With this study, Maria Luisa Ardizzone adds to her pivotal investigations of the philosophical components of medieval poetry. She casts light on new intellectual scenarios by examining the auctoritates that in the twelfth and thirteenth...
moreWith this study, Maria Luisa Ardizzone adds to her pivotal investigations of the philosophical components of medieval poetry. She casts light on new intellectual scenarios by examining the auctoritates that in the twelfth and thirteenth centuries filtered through the guarded boundaries of theological orthodoxy into poetry. In Dante: Il paradigma intellettuale, which follows her monograph on Dante's primo amico (Guido Cavalcanti: The Other Middle Ages [University of Toronto Press, 2002]), Ardizzone presents the reader with a groundbreaking reading of a selection of poems included in Dante's Vita nova and Il convivio. Modeling her inquiry after his method of composition-gathering sources into a form that establishes new connections between them-Ardizzone identifies a paradigm that structures Dante's thought from the onset. Through this ''intellectual paradigm'' Ardizzone explains the nature of human ontology in Dante and rigorously documents the possibility, hinted at by Maria Corti in La felicità mentale: Nuove prospettive per Cavalcanti e Dante (Turin: Einaudi, 1983), of dating back the first nucleus of Il convivio to Dante's early years in Florence. In a passage from De vulgari eloquentia (2, viii), Dante compares writing to tying sticks together into a bundle. Adopting this simile, Ardizzone reads Dante's lines as composed sources pulled together and kept in balance even when they are drawn from contrasting doctrines. Her exegesis portrays Dante's cultural horizon as an enterprise that does not abide by a single and strictly orthodox tradition. In the conclusion of this formidable study, Dante is seen as responding to the collision of cultural universes in thirteenth-century Christian culture by comparing them, not by testing the truth of new content against the existing, mainstream one. Ardizzone concludes that for Dante the conciliatio consists of a system of contiguity that