Podcasts about sordello

Purgatorio di Dante: descrizione dei personaggi più importanti che il poeta incontra nella seconda cantica della Divina commedia.

After Dante shocks Judge Nino and the poet Sordello with the revelation of the pilgrim's own corporeality, Judge Nino launches into a disgusting diatribe about his "unfaithful wife," a pernicious bit of misogyny that threatens to derail COMEDY . . . or at least our appreciation of it.Join me, Mark Scarbrough, as we explore this difficult passage in PURGATORIO, one that must be addressed but leaves us with no good answers about works of art from the past.Here are the segments for this episode of WALKING WITH DANTE:[01:53] My English translation of the passage: PURGATORIO, Canto VIII, lines 64 - 84. If you'd like to read along or drop a comment about this passage to continue this difficult conversation with me, please go to my website: markscarbrough.com.[03:52] Dante's increasingly original language in COMEDY.[07:06] Giovanna and Beatrice, Judge Nino's earthly family: the center of his rage and a node of disgusting misogyny in COMEDY.[14:09] Judge Nino and the imagined death of his allegedly "unfaithful" wife.[15:37] Judge Nino's moderating anger and the emotional landscape of PURGATORIO, Canto VIII.[17:49] The problem with misogyny in a great poem.[24:03] Rereading PURGATORIO, Canto VIII, lines 64 - 84.

Sordello leads Dante down three steps into the valley of the kings. There, the pilgrim meets Judge Nino, perhaps a figure from Dante's own past, certainly a figure tied to a major character in INFERNO, and a figure who helps the poet "prove" that his journey was real, not imagined.Join me, Mark Scarbrough, as we explore this descent into the valley of the negligent rulers in the final bits of our time before the gate of Purgatory proper.Here are the segments of this episode of WALKING WITH DANTE:[01:53] My English translation of the passage: PURGATORIO, Canto VIII, lines 46 - 63. If you'd like to read long or drop a comment to continue the conversation, please go to my website: markscarbrough.com.[03:39] The further irony of sight in the dimness.[06:46] Noble Judge Nino of Pisa, a throwback to INFERNO.[10:48] Self-reflexivity and bolstered reality claims in COMEDY.[12:58] Fellowship after warfare: the nature of Purgatory.[14:39] Gaining the higher life by this journey--but how?[17:53] Being lost in Purgatory.[20:48] Rereading the passage: PURGATORIO, Canto VIII, lines 46 -63.

In the last episode of this podcast, we glossed (or explained) the long list of rulers who are in the darkening dale ahead of us, as well as Dante, Virgil, and Sordello.In this episode, let's ask interpretive questions of this long, difficult passage at the end of PURGATORIO, Canto VII. Some of these questions have answers; some, tentative answers; and some, mere speculation. But that's the intellectual fun of the walk with Dante!Join me, Mark Scarbrough, as I ask ten questions of this tough passage in PURGATORIO.Here are the segments for this episode of WALKING WITH DANTE:[02:06] My English translation of the passage: Purgatorio, Canto VII, lines 82 - 136. If you'd like to read along or drop a comment to continue the conversation, please go to my website: markscarbrough.com.[06:28] The ten questions: First, How do we know these are all "negligent rulers"?[09:45] How is the antiphon "Salve Regina" significant for this passage (and maybe for PURGATORIO as a whole)?[13:21] Is there an allegorical (or symbolic) significance to the "not steep" approach to this dale?[14:33] Does the passage verge toward nihilism?[16:15] Is Dante a proto-democratic thinker?[18:13] How is political power bestowed in Dante's day?[19:40] Is there humor in this passage?[22:16] How does Dante believe political power should be bestowed?[25:02] How are PURGATORIO Cantos VI and VII connected?[27:21] Who is the intended audience of this passage?

