Divine Comedy Research Articles

On Mystical Metamorphosis in Christianity and Islam: Dante’s Divine Comedy and Rumi’s Masnavi in Comparative Perspective

Abstract Journey emerges in multiple faces in literature. But when this substantial subset of quests adopts the mystical aspect, it creates a mystery that triggers the discovery sense in human beings. The present article develops a comparative analysis on the complex nature of mystical metamorphosis as expressed in two of the most influential writings of the East and West: Rumi’s Masnavi and Dante’s Divine Comedy. The first part discusses the concept of mysticism and poetry, and reveals the nature of their connection. The second part of this work investigates the historical setting of Dante’s and Rumi’s lives in relation to the social environment of the time. The last part emphasizes the idea of mystical metamorphosis as expressed in the Divine Comedy and Masnavi through two fundamental vehicles: love and faith. This work demonstrates how, in a world rife with wars and misery, mysticism provides a vital key to building a strong bridge between Islam and Christianity, and on a larger scale, to metamorphosizing the “clash of civilizations” into a “confluence of civilizations”.

Beckett in Purgatory: “Unspeakable”Wattand the Second World War

By reading Samuel Beckett’s famously “unreadable” novel Watt (1953) in context as a novel of the Irish Emergency, the neutral Irish Free State’s euphemism for World War II, this essay argues that Watt’s unreadability and encodedness are embodiments of the languages of post-traumatic stress and of Irish neutrality. Weaving together Beckett’s intertextual relationship with Dante’s Divine Comedy, the commonplace that Emergency-era Ireland was a cultural “purgatory,” and the language of trauma studies, this essay suggests that Watt can be productively read through the paradigm of purgatory. Beckett’s purgatory in the novel, however, is a failure by design: if purgatory represents the opportunity for expiation and for an eventual end of suffering, in Watt’s purgatory the possibility of such opportunity is a subject of mockery. “Beckett in Purgatory” thus offers Watt as a case study for how the trauma of war and, indeed, of neutrality, of missing the war, embeds itself in literary language that signs itself as “unreadable.”

ULISSES NO INFERNO DA DIVINA COMÉDIA – UMA COMPARAÇÃO DO HERÓI EM DANTE, HOMERO E VIRGÍLIO

Ulisses é um personagem constante na literatura ocidental e Dante Alighieri foi um dos autores que o retrabalharam. Na Divina Comédia, Ulisses está na oitava vala do oitavo círculo do Inferno, correspondente aos fraudadores. Na construção do personagem, Dante retoma características de Ulisses da tradição grega e latina, o que é analisado e comparado nesse artigo a partir das elaborações de Homero e Virgílio. Ao fim, estabelece-se uma relação entre Ulisses e os Dantes – autor e personagem da Comédia.

Das Übergangssubjekt. Störung in Transiträumen

This paper introduces the concept of a “transitional subject”. It is the name for a new cultural type by reference to Donald Winnicotts famous concept of a “transitional object”. Such an object, a teddy bear or a piece of cloth, allows an infant to let go of the mother and to develop a more independent existence. Being transformed into a mental structure the transitional object enables the imagination of the child to create new things. The “transitional subject” however concerns the imagination of the present security-institutions. Any passenger, customer or visitor of the cyberspace leaves his data at airports, railway stations, public spaces etc. and allows secret services to establish a database to profile disquieting persons. Following David Riesman’s analyses of different cultural types, the tradition-directed, the inner-directed und the other-directed, the transitional subject is data-directed. In comparison with tradition-directed protagonists like the pilgrims in Dante’s Divina Commedia or the inner-directed wanderer Jean-Jacques Rousseau, the transitional subject like the disquieter Edward Snowdon is described as a data-directed multi mobile passenger in transit spaces. However, the legal fictions of modern states force this representative of our political reality to carry the mask of the 18th century.

