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Ao concluir as celebrações do aniversário de Dante Alighieri, é oportuno direcionar o olhar ao herege mais famoso presente na Divina Comédia, frei Dolcino de Novara, para abordar a relação entre história e literatura, frequentemente ignorada. A imagem de Dolcino transmitida por Dante será uma referência privilegiada de uma “aventura herética”. A fama de Dolcino, ligada aos versos dantescos, é comparada com a documentação remanescente e, sobretudo, com a recepção pelos comentaristas da Divina Comédia, ainda que seja para tentar compreender porque o poeta não exprime condenação em relação ao herege.  

This article explores the film Gabriel’s Inferno in relation to Dante Alighieri’s The Divine Comedy and its resonance within contemporary culture. Although Dante occupies a central place in the Western literary canon, many students today experience his work as distant, linguistically complex, and emotionally inaccessible. One of the aims of this study is therefore to consider how classical texts can be made more engaging and meaningful for modern readers. Rather than treating the two works as separate artistic worlds, the analysis examines how the film reinterprets Dante’s moral, emotional, and symbolic universe for a contemporary audience. Reading the two texts side by side reveals how key motifs such as the descent into inner darkness and the gradual movement toward self-recognition are translated into cinematic language through visual metaphor, character dynamics, and tone. Drawing on adaptation theory (Hutcheon; Stam) and reader–response perspectives, the article argues that the film enters into an intertextual dialogue with Dante, offering a modern reflection on longing, guilt, and redemption. It also considers the pedagogical potential of multimodal approaches, suggesting that the integration of film and literature can deepen students’ critical and emotional engagement with canonical texts.

Dante’s knowledge of the various fields of medieval medicine, in terms of disease patterns and pathogenetic hypotheses, is well known. At that time, Dante acquired this knowledge by attending, directly or indirectly, the lessons of Taddeo Alderotti, one of the founders of the Medical School in Bologna. Regarding Dante’s attitude towards medicine and science in general, in this paper has been considered the episode of Pier della Vigna, presented in the thirteenth canto of the Inferno. This concern how the origin of the cries and lamentations is established, which come from the weeds into which the suicides had turned. A parallel has also been drawn between Dante’s approach and the methods used today in the diagnosis and treatment of diseases using Evidence-Based Medicine. Moreover, some hypotheses have also been ventured about the origin of this parallelism.

Autorka omawia sposób ujęcia związków teatru i archiwum w książce Magdaleny Rewerendy Performatywne archiwum teatru: Konsekwencje „Nie-Boskiej komedii. Szczątków” Olivera Frljicia (Toruń 2020). Skupia się na strategiach, po które sięgają artyści i badacze, by redefiniować pojęcie archiwum i ujawniać jego rewolucyjny potencjał. Interesują ją zaproponowane w książce analizy projektów teatralnych Olivera Frljicia i Weroniki Szczawińskiej / Agnieszki Jakimiak oraz sprowokowanych przez nie społecznych i medialnych performansów, w których ważne są takie kategorie jak: trauma, decorum, kanon, instytucja narodowa. Śledzi również prowadzone przez Rewerendę poszukiwania nowej definicji archiwum teatru jako archiwum performatywnego, podkreślając jej rolę w starciu teatralnych archontów z archiwalnymi anarchistami („anarchiwistami”), w którym stawką jest podważenie obowiązujących hierarchii.

PurposeThis paper explores the stereotype of the accountant in Florentine medieval popular culture based on literary works and from a historical perspective. It aims to highlight how stereotypes change with time and represent the cultural and historical evolution of a society. This research challenges Miley and Read (2012), who stated that the foundation of the stereotype was in Commedia dell'arte, an Italian form of improvisational theatre commenced in the 15th century.Design/methodology/approachThe authors applied a qualitative research method to examine the accountant from a medieval popular culture perspective. The analysis consists of two phases: (1) categorisation of the accountant stereotype based on accounting history literature and (2) thematic analysis of The Divine Comedy (1307–1313) and The Decameron (1348–1351). The authors explored a synchronic perspective of historical investigation through a “cross-author” comparison, identifying Dante Alighieri as the first key author of medieval popular culture. During his imaginary journey through The Divine Comedy, Dante describes the social, political and economic context of the Florentine people of the 14th century. Then, with its various folkloristic elements, The Decameron of Giovanni Boccaccio becomes the “manifesto” of the popular culture in the Florentine medieval times.FindingsThis study shows the change of the accountant stereotype from the medieval age to the Renaissance. The Divine Comedy mainly connotes a negative accountant stereotype. The 14th century's Florentine gentlemen (“i galantuomini”) are apparently positive characters, with an ordered and clean aspect, but they are accused of being usurers. Dante Alighieri pictures the accountant as a “servant of capitalism”, “dishonest person, excessively fixated with money”, “villain and evil” and “excessively rational”. Giovanni Boccaccio mainly portrays a positive accountant stereotype. The accountant is increasingly more reliable, and this “commercial man” takes a more prestigious role in the society. In The Decameron, the accountant is depicted as a “hero”, “gentleman”, “family-oriented person with a high level of work commitment” and “colourful persona, warm, and emotional”. Overall, the authors provided new evidence on the existence of the accountant stereotype in the Florentine medieval popular.Originality/valueThis study engages with accounting history literature accountants' stereotypes in an unexplored context and time period, providing a base for comparative international research on accounting stereotypes and popular culture. Additionally, it addresses the need for further research on the accountant stereotype based on literary works and from a historical perspective. Therefore, this research also expands the New Accounting History (NAH) literature, focussing on the investigation of the accountant stereotype connotations in the 14th century.

In 2010, the American graphic designer Seymour Chwast (New York, °1931) published Dante’s Divine Comedy: A Graphic Adaptation, which condenses Dante’s masterpiece into 127 pages. Previous scholarship has mainly focused on how Chwast adapts the Comedy and the specific passages he chooses to include. Chwast has been viewed as just one of many interpreters within a long tradition of Dante adaptations. However, we argue that Chwast possibly introduces a new chapter in this tradition. Specifically, he diverges from two types of Dante illustrators. Firstly, he surpasses illustrators who subordinate their work to Dante’s literary text and who simply depict images and characters from the book to visually represent and explain the text. Secondly, he deviates from artists who engage with Dante as equals, creating a work of art with double authorship, e.g., Gustave Doré. Chwast moves beyond Dante and engages primarily with American pop culture, particularly its cinematic tradition and comic books, rather than with Dante. The same process can be observed in Chwast’s other literary adaptations. Hence, in this paper, we mainly focus on Chwast’s adaptation of the Divine Comedy within the artist’s broader Americanisation of European literature. The key aspect of this process is Chwast’s cultural appropriation, wherein the literary sources disappear to make room for 20th-century American pop culture. As a result, the significance of the relation with the sources diminishes in comparison to Chwast’s main goal of representing European literature from his own American viewpoint and appealing to an American readership.

Dante’s articulate and sometimes critical attitude towards the academic community is evident in several of his works, specifically in Paradiso. To understand the actual extent of this ‘anti-academic’ attitude, this study considers the magistri of the higher schools and the holders of university chairs to observe their position regarding the Commedia. The study aims to ascertain whether the poem was regarded as a teaching text in the 14th and 15th centuries, and particularly whether it was referred to in the textual hermeneutics practiced in lectio. The analysis examined the utilization of the Commedia within schools and universities as an authoritative text in the commentary on the canon of the auctores maiores. The inclusion of Dante’s glosses in various manuscripts recalled to provide erudite data, lexical interpretations, exempla, and sententiae, reflects the progressive integration of the poem within the academic community. This integration signifies its acknowledgment among the auctores employed in exegetical practices, a phenomenon observed across various geographical regions as evidenced by the analyzed manuscripts.

Our contribution focuses on literary interference and cultural transfer the processes and contributions of dialogue in the field of literature between the Arab-Muslim world and Europe and, more recently, from the Middle Ages, between the Arab World and the West. We show how these cultural universes have mutually fertilized over the centuries. We start by defining the theoretical framework in which the main questions raised by these exchanges are registered and what they teach us about the links between the cultures that produced the works concerned, and continue with the importance of literary borrowings seen as cultural exchange currencies. As an outstanding example we have chosen Kalila wa-Dimna and the Arabian Nights to demonstrate the circulation of classical literary sources in the Arabic language, and bring arguments in favor of the benefic encounter of Western literatures with the Arab world.

This unabridged, annotated English translation of Jacopo Caviceo's Peregrino brings this popular Italian Renaissance romance to English readers for the first time.

The digital humanities are rapidly expanding access to scholarly and literary materials once largely confined to the university. No more: now, with free digital resources, like Giuseppe Mazzotta’s lecture series available for free through Open Yale Courses on YouTube, or Teodolinda Barolini’s 54-lecture long “The Dante Course”, also available for free through her Digital Dante website, academic discussions of difficult masterpieces are available to any person with enough bandwidth to handle it. I, too, made a brief foray into the digital humanities, and prior to turning to academic work, I provided a 42-lecture Dante-in-translation course which itself covered the entirety of Dante’s Comedy and sought to offer a less academic, and more accessible series of lectures on Dante than its more academic and more popular predecessors.