Related Papers
Elsa Verlag
Dante Alighieri: Die göttliche Komödie. Übersetzt von Richard Eberwein. Italienisch und Deutsch. La Commedia Colorata
2024 •
Dominik Meli
Since the earliest manuscripts colors were used for Dante’s Divine Comedy, e. g. the color red for initials and canto indications as well as—on the lines of certain bible editions and similar publications—for labeling the rubrics (from Latin rubrum = red), the colors red and blue for initials and the whole palette for artful initials and illustrating miniatures. What didn’t exist so far is the coloration of the text according to the voices as shown in this edition. The differentiation by colors will help identifying the various speakers and levels of speech. Dante for example is at the same time narrator (black), protagonist (red) and author (red italic) as well as sender of messages (bold red) to concrete or abstract addressees. The numerous similes that anchor Dante’s afterworld to this world, the terrene part is set in red italic. In the bilingual edition of this series the corresponding verse numbers are highlighted in yellow. To mark the guides in the afterworld (Virgil, Beatrice, St. Bernhard) the color blue is used according to certain illuminated manuscripts. Green, purple, orange, dark teal, aqua, dark purple, etc. are used for other persons. A criterion for the choice of a color is, how well it differs from the other voices within a canto. Inscriptions like those on the gate of hell or on Anastasius’ tomb are marked in brown. Gold is used for abstract concepts like the scripture in heaven. Explanatory or educational insertions, as a contrast, are marked in a darker color in bold type, e. g. green-dark green, blue-dark purple, purple-dark purple. When the colored translation is put next to the Italian text as shown in this bilingual edition, the corresponding parts can be immediately identified, thus facilitating further text analyses. For this colored edition, the capital letters at the beginning of the verses have been dissolved to point out the whole structure of a sentence. The goal of this publication is to illustrate the overwhelming beauty, the infinite variety and immense complexity of the Dantean text. Furthermore, the coloration proves that the majority of the text consists of direct speech whereas the narrative parts are relatively limited in size. In general, it shows how accurate the translation is.
Elsa Verlag
Hans Mühlestein: Fragmente aus der Göttlichen Komödie von Dante
2024 •
Dominik Meli
Hans Mühlestein (1887-1969) was active as a writer in many different ways over the course of his eventful life. After his first lyrical beginnings at the Hofwil Teachers' Seminary, he published "Ein Buch Gedichte" in 1906, wrote the lyrical-dramatic sketch "Giorgione" in Rome in the same year, worked as a critic for various feuilletons, wrote political-historical and art-historical works, gave lectures and talks, etc. Another genre that occupied him was his translations from Italian, English and French into German, namely: - Sonette der Vittoria Colonna (1913), (1935 und 1951 wieder aufgelegt) - Neues französisches Heldenlied. Proben aus der Lyrik der französischen Widerstandsbewegung (1944) - Dichtungen des Michelangelo Buonarroti (1950, 2. Auflage 1983) - Fragmente aus der göttlichen Komödie von Dante (1950) - Sonette von Shakespeare (1952) - Die steinernen Gedichte von Dante Alighieri (1965 und 1968) Mühlestein's interest in the Italian language became apparent early on when he attended a course at the Scuola Italiana in Biel at the age of 14 (1901), which he passed with distinction. His interest in Dante also began in his youth and culminated in his participation in the opening ceremony of the Dante Year 1921 in Ravenna, where he was able to hold a brief conversation with the then Minister of Culture, Benedetto Croce. These activities prepared the ground for the later transcription of selected passages from the Divine Comedy (chapters 8, 9 and 10), which accounts for approximately 10% of the total text volume of 14,233 verses. Mühlestein explicitly refers to the translations by Fritz Kern, Otto Gildemeister and Karl Vossler in the notes to his translation (ch. 7). The verses and phrases that agree with Fritz Kern are directly compared in chapter 14. However, it can be ruled out that Mühestein relies on Karl Vossler's translation, as there is not a single identical verse, apart from a few coincidental matches. The main difference, however, is that Vossler's translation consists of blank verse with roughly balanced masculine and feminine endings, whereas Mühlestein's translation implements the strict Dantean rhyme scheme (see direct comparison in chapter 15). In order to place the translated passages in the context of the cantos, they were compared with the Italian text (chap. 12). A further indication of the quality of Mühlestein's translation is provided by the coloring of the text according to the concept of the "Commedia Colorata" in chapters 11 and 13 allowing the interested public to make their own analyses.