Rauschenberg's Modern Infernos for Life Magazine

In 1965 the American magazine Life published “A Modern Inferno,” a work commissioned from Robert Rauschenberg (1925–2008) to commemorate the 700th anniversary of the birth of the Italian poet Dante Alighieri (1265–1321). This work was inspired in part by the first canticle of Dante's celebrated Divine Comedy – the Inferno – which contains 34 cantos describing the torments of Hell. Rauschenberg made two prototypes for the Life feature, each of which comprises two panels. To create those, Rauschenberg used photographs selected in large part from past issues of Life and from its archives. This paper aims first to situate “A Modern Inferno” in the history of the reception of Dante within the United States. Secondly, it intends to place the Life feature and the studies for it in relation to Rauschenberg's immediately preceding work, emphasising its importance in his development of what art critic Rosalind Krauss had termed a “newly ‘photographic’ medium.” To understand the historical significance of Rauschenberg's compositions, the paper also seeks to identify the characters and events illustrated in the photographs contained in them. Moreover, it considers how Rauschenberg deployed this subject-matter in order to represent the evil that occurred in much of the twentieth century. It is argued that some of these passages display affinities with the narrative of Dante's Inferno. Overall, however, relationships between Rauschenberg's compositions and the horrors of the Inferno are sweeping and metaphorical rather than literal. The paper concludes by touching on other elements from Dante's poetry that appear in works that Rauschenberg made in the years immediately after the Life commission.

Dante’s Legacy: Kinship between Languages in Seamus Heaney’s Poetics

Seamus Heaney's early poetry evoked Irish pastoral landscapes and traditions. After eruption of Troubles in 1969, his verse began to be pervaded by complex situation in Northern Ireland. This change, together with poet's increasing focussing on his symbolic relationship with Irish land and his preoccupation with sense of lost language, caused his poems to be perceived as symbols of national struggle. However, although Irish history and language are embraced and celebrated by poet, at same time, rather than articulating political idea of literature, Heaney tried to find middle voice that would express both halves of his culture, English and Irish. The poems Broagh and Anahorish, in Wintering Out, originate in Irish language placenames, and more than any other poem in that collection, display Heaney's willingness for reconciliation of two traditions through profound meditation on cultural and linguistic elements of each one. Dante and his belief in attainment of sense of national solidarity through creation of unitary poetic language were fundamental to Heaney's realization of this project. The Irish poet admired Dante's profound attachment to his local culture and to vernacular language, but principally, he praised his ability to transcend those aspects by positioning them in universal framework. In Divine Comedy, medieval poet had imagined the cosmological in provincial by placing constant emphasis on epistemological function of mutually enriching confrontation with other cultures and languages, which is ultimately synonymous with an enrichment and not an adulteration of one's own national (Copley 2005: 12). Heaney shared these same aims, and through allusions to Dante, he could transcend ethnic boundaries and create an increasingly cosmopolitan poetry, as displayed in his collection Electric Light, in which specifics of public and personal history are considered alongside those of world culture. Heaney's all-inclusive poetic development was mainly realized through his several translations of various international authors, including Dante. Through translation Heaney comes into contact with other cultures, and this allows him to better understand his time and himself. In his rendering of Ugolino episode, from Inferno XXXII-XXXIII, Irish poet found metaphors and emblems that he needed for poetic message he wanted to convey (Heaney 1980: 56). Dante's experience is translated into Heaney's own personal and cultural experience, and this enables him to address his local concerns through global framework, extending universal into personal and vice versa. Between two Traditions Both Dante's and Heaney's poetics must be understood within socio-political context in which they originated. Throughout his life, Dante felt sense of in-betweenness with respect to his culture and his language. As poet, he used Latin, which was language of education system. As man, he spoke Tuscan vernacular, which was his natural mother tongue. In his treatise, De Vulgari Eloquentia, Dante championed development of vernacular in literature. As he affirmed, since nothing provides as splendid an ornament as does illustrious vernacular, seems that any writer of poetry should use it (DVE II: i, 2). (1) Being tongue spoken by everyone, vernacular was more suitable language for literature, as made literature available to all. It was maternam locutionem (mother tongue) (DVE I: vi, (2) [1960]), the concrete language of all (Chandler 1966: 17), in contrast to Latin, which was secondary speech, locutio secundaria (DVE I: i, 3 [1960]). Furthermore, Dante believed that common tongue could be a pledge of national unity (Cambon 1969: 28). In thirteenth century, Italy was divided into several states, with each speaking different dialect, and in this fragmentation peoples could not feel strong sense of national identity based on cultural, linguistic, or racial bonds (Pullan 1973: 25). …

