Ugolino della Gherardesca

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Ugolino della Gherardesca

(o͞ogōlē`nō dĕl`lä gārärdā`skä), d. 1289, Italian nobleman. A leader of the Guelph, or pro-papal, faction in predominantly Ghibelline (pro-imperial) Pisa, he was made podesta [chief magistrate] of Pisa in 1284 to negotiate a peace with Pisa's Guelph enemies. His attempts to consolidate his power in Pisa, which was anti-Guelph, failed, and he fell victim to a conspiracy. Ugolino was arrested for treason and shut in a tower to starve to death with his sons and grandsons. Dante relates the episode in the Inferno.

Gherardesca, Ugolino della:

see Ugolino della GherardescaUgolino della Gherardesca
, d. 1289, Italian nobleman. A leader of the Guelph, or pro-papal, faction in predominantly Ghibelline (pro-imperial) Pisa, he was made podesta [chief magistrate] of Pisa in 1284 to negotiate a peace with Pisa's Guelph enemies.
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References in periodicals archive ?
Through her discussion of fraud in the final chapter of the work Tarabotti allusively engages with the ethical dimensions of poetic mimesis that arise in Dante's text, exploring the risks faced in representing and denouncing evil through a series of allusions to Inferno sixteen and seventeen and Dante's encounter with the arch-traitor Count Ugolino in Inferno thirty-two to thirty-three.
Fuseli's Count Ugolino, Chief of the Guelphs Before we enter upon our Examination of this Picture it will be necessary to ask a question--What are the requisites which the Critics would expect to find in a composition of this sort?
Ginsberg most powerfully echoes the terrible story of Count Ugolino.
Dante's Hell at Pertosa Caves Every Friday and Saturday in the grotte (caves) of Pertosa in the province of Salerno, "Dante" guides a tour through his inferno, introducing guests to Paolo and Francesca of Rimini, Ulysses, Minos, Count Ugolino, and other characters you'll find in the first book of The Divine Comedy.
There, with fewer than twenty-five lines remaining is his own poem, as an illustration of the Hindu concept of dayadhvam or sympathy, Eliot reminds his reader of Dante's account of the tragic story of the Pisan Count Ugolino, for whom the sound of the jailer's key locking the door to his tower prison told him that he and his young sons were being left to die of starvation.
Before this tale of persecuted love became one of favourite episodes from the Commedia, for most artists and writers the most intensely Gothic narrative in Dante's frightening canon was that of Count Ugolino (Inferno, Canto XXXIII, 1-90).
Sexual treason blurred into homicide--all is permitted--as Count Ugolino della Gherardesca's treason in 1280 led on, via Dante, into cannibalism (eating, it was said, his two sons and two grandchildren while imprisoned so that he could stay alive himself) and Dante's memorably macabre image of Ugolino's wiping his lips on the hair of the skull he was consuming: If there is a more savage or ruthlessly accurate metaphor for conscienceless political survival, it is difficult to think of it.
But BCMG continues to premiere commissions from other organisations, too, its most recent being Stuart MacRae's Two Scenes from the Death of Count Ugolino.
Several couples (Paolo and Francesca, Ulysses and Diomedes, Count Ugolino and Archbishop Ruggieri) are joined to a series of divided or half-visible individuals that includes Farinata, Pope Nicholas III, the Giants, Lucifer.
The political significance of the Orco's cannibalism is given further stress by a verbal echo from one of Dante's most terrifying depictions of the spiritual consequences of the civil wars ravaging the Italian peninsula and the individual cities within it in his own day: the vision of the deposed Pisan leader, Count Ugolino, gnawing away at the skull of his arch-enemy Ruggieri, Archbishop of Pisa, in Inferno cantos 32 and 33.
It is a version of her years in Brescia, compiled with the intention of suing Count Ugolino Palazzi for the return of money and property.
Tomorrow night Birmingham Contemporary Music Group continues its contribution to The Series it promotes with Birmingham Jazz, bringing hot-property Finnish conductor Susanna Malkki and mezzo-soprano Lori Lixenberg in a programme of works by Huw Watkins (world premiere of his BCMG 'Sound Investment' commission Rondo), Stuart MacRae (UK premiere of his Dantesque Two Scenes from the Death of Count Ugolino, Harrison Birtwistle's Ritual Fragment and ending with a welcome rehearing of Living Toys by the brilliant, hugely talented Thomas Ades (7.