Help keep WALKING WITH DANTE sponsor-free by donating to help me cover its licensing, hosting, streaming, and royalty fees. You can use this PayPal link here to make a contribution.Sordello leads Virgil (and Dante the pilgrim, whom Sordello has hardly noticed) on to the beautiful dale on the lower slopes of Mount Purgatory.This passage is one of the first where the poet has to write about beauty. And in doing so, he has to renegotiate his position toward Virgil's great poem, THE AENEID.Join me, Mark Scarbrough, as we look at the steps up to the ridge that overlooks what will become the beautiful valley of the kings.Here are the segments for this episode of WALKING WITH DANTE:[01:13] My English translation of this passage: PURGATORIO, Canto VII, lines 64 - 81. If you'd like to read along, print it off, or drop a comment, please go to my website, markscarbrough.com.[03:37] With minimal effort, Sordello, Virgil, and Dante the pilgrim come to what seems to be the Elysian Fields of THE AENEID's afterlife.[07:23] Dante's poetry may not yet be astute enough to handle beauty, rather than terror.[13:05] If this spot in PURGATORIO is indeed an allusion to the Elysian Fields, then what of Limbo back in INFERNO?[18:42] Rereading all of PURGATORIO, Canto VII, through this moment: lines 1 - 81.

Help keep WALKING WITH DANTE sponsor-free. Your donation at this PayPal link helps cover streaming, hosting, website, and licensing fees for this podcast. Donate here.Virgil has turned the journey into his own--but now confronts not only his limits but perhaps everyone's as Sordello warns him (and Dante the pilgrim) that night is falling on Mount Purgatory.Join me, Mark Scarbrough, as we explore this very strange passage from PURGATORIO in which we find out for the first time that the Elysian Fields lies in front of us but that we'd better get there while we still can.Here are the segments of this episode of WALKING WITH DANTE:[02:09] My English translation of this passage: PURGATORIO, Canto VII, lines 37 - 63. If you'd like to read along, print it off, or continue the conversation, please go to my website, markscarbrough.com.[04:33] The passage seems to call back to Belacqua in PURGATORIO, Canto IV, and to show us that PURGATORIO is starting to wrap into itself.[08:07] Sordello "uses" a passage from THE AENEID to explain their movement on Mount Purgatory.[12:53] Sordello is only talking to Virgil, despite Dante standing right there.[15:35] Virgil asks questions about ability and the will--and the allegory gets very intense.[18:41] Sordello makes a gesture similar to the one Jesus makes in John 8 when the woman is caught in adultery.[21:12] When there's no light, stay where you are--or else you might have to move down.[23:16] Delight is the central motivation of PURGATORIO and even COMEDY as a whole. Too bad knowing that does Virgil no good.[24:48] Delight directs the will.[26:40] Love may move the fence but that movement is always costly.

If you'd like to donate to WALKING WITH DANTE to keep it afloat without sponsors, you can give some a little in any currency using this PayPal link.Sordello stands amazed in the presence of the great poet Virgil. The pilgrim Dante? Seemingly forgotten.Sordello wants to know how this classical poet got into Purgatory. So Virgil offers an explanation that reiterates what we know about Limbo but also redefines Limbo and perhaps causes Dante the poet to trip across the wires of his own thinking.Join me, Mark Scarbrough, as we watch Dante renegotiate the presence of Virgil in COMEDY once again, ever trying to come to terms with a pagan poet in a Christian poem.Here are the segments for this episode of WALKING WITH DANTE:[01:43] My English translation of the passage: PURGATORIO, Canto VII, lines 16 - 36. If you'd like to read along, print it off, or continue the conversation with me, please go to my website, markscarbrough.com.[03:49] How is Virgil the "glory of the Latins" as Sordello claims? What does that mean to Sordello (and to Dante)?[06:02] There are at least two ways to handle Sordello's claim: 1) Latin was Virgil's vernacular or 2) Virgil showed the capabilities of language itself.[10:28] Apparently, Sordello isn't bothered by Virgil's eternal status.[11:14] Virgil offers an overview of his journey. His. Is it his? What of Dante the pilgrim?[15:22] Virgil seems both to reiterate and to redefine our understanding of Limbo.[19:07] Dante wants the human will to be the mechanism of salvation but that notion runs contrary to the Christian doctrine of original sin.[21:40] Dante is renovating Virgil because Virgil is the prime way Dante can renovate classical learning.

