Moralizzare il capitale Dante’s Inferno di Henry Otto fra Emerson e Dickens

Edoardo Ripari

doi:10.5565/rev/dea.63

Moralizzare il capitale Dante’s Inferno di Henry Otto fra Emerson e Dickens

Autori

Edoardo Ripari Università di Bologna

PDF

Abstract

These pages aim to explore the big fortune of the forgotten film Dante’s Inferno directed in 1924 by Henry Otto, and to underline how it is influenced on one side by the peculiar dantism of Ralph Waldo Emerson and on the other by the populist sentimentalism of Dickens’ novel A Christmas Carol.

Parole chiave

Dante’s Inferno in silent movies, Dante in America, Ralph Waldo Emerson, Dickens

Riferimenti bibliografici

Alighieri D.- Emerson R.W., Vita Nuova, a cura di I. Candido, Torino, Aragno, 2012;

Barolini T.-Wayne Storey H. (edited by), Dante for the New Millennium, New York, Fordham University Press, 2003;

Bernardini A., L’inferno della Milano film, in «Bianco e Nero», XLVI, aprile-giugno 1985, pp. 90-111;

Bertman S., Dante’s Role in the Genesis of Dickens’s “A Christmas Carol”, «Dickens Quarterly» XXIV, 3 (2007), pp. 167-175

Bordwell D., Staiger J., Thompson K., The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, London, Routlegde, 1985;

Brunetta, G.P., Padre Dante che sei nei film, in G. Casadio (a cura di), Dante nel cinema, Ravenna, Longo, 1996, pp. 17-21.

Bush S., Dante’s Inferno (Helios), in “The Moving Picture World”, XI, January-March 1912;

Candido I., Poetry and Imagination, introduzione a Alighieri-Emerson 2012;

Colon S., Dickens’s Hard Times and Dantes’ Inferno, in «The Explicator Dante», LXV, 1 (22 settembre 2006), 31-33;

Colonnese Benni V., The Helios-Psiche Dante Trilogy, in A. A. Iannucci (edited by), Dante, Cinema and Television, Toronto, University of Toronto Press, 2004, pp. 51-73;

Crisafulli E., The Vision of Dante: Cary’s Translation of The Divine Comedy, Leicester, Troubador, 2003;

Dupont C., Collecting Dante in America at the End of the Nineteenth Century: John Zahm and Notre Dame, in «Papers of the Bibliographical Society of America», XCV (2001), 4, pp. 443-481;

Id., Reading and Collecting Dante in America, in «Harvard Library Bullettin», XXII (2011), 1, pp. 1-57;

Emerson R. W., Journals and Miscellaneous Notebooks, XVI, 1866-1882, edited by R.A. Bosco and G.M. Johnson, Cambridge and London, 1982;

Id., Condurre la vita, a cura di A.M. Nieddu, Torino, Aragno, 2008;

Havely N., Dante and the Early Italian Cinema: The 1911 Milano-Films Inferno and Italian Nationalism, in A. Audeh and N. Havely (edited by), Dante in the Long Nineteenth Century, Oxford, Oxford University Press, 2012;

Iannucci A. A., Dante and Hollywood, in Iannucci 2004, pp. 3-20;

Jhirad S.B., Dickens’s Inferno. The moral world of Charles Dickens, North Andover, MA, Leap Year Press, 2013;

King R.W., The Translator of Dante: the life, work and friendship of Henry Francis Cary (1772-1844), London, M. Secker, 1924;

Koch T.W., Dante in America, Boston, Ginn and Company (for the Dante Society), 1896;

Lummus D., Dante’s Inferno. Critical reception and influence, in Patrick Hunt (edited by), The Inferno by Dante, Pasadena, California, Salem Press, 2002, pp. 63-79;

Matthews J. S., The American Alighieri: receptions of Dante in the United States, 1818-1867, Iowa Research Online, University of Iowa, 2012;

Mazzotta G., Critical Essays on Dante, Boston, G.K. Hall, 1991;

Id., Refections on Dante Studies in America, in «Dante Studies», CXVIII (2000), pp. 323-330;

Mereghetti P., Una Francesca sexy nell’«Inferno» di celluloide del 1911. Un sorpresa. Il produttore ricco bruciato sul tempo da quello povero, in «Corriere della Sera», 9 luglio 2004;

Milbanck A., Dante and the Victorians, Manchester and New York, Manchester University Press, 1998;

Mitchell C. P., The Devil on the Screen. Feature Films Worldwide, 1913 through 2000, Jefferson, North Carolina and London, McFarland, 2002;

Nieddu A. M., Introduzione a R.W. Emerson 2008;

Parsons T. W., The First Ten Cantos of the Inferno of Dante Alighieri, newly translated into English verses, Boston, William D. Ticknor, M.DCCC.XLIII;

Punzi A., The Practice of the Circle. Individual, World, Permanence in Ralph Waldo Emerson, in «European Journal of Pragmatism and American Philosophy», II (2010), 1;

Ripari E., Storia cinematografica della letteratura italiana, Roma, Carocci, 2015;

Sewell C. S., Newest Reviews and Comments. Dante’s Inferno, in «The Moving Piture World», September-October 1924, LXX;

Soister J.T., Nicolella H., American Silent Horror, Science Fiction and Fantasy Feature Films, 1913-1929, Jefferson, North Carolina and London, MacFarland, 2012, I;

Straub J., The Transatlantic Dante in the Nineteenth Century: Literary Authority and Reception Histories, in E. Redling (edited by), Traveling Traditions. Nineteenth-CenturyCultural Concepts and Transatlantic Intellectual Networks, Berlin-Boston, De Gruyter, 2016, pp. 79-94;

Verduin K., Emerson, Dante and American Nationalism, in Audeh-Havely 2012, pp. 266-283;

Wagstaff C., Dante nell’immaginario cinematografico anglosassone, in G. Casadio (a cura di), Dante nel cinema, cit., pp. 35-43.

Moralizzare il capitale Dante’s Inferno di Henry Otto fra Emerson e Dickens

Autori

Abstract

Parole chiave

Riferimenti bibliografici

DOI

Pubblicato

Come citare

Downloads