John Freccero
Biographic Data
| ID | 691063 |
|---|---|
| NAME | John Freccero |
| GIVEN NAMES | John |
| FAMILY NAME | Freccero |
| SIGNATURE | FRECCERO J |
| AFFILIATIONS | Johns Hopkins University |
| VERIFIED | No |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1959 |
| LATEST PUBLICATION YEAR | 2009 |
| H-INDEX | 1 |
The Portrait of Francesca. Inferno V
The Portrait of Francesca. Inferno V John Freccero (bio) As far as we know, there is no record of the love story of Francesca da Rimini before Dante's account in Canto V of the Inferno. His portrait of her emerges in astonishingly few verses and, in its passion and pathos, emulates and rivals Virgil's portrayal of Dido. Francesca tells us nothing of her life in the first part of her monologue, apart from her place of birth, which she identifies w…
Dante: The Poetics of Conversion
Dante. The Poetics of Conversion
Infernal Irony: The Gates of Hell
ions are turned into bodies virtually everywhere in the Inferno: the composite monsters of the circle of violence; the scaly back of Geryon, which seems substantial in spite of its ironic nature as the image of fraud; Satan and the Giants, who are pure spirit, yet appear to be grossly material. The same may be said of the punishments. Bertrand de Born, for example, split apart a father from his son, a metaphoric from an equally metaphoric body po…
The Fig Tree and the Laurel: Petrarch's Poetics
Studi su Dante
The Sign of Satan
The last canto of the Inferno seems at once the most medieval and, to the modern sensibility, the least satisfactory in the poem. T. S. Eliot 1 found it so grotesque that he advised the student reading the Inferno for the first time to omit the last canto and return to the or to wait until he has read and lived for years with the last canto of the Paradiso. The problem seems to be that the infernal emperor is hardly the threat we had been expecti…
Infernal Inversion and Christian Conversion (Inferno XXXIV)
The Final Image: Paradiso XXXIII, 144
A Guide to Contemporary Italian Literature
"Donne's "Valediction: Forbidding Mourning
Zeno's Last Cigarette
Que si maintenant quelque romancier hardi, dechirant la toile habilement tissee de notre moi conventionnel, nous montre sous cette logique apparente une absurdite fondamentale, sous cette juxtaposition d'etats simples une penetration infinie de mille impressions diverses qui ont dej'a cesse d'etre au moment oui on les nomme, nous le louons de nous avoir mieux connus que nous ne nous connaissons nous-memes
"Satan's fall and the "Quaestio de aqua et terra
Dante's Firm Foot and the Journey Without a Guide
The Journey of the Divine Comedy begins with a conversion. The pilgrim “comes to” after somehow having lost his way in a dark wood. He looks up from that tangle and sees the rays of the sun striking upon a mountain-top, and knows that he must attain the summit. From that moment, the problem is no longer where to go, but rather how to get there, and the problem proves to be insoluble. Try as he may, he cannot achieve the goal which is the beginnin…
The Portrait of Francesca. Inferno V
The Portrait of Francesca. Inferno V John Freccero (bio) As far as we know, there is no record of the love story of Francesca da Rimini before Dante's account in Canto V of the Inferno. His portrait of her emerges in astonishingly few verses and, in its passion and pathos, emulates and rivals Virgil's portrayal of Dido. Francesca tells us nothing of her life in the first part of her monologue, apart from her place of birth, which she identifies w…
The Final Image: Paradiso XXXIII, 144
Zeno's Last Cigarette
Que si maintenant quelque romancier hardi, dechirant la toile habilement tissee de notre moi conventionnel, nous montre sous cette logique apparente une absurdite fondamentale, sous cette juxtaposition d'etats simples une penetration infinie de mille impressions diverses qui ont dej'a cesse d'etre au moment oui on les nomme, nous le louons de nous avoir mieux connus que nous ne nous connaissons nous-memes
Dante's Firm Foot and the Journey Without a Guide
The Journey of the Divine Comedy begins with a conversion. The pilgrim “comes to” after somehow having lost his way in a dark wood. He looks up from that tangle and sees the rays of the sun striking upon a mountain-top, and knows that he must attain the summit. From that moment, the problem is no longer where to go, but rather how to get there, and the problem proves to be insoluble. Try as he may, he cannot achieve the goal which is the beginnin…
"Satan's fall and the "Quaestio de aqua et terra
Zeno's Last Cigarette
Que si maintenant quelque romancier hardi, dechirant la toile habilement tissee de notre moi conventionnel, nous montre sous cette logique apparente une absurdite fondamentale, sous cette juxtaposition d'etats simples une penetration infinie de mille impressions diverses qui ont dej'a cesse d'etre au moment oui on les nomme, nous le louons de nous avoir mieux connus que nous ne nous connaissons nous-memes
"Donne's "Valediction: Forbidding Mourning
The Final Image: Paradiso XXXIII, 144
A Guide to Contemporary Italian Literature
Studi su Dante
The Sign of Satan
The last canto of the Inferno seems at once the most medieval and, to the modern sensibility, the least satisfactory in the poem. T. S. Eliot 1 found it so grotesque that he advised the student reading the Inferno for the first time to omit the last canto and return to the or to wait until he has read and lived for years with the last canto of the Paradiso. The problem seems to be that the infernal emperor is hardly the threat we had been expecti…
Infernal Inversion and Christian Conversion (Inferno XXXIV)
The Fig Tree and the Laurel: Petrarch's Poetics
Infernal Irony: The Gates of Hell
ions are turned into bodies virtually everywhere in the Inferno: the composite monsters of the circle of violence; the scaly back of Geryon, which seems substantial in spite of its ironic nature as the image of fraud; Satan and the Giants, who are pure spirit, yet appear to be grossly material. The same may be said of the punishments. Bertrand de Born, for example, split apart a father from his son, a metaphoric from an equally metaphoric body po…
Dante. The Poetics of Conversion
Dante: The Poetics of Conversion
The Portrait of Francesca. Inferno V
The Portrait of Francesca. Inferno V John Freccero (bio) As far as we know, there is no record of the love story of Francesca da Rimini before Dante's account in Canto V of the Inferno. His portrait of her emerges in astonishingly few verses and, in its passion and pathos, emulates and rivals Virgil's portrayal of Dido. Francesca tells us nothing of her life in the first part of her monologue, apart from her place of birth, which she identifies w…
Art (12 works) · Philosophy (9 works) · Literature (7 works) · Renaissance and Early Modern Studies (5 works) · Mathematics (3 works) · Poetics (3 works) · Poetry (3 works) · Art history (2 works) · Byzantine Studies and History (2 works) · History (2 works)