Elsa Verlag
Dante Alighieri: Die Göttliche Komödie. Teilübersetzungen von Friedrich Wilhelm Joseph Schelling
2020 •
Dominik Meli
In addition to the over fifty complete translations of Dante Alighieri’s Divine Comedy listed on the website of the German Dante Society, there are numerous partial translations from the 18th century onwards, among them Friedrich Wilhelm Joseph Schelling’s translation of Hell, canto III., 1–9, Paradise, canto II., and Paradise, canto XXV. 1–9. The goal of this online publication is to make Schelling’s translations accessible without any commercial interests in mind. The text comparisons with the original Italian text in the second half of this publication shall allow the interested public to make their own analyses and comparisons. In addition, the translations as well as the original Italian texts have been colored according to the coloration concept outlined in “La Commedia Colorata”. Additionally, the two essays about the singularity of the Divine Comedy illustrate Schelling’s deep understanding of Dante’s masterpiece. Finally, the poem „Die letzten Worte des Pfarrers zu Drottning auf Seeland“ shows Schelling’s mastery of the Dantean rhyme scheme.
Elsa Verlag
Dante Alighieri: Die Göttliche Komödie. Deutsch von Carl Gustav Carus - Paradies 1. Gesang
2020 •
Dominik Meli
In addition to the over fifty complete translations of Dante Alighieri’s Divine Comedy listed on the website of the German Dante Society (see chapter 7), there are numerous partial translations from the 18th century onwards, among them Carl Gustav Carus’ translation of Paradiso canto I that was inspired by Martin Luther’s translation of Salomo’s “Song of Songs” in the Old Testament. Carus was a member of the informal Accademia Dantesca who helped reviewing Philalethes’ (pseudonym of King John of Saxony meaning “lover of truth”) translation of the Divine Comedy. The goal of this online publication is to make Carus’ translation accessible without any commercial interests in mind. The text comparisons with the original Italian text in the second half of this publication shall allow the interested public to make their own analyses and comparisons. In addition, the translation as well as the original Italian text has been colored according to the coloration concept outlined in “La Commedia Colorata”.
Elsa Verlag
Dante Alighieri: Die Göttliche Komödie. Deutsch von Karl August Förster - Hölle 5. Gesang (Francesca da Rimini)
In addition to the over fifty complete translations of Dante Alighieri’s Divine Comedy listed on the website of the German Dante Society, there are numerous partial translations from the 18th century onwards, among them Karl August Förster’s translation of Inferno canto V (Francesca da Rimini). The translation was first published in February 1808 in Christoph Martin Wieland’s Neuer Teutscher Merkur and reprinted twice: 1846 in the biographic and literary sketches of the life and time of Karl Förster and 1865 in the collection of 22 German translations of Inferno canto V. Although it was stated that Förster translated other canti of Dante’s Hell in his younger years—even the first 10 cantos of Dante’s Hell —only the 5th is listed in the available bibliographies. The goal of this online publication is to make Karl August Förster’s translation accessible without any commercial interests in mind. The text comparisons with the original Italian text in the second half of this publication shall allow the interested public to make their own analyses and comparisons. In addition, the translation as well as the original Italian text has been colored according to the coloration concept outlined in “La Commedia Colorata”.