Please help support WALKING WITH DANTE to keep it sponsor-free. You can make a donation in any currency using this PayPal link.We've come out of the invective against Italian strife and returned to the plot of COMEDY--and Dante the poet clearly wants to return Virgil to the center of the narrative's stage.But can he? How is Virgil's position negotiated and renegotiated as the damned Virgil walks on into the redeemed landscape.Join me, Mark Scarbrough, as I explore our return to storytelling in a passage in which Dante the pilgrim seems to fall through the cracks of Dante the poet's larger strategies.Here are the segments for this episode of WALKING WITH DANTE:[01:51] My English translation of this passage: PURGATORIO, Canto VII, lines 1 - 15. You can find it on my website, markscarbrough.com.[03:24] The emotional space that opens PURGATORIO, Canto VII, and may re-establish Virgil's position in COMEDY.[09:04] Virgil names himself for the first time in COMEDY and offers a rationale (maybe!) for his damnation. But isn't Cato always in the offing?[15:59] Sordello suddenly becomes uncertain (no longer a crouching lion?) in the face of the great poet.[18:27] The redeemed Sordello abases himself in front of the damned Virgil.

We've danced around the notion of Dante as the pilgrim and Dante as the poet and their competing voices in COMEDY for so many episodes--quite literally, years now. But does this split in Dante hold up? Why do we allow something to occur in interpretation which never occurs in the poem?Join me, Mark Scarbrough, for this interpolated episode of WALKING WITH DANTE. I want to engage in some rather high-level narrative theory to talk about why we need to make the split between pilgrim and poet, a split that COMEDY itself never makes.Here are the segments of this podcast episode:[01:15] My thesis: the pilgrim/poet split is a convenient fiction to allow us to come to terms with a polyvalent or multivocal work.[04:10] Nowhere in COMEDY is there a distinct moment when we see Dante the pilgrim and Dante the poet differentiated.[07:38] Sordello's lack of categorization (which sort of penitent is he?) gives Dante the narrative space to break the sequence of events (the "walk") and offer his invective.[11:39] There are wildly contradictory moments in COMEDY that break our neat pilgrim/poet split.[13:50] What are other examples of polyvalent or multivocal works? And why do we so value them?

Please consider supporting this work in WALKING WITH DANTE by donating to help me cover hosting, streaming, website, and licensing fees for this podcast by visiting this Paypal link here.The story (or narrative) of PURGATORIO comes to a halt in Canto VI and the poem turns into a political invective. There are interesting problems here: with metaphors, with history, with poetics, and with (perhaps) our own expectations. Join me, Mark Scarbrough, as I have to face my own expectations about COMEDY in this difficult canto of PURGATORIO.Here are the segments of this episode of WALKING WITH DANTE:[02:16] My English translation of the passage: PURGATORIO, Canto VI, lines 76 - 105. If you'd like to read along, print it off, or continue the conversation with me, please go to my website, markscarbrough.com.[05:48] Who was Justinian and why was he important to Dante?[09:58] Who was "German Albert," as well as his successors? And why were they important to Dante?[15:12] The opening third of the invective moves from a messy jumble of metaphors to a single, controlling metaphor. Is this movement enacting Dante's own political hopes?[19:47] Dante's politics are deeply troubling, as are our own: chaos calls for an iron fist.[21:52] Sordello is a crouching lion, a threat, because he represents the sort of poet Dante could have become.

