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Informationen zum Autor Alison Morgan is a specialist in farming, food and the farmed environment. She holds a degree in agriculture from the University of Reading, and a post graduate degree in global development. She has enjoyed over 40 years working with farmers and pastoralists in the UK, Central Asia, and the Middle East, in research, advisory and policy roles. Klappentext A major new study of the Divine Comedy, this book offers an original perspective on Dante's representation of the afterlife. Alison Morgan departs from the conventional critical emphasis on Dante's place in relation to learned traditions by undertaking the first thorough examination of the poem in the context of popular beliefs. Her principal sources are thus not the highly literary texts (such as Virgil's Aeneid or Thomas Aquinas's Summa Theologiae) which have become a familiar context for the poem, but rather visions of the Other World found in popular writings, painting and sculpture from the centuries leading up to its composition. The book will be of interest to non-specialists in addition to scholars of Dante, since it offers a clear preliminary account of the Other World tradition, a chronology of its principal representations and summaries of the major texts. Fully illustrated throughout, it integrates with the literary and theological aspects of Dante's heritage the important but hitherto neglected dimension of art history. Zusammenfassung A study of the Divine Comedy! this book offers an interesting perspective on Dante's representation of the afterlife. Alison Morgan departs from the conventional critical emphasis on Dante's place in relation to learned traditions by undertaking a thorough examination of the poem in the context of popular beliefs. Inhaltsverzeichnis List of plates; Preface; Introduction; 1. Topographical motifs of the other world; 2. The inhabitants of the other world; 3. The guide; 4. The classification of sin; 5. The mountain of Purgatory; 6. The representation of Paradise; Appendixes; Bibliography; Indices....