Persuasive spaces: Translators’ prefaces to the Divine Comedy

This essay posits translators’ prefaces as democratic spaces of individuality. Among the usually limited opportunities for translators to present their work and discuss its nuances, challenges, methods, and solutions, a translator’s preface affords the rare luxury of displaying one’s array of tools and, by establishing one’s credentials, convincing readers of the legitimacy of specific translatorial choices. However, the possibilities and expectations of a translator’s preface are strongly influenced by factors that hinder the translator’s freedom of expression and are, to some extent, enslaved to a strictly persuasive function. These pre-packaged topics seem to weigh even more on the translators of so-called ‘classic’ texts, who, on top of other real or perceived duties, need to pay homage to past translations and justify the need for an additional one. A close examination of various translators’ prefaces to Dante’s Divine Comedy will highlight recurring themes and persuasive strategies along with deviations from the norm that might suggest alternative avenues towards a more illuminating way of inhabiting this unique locus. By unveiling the points of contact between the space of the source text and the space of the translator’s individuality, the former is infused with renewed life and the latter with new meaning.

James Merrill: Life and Art by Langdon Hammer (review)

Reviewed by: James Merrill: Life and Art by Langdon Hammer Aidan Wasley James Merrill: Life and Art. By Langdon Hammer. New York: Alfred A. Knopf, 2015. When Wallace Stevens met James Merrill for the first time in October 1954, the 75-year-old master recognized something of his younger self in the 29-yearold junior poet. The two poets were seated together at the head table of a gala [End Page 102] celebrating Stevens’ birthday and the long-delayed publication of his Collected Poems, and Stevens singled out Merrill in his report of the occasion in a letter to Witter Bynner: “There were a lot of people there whom you would have enjoyed quite as much as I did, including young James Merrill, who is about the age which you and I were when we were in New York” (qtd. on 189). Stevens never saw Merrill again and died ten months later, but that wasn’t the end of Merrill’s conversations with him. A few weeks after his death in August 1955, Stevens would be the guest of honor at a different table—the “milk glass tabletop” in Merrill’s dining room in Stonington, Connecticut—where Merrill and his partner David Jackson had recently begun experimenting with a Ouija board. “How is Wallace Stevens?” Merrill asks Ephraim, the “familiar spirit” who serves as their guide through the otherworldly revelations that would yield, decades later, Merrill’s visionary epic The Changing Light at Sandover. The newly dead Stevens himself answers Merrill’s Ouija query, telling Merrill and Jackson that he is adjusting quite well to the fluent mundo of the hereafter: “I write poems on cloud. [I]t would seem like [a] blackboard—always being erased after each word so I have the charming experience of completely private poetry” (qtd. on 204). Then he offers his star-struck young fans a new, posthumously composed poem, titled “Hartford 1955.” Langdon Hammer’s exciting new biography, James Merrill: Life and Art, is full of illuminating and memorable details like these that convincingly document Merrill’s intimate and intense engagement with the work and (after)life of Stevens. Readers of this journal will be familiar with critical narratives linking Merrill with Stevens—there has been a special issue of the journal exploring their connections, and Hammer himself contributed an instructive piece on the importance of Stevens to Merrill’s poetic imagination and sense of vocation in the Fall 2004 issue. This astonishingly informed and informative book significantly deepens these narratives, and among its many virtues is its richness as a new resource for Stevens readers and scholars interested in tracing, in both biographical and broader conceptual terms, his vital influence on one of his major poetic successors. As Hammer makes plain, Merrill was never shy about his debts to other poets, including—and perhaps especially—Stevens. Merrill’s earliest poems are, by his own admission, steeped in Stevensian imagery and style, and Stevens is the first poet summoned in Sandover, Merrill’s own 560-page endlessly elaborating supreme fiction of poetic influence and metaphysics. Although a relatively taciturn presence in the garrulous ghostly salon of Sandover (in contrast to W. H. Auden, who acts as a chatty Virgil in Merrill’s divine comedy), it is Stevens who provides both the poem’s theme and its method, as Merrill explicitly acknowledges early on: “Stevens imagined the imagination / And God as one; the imagination, also, / As that which presses back, in parlous times, / Against ‘the pressure of reality’” (qtd. on 553). And it’s not hard to see both Merrill’s self-consciousness about his own rarefied audience and Sandover’s central trope of a self-chosen gallery of judging yet sympathetic fellow aesthetes, likewise prefigured in the blueprint of “The Noble Rider and the Sound of Words” (which Hammer calls a “touchstone text” for Merrill [108]): “There is not a poet whom we prize living today that does not address himself [End Page 103] to an élite . . . for all poets address themselves to someone and it is of the essence of that instinct, and it seems to amount to an instinct, that it should be to an élite, . . . not to a chamber of commerce...