Help support WALKING WITH DANTE by donating to cover hosting, licensing, streaming, and podcast fees at the PayPal link here.Virgil has come in for a bit of a whipping. But no worries! All is forgiven. Dante still sees Virgil as his liege in a feudal context, his ultimate guide.And together, they find a solitary soul on the slopes of Mount Purgatory: Sordello, a troubadour poet and Dante's second guide across the known universe.Join me, Mark Scarbrough, as we explore this intriguing figure who sits by himself, isolated and uncategorized in COMEDY's schematics.Here are the segments of this episode of WALKING WITH DANTE:[01:52] My English translation of the passage: PURGATORIO, Canto VI, lines 49 - 75. If you'd like to read along, print it off, or drop a comment to continue the conversation, please go to my website, markscarbrough.com.[04:27] How does Virgil know what he knows?[09:47] The poet Dante strangely interrupts the narrative sequence in this passage.[12:38] A busking break![13:36] The soul ahead is not only solitary physically, but also emotionally.[16:50] Who is Sordello? Dante's second guide across the known universe, a figure deeply connected to others across COMEDY, and a distinguished, late troubadour poet from Italy.[25:07] A read-through of the narrative section of PURGATORIO, Canto VI: lines 1 - 75.

Divina comedia Libro de Dante Alighieri CANTO NONO LA concubina del viejo Titón, desprendida de los brazos de su dulce amigo, alboreaba ya en los linderos orientales, reluciendo su frente de rica pedrería colocada en la forma del frío animal que sacude a la gente con la cola;[57] y ya por el lugar donde nos hallábamos había dado la Noche dos de los pasos con que asciende, y el tercero inclinaba hacia abajo su vuelo, cuando yo, que tenía conmigo la flaqueza de Adán, vencido del sueño, me tendí en la hierba sobre que estábamos sentados los cinco. A la hora del amanecer, cuando la golondrina empieza sus tristes endechas, quizá en memoria de sus primeros ayes, y cuando nuestro espíritu, más libre de los lazos de la carne y menos asediado de pensamientos, es casi divino en sus visiones, parecióme ver entre sueños un águila con plumas de oro suspendida del cielo, con las alas abiertas y preparada a bajar, y creía estar allí donde Ganimedes abandonó a los suyos, cuando fué arrebatado a la celestial asamblea. Yo pensaba entre mí: "Quizá esta águila tenga la costumbre de cazar aquí solamente, y puede ser que en otro sitio se desdeñe de levantar en alto la presa con sus garras." Después me pareció que, dando algunas vueltas, bajaba terrible como un rayo, y me arrebataba hasta la esfera del fuego, donde parecía que ardiésemos los dos; y de tal modo me quemaba aquel incendio imaginario, que se interrumpió súbitamente mi sueño. No de otra suerte se sobresaltó Aquiles revolviendo en torno suyo sus ojos desvelados y sin saber donde se encontraba, cuando su madre, robándolo a Quirón, le transportó dormido en sus brazos a la isla de Scyros, de donde le sacaron después los griegos, como me sobresalté yo, apenas huyó el sueño de mi rostro; y me puse pálido como el hombre a quien hiela el espanto. A mi lado estaba únicamente mi Protector; el Sol había salido hacía ya más de dos horas, y yo me hallaba con la cara vuelta hacia el mar. —No temas—dijo mi Señor—; tranquilízate, que estamos en buen lugar. Da rienda suelta a tu vigor, lejos de reprimirlo, pues has llegado ya junto al Purgatorio; mira allí el muro que le cerca en derredor; y mira la entrada en aquel sitio donde parece estar roto. Durante el alba que precede al día, cuando tu alma dormía dentro del cuerpo sobre las flores que allá abajo adornan el suelo, vino una dama y dijo: "Yo soy Lucía: déjame coger a ese que duerme, y haré que recorra más ágilmente su camino." Sordello se quedó con las otras nobles sombras; ella te cogió, y cuando fué de día, se vino hacia arriba y yo seguí sus huellas: aquí te dejó, habiéndome antes designado con sus bellos ojos aquella entrada abierta; y después, ella y tu sueño desaparecieron al mismo tiempo. Me quedé como el hombre que ve sus dudas convertidas en certidumbre, y cuyo miedo se trueca en fortaleza, cuando le han descubierto la verdad; y viéndome tranquilo mi Guía, empezó a subir por la calzada, y yo seguí tras él hacia lo alto. Lector: bien ves cómo ensalzo el objeto de mis cantos: no te admire, pues, si procuro sostenerlo cada vez con más arte. Nos aproximamos hasta llegar al sitio que antes me había parecido ser una rotura, semejante a la brecha que divide un muro; y vi una puerta a la cual se subía por tres gradas de diferentes colores, y un portero que aún no había proferido ninguna palabra. Y como yo abriese cada vez más los ojos, le vi sentado sobre la grada superior, con tan luminoso rostro, que no podía fijar en él mi vista. Tenía en la mano una espada desnuda, que reflejaba sus rayos hacia nosotros de tal modo, que en vano intentó fijar en ella mis miradas. —Decidme desde ahí: ¿qué queréis?—empezó a decir.—¿Dónde está el que os acompaña? Cuidad que vuestra llegada no os sea funesta.

