan municipalities wanted to join the initiatives of Dante or Tosco.

Returning to publishing. Among the innovations most awaited by specialists: the new critical editions, the one edited by Paolo Found and that of George English, and the comment of theInferno from Enrico Malato. Furthermore, just to mention the very latest releases, the philologist should at least be remembered Federico Sanguineti, who devoted a pleasant essay to profanity in Dante; Luca Serianni who collected his linguistic studies; and the Austrian scholar Peter Kuon who has recently published a work on the twentieth-century rewritings of the Comedy. It could go on indefinitely.

Every day two three four books on Dante for all tastes and cultures, for specialists and not, even for readers who are not there and never will be. Dante offers himself to every ear: after all, he wanted it, as he explains Linen Pertile in a precious book like Dante popular, where the fortune of the poem is motivated s by the different and multiple levels that support every reading, but above all by something more elusive that we do not find in the notes of the comments and which concerns the deep and eternal knowledge of the human soul, a sensitivity that exceeds the centuries.

There are scholars and there are also illustrators and graphic designers as once there were miniatures, there are writers, theaters and actors, and then filmmakers, documentary makers, video artists, cartoonists, advertisers, singers, journalists. For months, the journey of Aldo Cazzullo nell’Inferno and the biography written by the historian Alessandro Barbero. Other biographies are those of Paolo Pellegrini and of You shine e Milani. In the meantime, Antonio Moresco rewrote the New life e Neri Marcor has put together a review of songs from the Italian repertoire that ideally recall some female figures of the Comedy, perhaps inspired by the magnificent posthumous book by Marco Santagata.

Tonight it will be broadcast on Rai3 Dante Confidential, a conversation documentary; and on Art arrived Dante’s eyes, the docufilm of Adolfo Conti on the visual inspiration ofInferno. Starting with the disc dei rapper Claver Gold and Murubutu, the Beccogiallo publishing house has proposed a comic by Roby il Pettirosso. Sky will send a life of Dante reconstructed from the perspective of the poet’s daughter into the halls. Here, too, we could go on indefinitely. For example, recalling the theatrical-educational project of Marco Martinelli ed Ermanna Montanari, which brought the Comedy in a poor neighborhood of Nairobi working with 150 children and adolescents to reinvent the poem in English and Swahili. Or by listing the appointments of the Dante Alighieri Society in Institutes abroad (everywhere).

If we are Dante, like De Gregori’s History, no one feels excluded: much less does he feel excluded by Dante, who vain as he was was proud of his popularity. Dante pop it has become a brand now widely accepted even by the wary and quarrelsome community of Dante. Who with a last, little effort could avoid the anathemas and the crusades in defense of a comma, a variant or an accent. Nobody feels excluded: we have learned it better in these months rich in multiform and multimedia Dante. A more shameless and free Dante, that’s what this anniversary has left us. Freed from prisons guarded by professors in permanent conference and by mayors in charge of tombstones and monuments. Perhaps even a bit ‘on the way of liberation from the most cruel prison: that of tired school paraphrases.

September 12, 2021 (change September 12, 2021 | 20:24)


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