Charles S Singleton
Biographic Data
| ID | 688112 |
|---|---|
| NAME | Charles S Singleton |
| GIVEN NAMES | Charles S |
| FAMILY NAME | Singleton |
| SIGNATURE | SINGLETON C S |
| AFFILIATIONS | Johns Hopkins University |
| VERIFIED | No |
| TOTAL WORKS | 39 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 35 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1938 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
The Divine Comedy
Divine Comedy
Dante” in the Divine Comedy
It is well at the outset to state that hereafter it will be assumed (but not proved), that the Divine Comedy is a poem.There are at least two ways of viewing any poem. One way is to regard it as something done. The other is to look upon it as something to do. The one views the poem as fact. The other looks upon it as act—to be reaccomplished. A poem, as poem, can come into its true existence only within the second view.The student of Dante's Vita…
The Divine Comedy, II. Purgatorio, Vol. II. Part 2
The Divine Comedy, III. Paradiso, Vol. III. Part 2
Divine Comedy, II. Purgatorio, Vol. II. Part 2
Divine Comedy, III. Paradiso, Vol. III. Part 2
Divine Comedy, I. Inferno, Vol. I. Part 2
Journey to Beatrice
Why Dante
The Divine Comedy, I. Inferno, Vol. I. Part 2
Decameron
Modes of Interpretation
A Dictionary of Proper Names and Notable Matters in the Works of Dante
The Vistas in Retrospect
So it was for Dante as he beheld the great Cross in the Heaven of Mars, and so too for Dante poeta as, in memory, he gazed again on the many flashing lights in that wondrous configuration of the Holy Sign. And so it is for us, readers of his Poem when, as we follow him on his way to God, we are led to what prove to be goals in the journey, goals, and major pivots in the action as well: such as the end of Inferno and the beginning of Purgatorio, f…
Inferno XIX
The Poet's Number at the Center
The central canto of the Commedia is, of course, the seventeenth of the Purgatorio, the central cantica. Nor is that Canto the central tunit of the whole structure merely in numerical terms; for, as every thoughtful reader of the poem knows, Purgatorio xvii can rightly be said to contain the central argument that is basic to the whole moral order, i. e., the general exposition of Love, which is shown to be the all-embracing and all-motivating for…
The Uses of the Decameron
Inferno X
Giovanni Boccaccio ends his gloss on the Canto with the terse (and, one feels, rather satisfied) judgment: In questo canto non ci e allegoria alcuna, 1 and some five centuries later Francesco D'Ovidio picks up Boccaccio's words with evident satisfaction on his own part, adding: I inutile dire che il buon senso e il buon gusto stan dalla parte del Boccaccio, che in cio precorse la buona critica moderna. 2 Slowly we recover from a six-hundred-year-…
The Book of the Courtier
Il Decameron
Dante and the Legend of Rome . Nancy Lenkeith
An Essay on the Vita Nuova
Guido Cavalcanti's Theory of Love. The Canzone d'Amore and Other Related Problems . J. E. Shaw
The Comedy of Dante Alighieri the Florentine, I
Inferno X
Giovanni Boccaccio ends his gloss on the Canto with the terse (and, one feels, rather satisfied) judgment: In questo canto non ci e allegoria alcuna, 1 and some five centuries later Francesco D'Ovidio picks up Boccaccio's words with evident satisfaction on his own part, adding: I inutile dire che il buon senso e il buon gusto stan dalla parte del Boccaccio, che in cio precorse la buona critica moderna. 2 Slowly we recover from a six-hundred-year-…
Modes of Interpretation
"Dante" in the Divine Comedy
A Note on the Improvement of Reading
Some More Sixteenth-Century Italian Songs
Giovanni Boccaccio, Teseida . Salvatore Battaglia
Canti Carnascialeschi del Rinascimento (Scrittori d'Italia)
The Influence of Dante and Petrarch on Certain of Boccaccio's Lyrics
To the Editor of Italica
"Dante" in the Divine Comedy
Nuovi Canti Carnascialeschi del Rinascimento
Poesia di Michelangelo
On Meaning in the Decameron
Petrarch
Dante and Myth
Guido Cavalcanti's Theory of Love. The Canzone d'Amore and Other Related Problems . J. E. Shaw
The Comedy of Dante Alighieri the Florentine, I
Dante's Allegory
The Myth of Felt
An Essay on the Vita Nuova
Dante and the Legend of Rome . Nancy Lenkeith
Il Decameron
The Book of the Courtier
Inferno X
Giovanni Boccaccio ends his gloss on the Canto with the terse (and, one feels, rather satisfied) judgment: In questo canto non ci e allegoria alcuna, 1 and some five centuries later Francesco D'Ovidio picks up Boccaccio's words with evident satisfaction on his own part, adding: I inutile dire che il buon senso e il buon gusto stan dalla parte del Boccaccio, che in cio precorse la buona critica moderna. 2 Slowly we recover from a six-hundred-year-…
The Uses of the Decameron
Inferno XIX
The Poet's Number at the Center
The central canto of the Commedia is, of course, the seventeenth of the Purgatorio, the central cantica. Nor is that Canto the central tunit of the whole structure merely in numerical terms; for, as every thoughtful reader of the poem knows, Purgatorio xvii can rightly be said to contain the central argument that is basic to the whole moral order, i. e., the general exposition of Love, which is shown to be the all-embracing and all-motivating for…
The Vistas in Retrospect
So it was for Dante as he beheld the great Cross in the Heaven of Mars, and so too for Dante poeta as, in memory, he gazed again on the many flashing lights in that wondrous configuration of the Holy Sign. And so it is for us, readers of his Poem when, as we follow him on his way to God, we are led to what prove to be goals in the journey, goals, and major pivots in the action as well: such as the end of Inferno and the beginning of Purgatorio, f…
Art (22 works) · Renaissance and Early Modern Studies (17 works) · Philosophy (13 works) · History (8 works) · Humanities (7 works) · Literature (7 works) · Computer Science (6 works) · Art history (5 works) · Classics (5 works) · Comedy (5 works)