Divina comedia Libro de Dante Alighieri CANTO OCTAVO ERA ya la hora en que se enternece el corazón de los navegantes, y renace su deseo de abrazar a los caros amigos, de quienes el mismo día se han despedido, y en que el novel viajero se compunge de amor, si oye a lo lejos alguna campana, que parezca plañir al moribundo día; cuando dejé de oír, y comencé a mirar a una de aquellas almas, que, puesta en pie, hacía señas con la mano en ademán de que las otras la escuchasen. Unió y levantó ambas palmas, dirigiendo sus ojos hacia Oriente, como si dijese a Dios: "Sólo en ti pienso;" y salió de su boca tan devotamente y con tan dulces notas el "Te lucis ante," que el placer me hizo salir fuera de mí. Aguza bien aquí la vista, ¡oh lector!, para descubrir la verdad; porque el velo es ahora tan sutil, que te será en efecto sumamente fácil atravesarlo. Vi luego a aquel ejército gentil, pálido y humilde, que en silencio contempla el cielo, como esperando algo; y vi salir de las alturas y descender al valle dos ángeles con dos espadas flamígeras, truncadas y privadas de sus puntas. Verdes como las tiernas hojas que acaban de brotar eran sus vestiduras, y agitadas por las plumas de sus alas, verdes también, flotaban por detrás a merced del viento. El uno se posó algo más arriba de donde estábamos; el otro descendió hacia el lado opuesto; de suerte que las almas quedaron entre ellos. Se distinguía perfectamente su blonda cabellera; pero al querer mirar sus facciones, se ofuscaba la vista, como se ofusca toda facultad, por la excesiva fuerza de las impresiones. —Ambos vienen del seno de María—dijo Sordello—para guardar el valle contra la serpiente, que acudirá a él en breve. Y yo, que no sabía por qué sitio había de venir, miré en torno mío, y helado de terror, me arrimé cuanto pude a las fieles espaldas. Sordello continuó: —Ahora descendamos hacia donde están esas grandes sombras, y hablaremos con ellas: les será muy grato veros. Sólo había descendido tres pasos, según creo, cuando ya me encontré abajo, y vi uno que me miraba como si hubiera querido conocerme. El aire iba ya obscureciéndose, pero no tanto que entre sus ojos y los míos no permitiese ver lo que antes por la distancia se ocultaba. Vino hacia mí, y yo me adelanté hacia él. ¡Noble juez! ¡Oh, Nino! ¡Con cuánto placer vi que no estabas entre los condenados! No hubo amistoso saludo que no nos dirigiésemos; después me preguntó: —¿Cuánto tiempo hace que has llegado al pie de este monte a través de las lejanas aguas? —¡Ah!—le dije—; esta mañana he llegado pasando por tristes lugares, y estoy aún en la primera vida; aunque al hacer este viaje, voy preparándome para la otra. Apenas oyeron mi respuesta, cuando Sordello y él retrocedieron como hombres poseídos de un repentino espanto. El primero se volvió hacia Virgilio, y el otro hacia uno que estaba sentado, gritando: "Ven, Conrado, ven a ver lo que Dios por su gracia permite." Después, dirigiéndose a mí, exclamó: —Por la singular gratitud que debes a Aquél que oculta de tal modo su primitivo origen, que no es posible penetrarlo, cuando estés más allá de las anchurosas aguas, di a mi Juana, que pida por mí allí donde se oyen los ruegos de los inocentes. No creo que su madre me ame ya, pues ha dejado las blancas tocas, que la desventurada echará de menos algún día. Por ella se comprende fácilmente cuánto dura en una mujer el fuego del amor, si la vista o el íntimo trato no lo alimenta. La víbora que campea en las armas del Milanés no le proporcionará tan hermosa sepultura como se la hubiera dado el gallo de Gallura.