The Divine Comedy: Heaven, Purgatory and Hell Revisited by Contemporary African Artists

ABSTRACTThis review of Simon Njami's seminal exhibition, The Divine Comedy: Heaven, Purgatory and Hell Revisited by Contemporary African Artists investigates the curator's effort to globalize contemporary art through cross-cultural interaction. It argues that the reinterpretation of Dante's canonical poem by contemporary African artists creates an exhibition that is less about art or Africa and more about meanings.

RATIONALISM IN DANTE'S DIVINE COMMEDY AND ARDAVIRAF

The main purpose of the paper is to study rationalism in Dante’s Divine Comedy and Ardaviraf . Wisdom is like a textile, which consists of fibers called knowledge and sagacity. The duty of sages has been to transform these initial materials into practical products; On the other hand, wisdom is the reflexive of knowledge that we should use to reach upper level of humanity. In this paper an attempt is made to use library based and descriptive research methodology; the results show that Iranian people are considered as rational people history. For example, Ahura Mazda in Zoroastrianism is the symbol of wisdom and he was considered as an honest man who was in favor of truth; he was the source of goodness. On the other hand, Dante’s Divine Comedy has taken a long step in breaking the spell that church had imposed on Dante’s contemporary society; it is also the first step towards the new revival in the dark history of the middle ages. It is the beginning of the golden age of the Renaissance; it is also the beginning of rationality and humanism in the golden age of the European history. Keywords : Wisdom, Divine Comedy , Ardaviraf

Imaginative Geography: Dialectical Orientalism in Borges

The following essay investigates Borges’ cultural-ideological stance as an Argentinean writer opposed to national literature and ideological rhetoric. This position will be elucidated via a comparison with Edward Said’s Orientialism which, following Foucault, argues that literature is subservient to the ideological paradigms of the period. The discussion demonstrates how Borges presents a dialectical orientalism in his work: a philosophical-universal position deviating from the delimited framework of national ideology, hereby establishing an uni-ideological philosophical and transcultural view of the interrelationship between “East” and “West.” In line with Said, the essay examines the literary representation of Islam in Western literature, focusing on the image of Mahomet in Dante's Divine Comedy.

Odzyskać siebie z Innego – Arabowie i islam we współczesnych arabskich przekładach literatury europejskiej

When a work of European literature is translated into Arabic, the language of a predominantly Islamic culture, terms referring to Arabs as a people or Muslims as a religious community, the name of Muhammad as the Prophet of Islam, etcetera, cease to be foreign and exotic and become local and familiar. The present analysis of contemporary Arabic translations of Dante’s Divine comedy, Cervantes’ Don Quijote and Scott’s Ivanhoe shows that these elements are not always simply returned to their native culture if the original text represents them in a negative, Eurocentric way, which can even be considered blasphemous by Muslims if religious content is involved but are subject to more or less significant transformations that are ideologically motivated. Instead of straightforward restitution to the native culture, what takes place is a kind of annexation of texts which consists in replacing the negatively portrayed ‘Other’ by a positively, or at least neutrally, represented ‘We’. Such manipulations may be explicit, i.e. signalled in footnotes, or tacit. In some cases, anti-Islamic passages become even sympathetic towards Islam when translated into Arabic. In this way the authors of Arabic translations liberate the texts from the dominating Western perspective and adapt them to their own vision of the world. What seems to be manipulation and censorship from the ‘Western’ point of view may be perceived in an entirely different manner inside the Arabo-Islamic culture, for instance as correction of obvious factual errors.

Textual Physiognomy: A New Theory and Brief History of Dantean Portraiture

Author(s): Reid, Joshua | Abstract: Dante Alighieri, as we understand him and read his poetry, is a construct crafted from posthumous portraiture. Dante’s famous profile appears at a pivotal transition point from icon to image, where the aura of the saint is transferred to the poet. In this aesthetic creation of identity, portraits and visual representations of Dante are influenced by, and in turn influence, commentaries, translations, and biographies of the poet. This visual and textual synergy is called textual physiognomy, and it reaches an important juncture point in the 19th century, when Dante Gabriel Rossetti—as both artist, critic, and translator of Dante—creates a new and influential alternative to the traditional Dantean identity. Rossetti challenges the Dante the 19th century had taken for granted as fact: the divine “poet saturnine,” with “hatchet” profile, aquiline nose, austere face, and laurel crown. Through his iconoclastic approach to the Dantean portraiture tradition, Rossetti gives Dante a new life by emphasizing the human Dante, the pre-exile Dante before the Divine Comedy.

