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XIII), which convey special meanings through the description of characters like Paolo Malatesta and Count Ugolino. The second section unfolds with the scholar's re-interpretation of tears through a dual line of argument.
The notoriously ambiguous line 75 concludes Count Ugolino's account of his horrific death in what later became known as Pisa's "Torre della fame." In Dante's Hell, Ugolino is bound by ice together with Archbishop Ruggieri, the man who had betrayed and then imprisoned him, causing his death.
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?
Holy my mother in the insane asylum!" Ginsberg most powerfully echoes the terrible story of Count Ugolino. Singleton writes that as podesta (potentate) of Pisa, Ugolino "entered into the negotiations referred to by his opponents as the 'tradimento de le castella' ('betrayal of the castles').
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.
This was the famous oil-painting by Sir Joshua Reynolds of 'Count Ugolino and his Children in the Dungeon, as described by Dante in the thirty-third Canto of the Inferno,' which was exhibited at the Royal Academy in 1773.
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.