Divina comedia Libro de Dante Alighieri CANTO SEPTIMO DESPUES de haber cambiado entre sí tres o cuatro veces corteses y halagüeños saludos, Sordello se hizo un poco atrás, y dijo: —¿Quiénes sois? —Mis huesos fueron sepultados por mandato de Octavio, antes que se hubiesen dirigido hacia esta montaña las almas dignas de subir hasta Dios. Yo soy Virgilio, que perdí el cielo por no tener fe, y no por otra culpa. Así respondió mi Guía. Como el que de improviso ve una cosa que le asombra, y a la que no sabe si dar o no crédito, diciendo: "es, no es," así se quedó aquél: después bajó los ojos, se adelantó humildemente hacia él, y le abrazó en el sitio del cuerpo donde alcanza el pequeño. —¡Oh gloria de los latinos—dijo—, por quién nuestra lengua demostró cuánto podía! ¡Honor eterno del lugar donde nací! ¿Qué mérito o qué gracia permite que yo te vea? Si es que soy digno de oír tus palabras, dime si vienes del Infierno, y de qué recinto. —He llegado hasta aquí pasando por todos los círculos del reino del llanto—respondióle—; la virtud del cielo me guía, y con ella vengo. No por lo que he hecho, sino por lo que no he hecho, he perdido la facultad de contemplar el alto Sol que tú deseas, y que conocí demasiado tarde. Allá abajo hay un lugar triste, no por los martirios, sino por las tinieblas, donde en vez de lamentos como gritos, sólo resuenan suspiros. Allí estoy yo con los inocentes párvulos, mordidos por los dientes de la muerte antes de que fueran lavados del pecado original. Allí estoy yo con aquellos que no se cubrieron con las tres virtudes santas, aunque, exentos de vicios, conocieron y observaron las demás. Pero danos algún indicio, si es que puedes y sabes, a fin de que lleguemos más pronto al sitio donde tiene verdadero principio el Purgatorio. Sordello respondió: —Aquí no tenemos designado un punto fijo, y a mí me es lícito subir andando alrededor por la montaña: te serviré de guía por todos los parajes hasta donde puedo llegar. Pero advierte que ya declina el día; y no siendo posible ir arriba de noche, convendrá que pensemos en buscar un buen abrigo. Algo lejos de aquí, a la derecha, hay algunas almas: si quieres, te conduciré adonde están, seguro de que te agradará conocerlas. —¿Cómo es eso?—le contestó—. Quien quisiera subir de noche, ¿se vería detenido por alguien? ¿O es acaso que no podría subir? El buen Sordello pasó su dedo por el suelo, diciendo: —¿Ves esta sola línea? Pues no la atravesarás después de haberse ocultado el Sol; no por otra causa, sino porque te lo impedirán las tinieblas nocturnas; las cuales, con la impotencia que originan, contrarrestan la voluntad. Con ellas, podríase muy bien volver abajo y recorrer la cuesta vagando en torno, mientras el día esté bajo el horizonte. Entonces mi Señor, como asombrado, repuso: —Condúcenos adonde dices que puede ser agradable permanecer. Nos habíamos alejado un poco de allí, cuando eché de ver que el monte estaba hendido como los valles que hay en nuestro hemisferio.