Elsa Verlag
Dante Alighieri: Die göttliche Komödie. Übersetzt von Richard Eberwein - Text
2024 •
Dominik Meli
According to the list of the German Dante Society—the oldest international Dante society–over 50 translators have taken the trouble for years to translate Dante Alighieri’s Divine Comedy completely. In view of the quantity of verses (14,233 in total), the degree of difficulty and the complexity of the text, they all deserve to be honored—regardless of the result. With the exception of the prose translation by Lebrecht Bachenschwanz (1767-69) all complete translations have been published in the last 200 years, to begin with Karl Ludwig Kannegießer’s translation in 1821. 19 translations were published in the 19th century and 26 in the 20th century (the two versions by Richard Zoozmann counted as one). And there is no end to it in the foreseeable future as there are already seven other translations since the turn of the millennium and further translations are being prepared. The comparatively big number of Commedia translations—this is also the case in other language regions—results in the fact that many older translations fall into oblivion despite their quality and new editions are rather rare. Among all these works, Richard Eberwein’s translation—digitized from the typescript—is a novelty as it has never been published so far. In volume 2 of this series the translation is compared with the Italian original, in volume 3 the translation is color-coded according to the concept of the “Commedia Colorata”, and in volume 4 the color-coded translation is compared with the colored original text. The goal of these online publications is to make Richard Eberwein’s translations of Dante’s Commedia accessible without any commercial interests in mind. This shall allow the interested public to make their own analyses and comparisons.
Elsa Verlag
Dante Alighieri: Die göttliche Komödie. Übersetzt von Richard Eberwein. La Commedia Colorata
2024 •
Dominik Meli
Since the earliest manuscripts colors were used for Dante’s Divine Comedy, e. g. the color red for initials and canto indications as well as—on the lines of certain bible editions and similar publications—for labeling the rubrics (from Latin rubrum = red), the colors red and blue for initials and the whole palette for artful initials and illustrating miniatures. What didn’t exist so far is the coloration of the text according to the voices as shown in this edition. The differentiation by colors will help identifying the various speakers and levels of speech. Dante for example is at the same time narrator (black), protagonist (red) and author (red italic) as well as sender of messages (bold red) to concrete or abstract addressees. The numerous similes that anchor Dante’s afterworld to this world, the terrene part is set in red italic. In the bilingual edition of this series the corresponding verse numbers are highlighted in yellow. To mark the guides in the afterworld (Virgil, Beatrice, St. Bernhard) the color blue is used according to certain illuminated manuscripts. Green, purple, orange, dark teal, aqua, dark purple, etc. are used for other persons. A criterion for the choice of a color is, how well it differs from the other voices within a canto. Inscriptions like those on the gate of hell or on Anastasius’ tomb are marked in brown. Gold is used for abstract concepts like the scripture in heaven. Explanatory or educational insertions, as a contrast, are marked in a darker color in bold type, e. g. green-dark green, blue-dark purple, purple-dark purple. When the colored translation is put next to the Italian text (see the bilingual edition of this series), the corresponding parts can be immediately identified, thus facilitating further text analyses. For this colored edition, the capital letters at the beginning of the verses have been dissolved to point out the whole structure of a sentence. The goal of this publication is to illustrate the overwhelming beauty, the infinite variety and immense complexity of the Dantean text. Furthermore, the coloration proves that the majority of the text consists of direct speech whereas the narrative parts are relatively limited in size. In general, it shows how accurate the translation is.
IL NOVO GIORNO Mitteilungsblatt der Deutschen Dante-Gesellschaft
IL NOVO GIORNO Mitteilungsblatt der Deutschen Dante-Gesellschaft
2018 •
Andrea Renker
Das Mitteilungsblatt der Deutschen Dante-Gesellschaft erscheint jährlich. Neben der Kommunikation vereinsinterner Mitteilungen informiert es Mitglieder und Interessierte über Veranstaltungen und Veröffentlichungen, die zu Dante Alighieri und seinem Werk vor allem im deutsch sprachigen, auch im internationalen Kontext stattgefunden haben. Hinweise und Berichte über laufende Projekte, aktuelle Veranstaltungen oder Veröffentlichungen jeglicher Art sind jederzeit herzlich willkommen. Regulärer Einsendetermin ist am 1. März eines Jahres für die jeweils im Sommer erscheinende Ausgabe des Blattes. Weitere Informationen finden Sie auch auf der Homepage der DDG http://dante-gesellschaft.de/.
Zeitschrift für Literaturwissenschaft und Linguistik
Himmlische Klänge: Die Paradiso-Cantica in Dantes Divina Commedia
2013 •
Jörn Steigerwald
Ingegno-Inganno-diletto. Reden über Kunst bei Dante, Boccacio und Petrarca, In: Deutsches Dante Jahrbuch 2013
Dieter Blume
