Introduction

Abstract

The Introduction is concerned with masterplots in general, and the teleological masterplot of Dante’s Commedia in particular. Its core claim is that, embedded within the Commedia and hegemonizing its interpretation, lies a dominant narrative consisting in ‘downgrading an earlier experience, removing its intrinsic aim, and repurposing it as part of a new experience’ (Gianfranco Contini). A threefold aim is proposed. First, to document the teleological assumptions underpinning modern interpretations of Dante through a critique of the most common keywords in Dante Studies. Second, to consider a number of theoretical frameworks for understanding narrative, enlisting the help of literary theorists such as Roland Barthes, Peter Brooks, and H. Porter Abbott in order to highlight the ways in which Dante imitates and harnesses within his fiction the meaning-making power of endpoints. Lastly, to tailor these models to the specific character of Dante’s masterplot by analysing passages from his Vita Nova, Convivio, and Commedia. The monograph’s methodology, significant scholarly influences, and overall structure are also set out. Through this analysis, the Introduction sheds light both on the narrative advantages of Dante’s textual strategy—whose aim is to control the interpretation of his own text and enhance its credibility—and on the (often problematic) issues that accompany teleological narratives and their reception. Attending to Dante’s use of narrative, it becomes evident that the fabric of the poem is woven with alternative storylines that run alongside, detour from, or otherwise resist the poem’s teleological masterplot, and thereby constitute evidence of Dante’s narrative pluralism.