Divina comedia Libro de Dante Alighieri CANTO SEXTO CUANDO, acabado el juego de la zara, se desparten los jugadores, el que pierde se queda triste, pensando en las jugadas, y aprendiendo entonces con sentimiento el modo de que debió haberse valido para ganar: con el ganancioso se van los circunstantes; y uno por delante, otro por detrás y otro por el lado procuran hacerse presentes al afortunado; éste no se detiene aunque los escucha a todos, hasta que tiende a uno su mano, que por ello deja de atosigarle, librándose así de los empujones de la multitud. Así estaba yo en medio de aquella compacta muchedumbre de almas, volviendo a uno y otro lado el rostro, hasta que, merced a mis promesas, pude desprenderme de ellas. Allí estaban el Aretino que recibió la muerte de los brazos crueles de Ghin di Tacco, y el otro que se ahogó al darle caza sus enemigos. Allí oraba, con los brazos extendidos, Federico Novello, y aquel de Pisa, que dió ocasión de demostrar la grandeza de su alma al buen Marzucco. Vi al conde Orso, y a aquella alma separada de su cuerpo por hastío y por envidia, como ella misma decía, y no por sus culpas; a Pedro de la Broccia, digo: y bien es menester que provea en ello la princesa de Brabante, mientras esté por acá, si no quiere verse colocada entre peores compañeros. Cuando me vi libre de todas aquellas sombras, que rogaban para que otros rogasen por ellas, a fin de abreviar el tiempo de su purificación, empecé a decir: —Parece que me niegas expresamente en algún texto, ¡oh luz que desvaneces mis dudas!, que la oración aplaca los decretos del cielo; y sin embargo, esta gente ruega para conseguirlo. ¿Será, pues, vana su esperanza? ¿O es que no he comprendido bien el sentido de tus palabras? A lo que me contestó: —Lo que escribí es muy claro, y la esperanza de ésos no se verá fallida, si se examina con recto sentido. No se menoscaba el alto juicio divino, porque el fuego amoroso de la caridad cumpla en un instante lo que deben satisfacer los que aquí están relegados; y allí, donde senté tal máxima, la oración no tenía la virtud de borrar las faltas, porque el objeto de aquélla estaba alejado de Dios. No te detenga, sin embargo, tan profunda duda, hasta que te la desvanezca aquélla que ha de iluminar tu entendimiento, mostrándole la verdad. No sé si me entiendes: hablo de Beatriz, a quien verás risueña y feliz sobre la cumbre de este monte. Yo repuse: —Mi buen Guía, caminemos más de prisa: pues ya no me canso tanto como antes, y la montaña proyecta su sombra hacia este lado. —Avanzaremos hoy tanto como podamos—me respondió—; pero el camino es muy diferente de lo que te figuras. Antes que lleguemos arriba, verás volver a aquel que ahora se oculta tras de la cuesta, y cuyos rayos no quiebras en este momento. Pero ve allí un alma que, inmóvil y completamente sola, dirige hacia nosotros sus miradas: ella nos enseñará el camino más corto. Llegamos junto a ella. ¡Oh alma lombarda, cuán altanera y desdeñosa estabas, y cuán noble y grave era el movimiento de tus ojos! Ella no nos decía nada; pero dejaba que nos aproximásemos, mirando únicamente como el león cuando reposa. Virgilio se le acercó, rogándole que nos enseñase la subida más fácil; pero ella, sin contestar a su pregunta, quiso informarse acerca de nuestro país y de nuestra vida; y al empezar mi Guía a decir. "Mantua...," la sombra, que antes estaba como concentrada en sí misma, corrió hacia él desde el sitio en que se encontraba, diciendo: "¡Oh, mantuano!, yo soy Sordello, de tu tierra." Y se abrazaron mutuamente.

