![]() ![]() “New,” in Italian, means surprising, unexpected, even strange, novel, marvelous, it’s - and it therefore gives a kind of direction to the way we should be reading the story. So it’s youth, it’s the new life meets, above all youth, but youth means many other things which I think the narrative will go on - the meanings of which I think the narrative will sustain. His betrayals become an ethical drama, as most lyrical poetry of the Middle Ages does, they’re always dealing with treacherous presences, with betrayals, with infidelity, etc., and then he ends up having a final vision. And he goes - he, the pilgrim, lover, poet, goes on recording the confusion, the sense of loss that ensues this event of the death of Beatrice. You may remember I called it the first decisive event happening in his early life immediately after his mother’s death and describes the story of this love for Beatrice who then in the narrative dies. The title means a “new life” though new or new life, so it means probably youth that describes the story, an autobiographical account, the lover, the poet who falls in love with Beatrice. This is - there is a kind of suspension about it, but this is the first work, let’s call it, full work, that Dante writes. But it’s also true, in a way, for the Vita nuova to know that ends with a vision, but we do not know what’s going to happen after that. It’s true for the text on language, the so-called De vulgari eloquentia, about the vulgar language, a second book he just won’t go on. This is the case with the philosophical Banquet, this text of ethics that he goes on writing once he’s in exile. He interrupts them he breaks off and decides to move on to do other things. Dante doesn’t really finish many of his works. ![]() I was going to say “first finished work,” but in a way, it’s not a finished work. Today we’ll be discussing, and a little bit in haste of course, because I haven’t got much time to do this, but we’ll devote the whole class to the Vita nova or nuova, as it is called which is Dante’s first work. Yale University An Introduction to Vita nuova and Its Autobiographical Structure Sterling Professor in the Humanities for Italian This relationship is then placed in its larger cultural context to highlight the Vita nuova‘s anticipation of the Divine Comedy. The novelty of the poet’s final resolution is tied to the relationship he discovers between love and knowledge. Medieval theories of love and the diverse poetics they inspired are discussed in contrast. The poet’s love for Beatrice is explored as the catalyst for his search for a new poetic voice. This lecture is devoted to the Vita nuova, Dante’s autobiographical account of his “double apprenticeship” in poetry and love. By Henry Holiday, 1883 / Walker Art Gallery Thus, the poetic figure of the lover becomes a metaphor for the political man, and love poetry can be used as a device for diplomacy, as well as for personal and institutional propaganda.Dante meets Beatrice at Ponte Santa Trinità, inspired by La Vita Nuova (Beatrice is in white). ![]() ![]() In many texts, the language of courtly love expresses the values of caritas, the theological virtue that guides wise rulers and leads them to desire the common good. Most Ars Nova polyphonists were directly associated with religious institutions. The choice of this corpus is motivated by two primary goals: a) to offer a new interpretation of its meaning and function in the cultural and historical context, one that may be then applied to the rest of coeval European lyric poetry b) to overcome current disciplinary divisions in order to generate a new methodological balance between the project’s two main fields of interest (Comparative Literature / Musicology). This repertoire gathers different poetic and musical traditions, as shown by the multilingual anthologies copied during the last years of the Schism. But what happens with poetry when it is involved in the complex architecture of polyphony? The aim of this project is to study for the first time the corpus of 14th- and early 15th-century poetry set to music by Ars Nova polyphonists (more than 1200 texts). Dante Alighieri at the dawn of the 1300s, as well as Eustache Deschamps almost a century later, conceived poetry as music in itself. ![]()
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