By comparison, Barolini in The Undivine
Comedy: Detheologizing Dante indicts "overdetermined theologized hermeneutic structures" for their ahistorical consequences, a view summed up in her contention elsewhere that "One of the results of detheologizing .
According to him, fascism, capitalism and communism were collectively Western and undivine
If Krasinski were German and Prus French, The Undivine
Comedy and The Doll would have been included in each European canon a long time ago.
In this loved scene being and essence shine; It is and is itself, like Dante's wheel, While whole and part, each subatomic spark, Dependent for existence, undivine
, Disclose the self-existent, first and real.
It is precisely in the texts and symbols considered canonic for Polish identity, in the writings of Staszic, Mickiewicz, and Krasinski, in the legends of national liberation and the heroic myth of dying for the country, that Janion deciphers and unearths records and traces of half-explored themes--Jewish or simply antisemitic, as in Krasinskis The Undivine
This "Geryon principle," as I call it in The Undivine
Comedy, whereby Dante routinely opts for bold frontal attacks on the reader's credulity in precisely the moments in which the fictitious nature of his project is most exposed, is succinctly and elegantly formulated by Riffaterre as a property of all narrative.
Turning these pages, the reader encounters, one after another, articles that changed the contours of North American scholarly thinking about Dante, Petrarch, and Boccaccio in the 1980s and 1990s, the period when Barolini was also producing two major books, Dante's Poets: Textuality and Truth in the "Comedy" (1984) and The Undivine
"Comedy": Detheologizing Dante (1992): all of them still as fresh, as challenging, and as worthy of attention as the day they were published.
Femaleness then becomes the undivine
other, the leftover, the unknown, the unholy, the addenda.
Pearl's top ten books for Dante lovers are, from one to ten, The First Circle by Alexander Solzhenitsyn; Hannibal by Thomas Harris; The Wasteland and Other Poems by TS Eliot; If This is a Man by Primo Levi; The Name of the Rose by Umberto Eco; The Undivine
Comedy by Teodolinda Barolini; Dante's Testaments by Peter Hawkins; The Poets' Dante, edited by Peter Hawkins and Rachel Jacoff; Frankenstein by Mary Shelley; The Vision of Dante Alighieri by Henry Francis Cary.
It is not clear that Dante makes a "jump into silence" in paragraph 23 when his way is cut off, but as Barolini has argued, he makes a `jump' into a different, a lyrical, mode ("The Undivine
Comedy," chapter 10).
Teodolinda Barolini, in an essay derived from her Undivine
Comedy (Princeton, NJ: Princeton University Press, 1992), after first usefully summarizing the taxonomy of the debate on the significance of Ulysses, argues his importance for the transgressive 'lyric' side of the poem, rather than for the more regular, narrative one.
A female statue does indeed figure prominently in the couple's apartment--Paul taps it and says it sounds different in different places--but it is modern, metallic, clothed, undivine