C'est un expert de la course à pied. Il est entraîneur, coureur depuis plus de 25 ans et auteur de "La Bible du running", publiée aux éditions Amphora. Jérôme Sordello est l'invité cette semaine d'RMC Running. Dans cet ouvrage de 24 chapitres et de 730 pages, Jérôme donne des conseils pour progresser. Que vous soyez un athlète amateur ou un athlète confirmé, que vous ayez des objectifs sur une courte distance, sur 10 kilomètres, sur semi-marathon ou marathon, vous trouverez tout dans ce livre : des méthodes d'entraînements, les séances clés, mais aussi des conseils pour la récupération, la nutrition ou encore le sommeil. La séance de la semaine, elle, sera consacrée à la technique de la course à pied ! Et, dans cet épisode, auditeurs fidèles d'RMC Running, on vous fait gagner un exemplaire de "La Bible du running" !

Über 1 Million Menschen sterben nach Schätzung der WHO jedes Jahr an antibiotikaresistenten Bakterien. Das Problem ist vielfältig: Viel zu oft werden Antibiotika verschrieben, in einigen Ländern sind sie sogar frei verfügbar. In der Tierhaltung werden sie oft prophylaktisch in größeren Ställen gegeben. Außerdem werden kaum neue Medikamente entwickelt - der Markt regelt eben nicht alles. Wissenschaftsjournalistin Daniela Remus erklärt im Gespräch mit Host Lucie Kluth, warum das so ist, wie Antibiotika überhaupt wirken und was das für die Gefahr bedeutet, sich im Krankenhaus mit multiresistente Keimen zu infizieren. Sie erklärt, warum Pilzesammeln im Wald Hoffnung bieten kann - und sie nimmt uns mit ins Labor am Helmholtz-Zentrum in Braunschweig, wo Naturstoffe auf ihre antibiotische Wirkung hin untersucht werden.  Die Hintergrundinformationen Helmhotz Zentrum für Infektionsforschung in Braunschweig, Forschungsgruppe von Prof. Mark Brönstrup: Neue Wirkstoffe Testolin, G., Cirnski, K., Rox, K., Prochnow, H., Fetz, V., Grandclaudon, C., Mollner, T., Baiyoumy, A., Ritter, A., Leitner, C., Krull, J., van den Heuvel, J., Vassort, A, Sordello, S., Hamed, M.M., Elgaher, W.A.M., Herrmann, J., Hartmann, R.W., Müller, R., and Brönstrup, M. (2020). Synthetic studies of cystobactamids as antibiotics and bacterial imaging carriers lead to compounds with high in vivo efficacy. Chemical Science, 11, 1316 – 1334. Peukert, C.; Popat Gholap, S.; Green, O.; Pinkert, L.; Van den Heuvel, J.; Van Ham, M.; Shabat, D.; Broenstrup. M. (2022). Enzyme-activated, Chemiluminescent Siderophore-Dioxetane Probes Enable the Selective and Highly Sensitive Detection of Bacterial ESKAPE Pathogens. Angewandte Chemie International Edition. Pinkert,L.; Lai,Y.H.; Peukert,C.; Hotop,S.K.; Karge,B.; Schulze,L.M.; Grunenberg,J.; Brönstrup,M.; (Jahr: 2021). Antibiotic Conjugates with an Artificial MECAM-Based Siderophore Are Potent Agents against Gram-Positive and Gram-Negative Bacterial Pathogens. In: J.Med.Chem.  Zur Pilz-Forschung von Prof. Marc Stadler: Helmholtz Zentrum für Infektionsforschung Helaly SE, Thongbai B, Stadler M (2018). Diversity of biologically active secondary metabolites from endophytic and saprotrophic fungi of the ascomycete order Xylariales. Nat Prod Rep, 35:992-1014 Sandargo B, Chepkirui C, Cheng T, Chaverra-Munoz L, Thongbai B, Stadler M, Hüttel S (2019). Biological and chemical diversity go hand in hand: Basidomycota as source of new pharmaceuticals and agrochemicals. Biotechnology Adv, in press. Eger, E. , Schwabe, M. , Schulig, L.2 , Hübner, N. , Bohnert, J., Bornscheuer, U. , Heiden, S., Müller, J. , Adnan, F., Becker, K., Correa-Martinez, C., