In Paradiso 4 , Beatrice has just completed a subtle explication of will -- its elemental power, its potential to collude with violence. Sh...

A thoughtful post on classical and medieval uses of the labyrinth:  Daedalus’ construction of a labyrinth is referred to by Virgil as a...

In reading Dante, one ought to know one is grappling with this: "For man to be able to live he must either not see the inf...

This is the fifth in a series of posts about the opening movement of Dante's Paradiso . Part 1       Part 2       Part 3      Part 4...

Arline shared this interview with Caroline Alexander, whose new translation of the Iliad recently was released to high expectations, inclu...

We note with regret the passing of Cindy Bennett, whose good humor and ardent questions through many of our group's readings will be mi...

This is the fourth in a series of posts about the opening movement of Dante's Paradiso . Part 1       Part 2       Part 3     ...

This is the third in a series of posts about the opening movement of Dante's Paradiso .  Part 1       Part 2       Part 3       Pa...

[Note: A much better map of Italian dialects has been supplied by our friend Peter D'Epiro (thanks Pete!). A few minor changes to the t...

This is the second in a series of posts about the opening of the Paradiso.   Part 1       Part 2       Part 3       Part 4       Part 5 ...

Our detailed look at Beatrice's language in Paradiso 2 the other day made clear that Dante wasn't kidding when at the opening of t...

The 750th anniversary of Dante's birth in 1265 will be celebrated by the Center for Italian Studies and the Department of Music at th...