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Download Dante and the sense of transgression : the trespass of the by Dante Alighieri; Franke, William; Dante Alighieri PDF

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By Dante Alighieri; Franke, William; Dante Alighieri

In Dante and the
Sense of Transgression, William Franke combines literary-critical analysis
with philosophical and theological mirrored image to forged new mild on Dante's
poetic imaginative and prescient. Conversely, Dante's medieval masterpiece turns into our guide
to rethinking the most urgent problems with modern thought.
Beyond suggestive
archetypes like Adam and Ulysses that trace at an obsession with transgression
beneath Dante's overt suppression of it, there's one other and a previous experience in
which transgression emerges as Dante's crucial and supreme gesture.
His paintings as a poet culminates within the Paradiso in a
transcendence of language in the direction of a in simple terms ineffable, mystical experience
beyond verbal expression. but Dante conveys this adventure, nevertheless,
in and during language and in particular throughout the transgression of language,
violating its often representational and referential capabilities. Paradiso's
dramatic sky-scapes and unheard of textual performances level a
deconstruction of the signal that's analyzed philosophically within the gentle of
Blanchot, Levinas, Derrida, Barthes, and Bataille, as transgressing and
transfiguring the very experience of sense.

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It is more primordial than the ‘we’, which disappears into it. In this impossible step, the ‘we’ disappears, as we are attracted by the Outside, even as we fall under the spell of ‘the ancient fear’. Analogously, in the Paradiso, the transcendence of language, at least in a first approach and acceptation, is to be conceived of not as wholly without or apart from language but rather as immanent to it. It is the transcendence of language – in this case a subjective as well as an objective genitive – where language remains the means and medium that actively accomplishes its own transcendence.

Writing, in this sense, for Blanchot, is ‘the greatest violence because it transgresses the Law, every law and its own law’ (Écrire, sous ce point de vue, est la violence la plus grande, car elle transgresse la Loi, toute loi et sa propre loi, p. viii). Writing, as creative, remakes the world and leaves nothing untouched or standing in place: in order to create, writing destroys the world. The whole universe in relation to writing, which creates an order or disorder all its own, is open to question and exploration and is not confined by any independently established laws.

Some of them sometimes seem to have lost the sense of certain aspects of the theological mystery harbouring here – especially of the positive theology that necessarily accompanies the negative. 3 Such a position is perfectly possible, but it is a decision and is not simply imposed by the nature of things. It is a decision of faith. All are entitled to their own biases and beliefs in matters that entail not just objective judgements but also decisions and commitments determining our overall orientation and belonging.

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