Cervantes and His Don Quixote

Cervantes and His Don Quixote A. J. Greimas Translated by Julija Korostenskienė, Translator Through the broadest seas and non-seas,And through mountains topped with white wreaths,Asking neither about the paths nor the days,He will come as if from the Nemunas Valley. —Brazdžionis The noble hidalgo, a long-awaited guest, has finally come to us, too. He comes at a time when we require his assistance and advice perhaps the most. In the terrible collision of the giants of this world, our small and dear country desperately needs just such naïve belief in its human cultural mission. The armor-bearers have been waiting for their knights-errant and have missed them so badly that the appearance of the great optimist in the fields of our literature may definitely be regarded as the best omen sent to us by the gods. It is notable that the incorporation of Cervantes into the Lithuanian depository is perhaps the most important, if not the only, fact of our literary life this past year. We are shamefully ignorant of the classics; nor do we apprehend those ideological and artistic opportunities which, amassed in the works of great masters, offer themselves to every traveler of this earth as a shared property of humanity. The occasional earlier translations of the classics, as well as dry rudimentary literature textbooks only terrify the youth and scare them away from taking any interest in literature. If he has spoken to his students about Dante with enthusiasm, a conscientious professor of literature is forced to forbid them to read the Divine Comedy in Lithuanian, for fear of passing for a charlatan. This is why, upon receiving a truly exemplary translation [End Page 171] of Don Quixote, a pleasure for both the eye and the soul¸ ever more so must we “make merry and rejoice,” thanking Andriušis and Churginas for all the toil they have put into it. If every nation must contribute its seed into the common granary of humanity, Spain has paid off its debt in full with one stroke by Don Quixote, by effecting a true salto immortale. Confronted with the work by Cervantes, just as when confronted with any great work by a genius, the reader experiences the entire complex of his human nothingness, feeling not only the abyss that separates him from the heights of the genius’s thought, but also comprehending the enormous disproportion between the author and his era, on the one hand, and between the author and his work, on the other. Even the pen of the most sophisticated critic working according to the principles of Taine’s determinism that have already been put to the test, will not be able to elucidate Don Quixote through Cervantes, a hero of Lepanto, nor Hamlet through a dozen problematic Lord Shakespeares. The mysterious gap which separates man from the greatness of thought that he himself has created will remain unexplained. Cervantes emerges in Spain in the fairest days of its Golden Age. Born in the empire of Charles V on which the sun never set, as a war invalid missing a hand, Cervantes experiences Spain’s full honor and grandeur along with Philip II, and dies seeing its decline. Alongside his contemporaries Lope de Vega and El Greco, and the somewhat younger Quevedo, Velázquez, Calderón and Murillo, he forms Spain’s iron honor guard. Spain is a strange country: having saved Europe from Islam in the battle against the Moors which lasted for eight centuries; having discovered and conquered America; having created the largest empire in the world, expelling the Jews and the Moors—restoring the unity of the true faith, enthroning popes and kings, and ruling the gold of the entire world—the hidalgo suddenly noticed that he was ragged and indigent and had to tramp. Heroically devoted to both the chivalrous and folk medieval tradition, full of the valorous spirit to fight for that abstract honor which is of no benefit to himself, having sacrificed himself to the struggle for king and faith, stunned by the boundless opportunities [End Page 172] supplied to him by space and time, the proud Spaniard didn’t have the...

Dante Alighieri ve Sürgün

Exile is one of the concepts that can be traced throughout the history of humanity. impact of exile can be seen on every single moment of human life. Especially in literature, exile appears not only as a story of a struggle but also as an inspirational concept. Therefore, exile is very important for writers and artists and, thus has a signicant role in shaping the human thought and art. concept of exile in Western literature has a very long standing history, having its origins in antiquity. One of the most important exiled writers of Western literature is no doubt Dante Alighieri, who is one of the most signicant poets of Italian and world literature. He had a leading role with his thoughts, writings and especially with his monumental work The Divine Comedy for the society and artistis. For Dante Alighieri, who was exiled from his own city Florence and who led hard life, exile is quite important and can in fact be regarded as a theme that is inherent in his poetry. aim of this study is to examine the trace of exile in Dante Alighieri's way of thinking and to show the psychological, literary and social impacts of exile on the poet.

Fragments of Freedom: Dante's Relic in the Re-United States

Based on archival research at Longfellow House-Washington's Headquarters National Historic Site and Harvard's Houghton Library, this essay provides the first full account of pieces of Dante's coffin gathered by a stone mason upon discovery of the poet's stolen bones in 1865. Through analysis of unpublished letters and other documents (several transcribed or translated for the first time), I trace the provenance of this relic, showing how Longfellow, soon after completing the first American translation of the Divine Comedy as the nation emerged from civil war, enshrined the fragments of Dante's coffin in his study in Cambridge—the very room in which Washington had consulted with military officers and political leaders when he broke the Siege of Boston and set the Colonies on their path toward independence in 1776. I contribute to scholarship examining Dante's place in nineteenth-century narratives of independence and liberation by placing the relic within the context of Longfellow's literary and epistolary responses to slavery and the civil war. Revered at a location in the "Re-United" States intimately connected with the nation's founding revolution, these physical traces of Dante's afterlife reinforce the poet's reputation as a prophet of political freedom for readers on both sides of the Atlantic.

İlahi Komedya: XXVIII-XXXIII-XXXIV sayılı kantolarla Dante'nin "Cehennem"inde adalet kavramı ve 1 "Contrapasso " yasası

Dante Alighieri, one of the masters of Italian and world literature, depicted as a platform where human beings who had been corrupted would face their sins, and in this way he tried to warn humanity. Dante refused to dene the various types of punishment in Hell as different reections of the law of contrapasso. He also stressed the necessity that this term should be set free from a limited understanding of justice put forth by Aristotle and other theologians. While the poet devised the types of punishment, which acquired a concrete aspect in “Hell”, he gave priority to their association with the crimes committed in this world. According to him, regarding the principle of contrapasso, the punishment should not only be relevant to the crime but also be linguistically relevant and memorable to the criminal. The aim of the poet is to reason the inevitablity of the judgement through the law of contrapasso. To sum up, it is crucial to scrutinize the causality of contrapasso together with Dante's religious acquisitions, so as to render the message of The Divine Comedy, which is inspired by the political and social context of its period, comprehensible.

Meduza, osłona i wysłannik niebios. Tajemnice Pieśni IX „Piekła” Dantego według nadinterpretacji Giulia Leoniego w powieści „I delitti dellaMedusa”

Giulio Leoni, a modern Italian writer, is the author of five crime novels inspired by the life and works of Dante Alighieri. He presents Dante as a detective who investigates mysterious crimes of the early 14th-century Florence, Rome and Venice. Although Leoni has gained an international fame, there are very few studies which examine the connections between the “Divine Comedy” and his books. My article aims to analyze the overinterpretation of Canto IX of the “Inferno” in the novel “I delitti della Medusa”.

Genesis plural

This article is devoted to Jenny Diski’s polyphonic rewriting of the biblical myth of Abraham and Sarah in Only Human: A Divine Comedy (2000). It shows how this subversive novel, through its juxtaposition of two competing narrative voices – an unidentified human narrator and God himself –, challenges the omniscience and transcendence usually attributed to God, but also the power of his creative Word, and launches a reflection on storytelling and truth, presenting thereby an “only human” Bible.

Review: The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists

Book Review| November 01 2015 Review: The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists SMITHSONIAN NATIONAL MUSEUM OF AFRICAN ARTWASHINGTON, DC APRIL 8–NOVEMBER 1, 2015 Kramer Kathryn Kramer Kathryn KATHRYN KRAMER is professor of art history and chair of the art and art history department at the State University of New York at Cortland who specializes in modern and contemporary art. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2015) 43 (3): 34–36. https://doi.org/10.1525/aft.2015.43.3.34 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Kramer Kathryn; Review: The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists. Afterimage 1 November 2015; 43 (3): 34–36. doi: https://doi.org/10.1525/aft.2015.43.3.34 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search This content is only available via PDF. © 2015 Afterimage/Visual Studies Workshop, unless otherwise noted. Reprints require written permission and acknowledgement of previous publication in Afterimage.2015 Article PDF first page preview Close Modal You do not currently have access to this content.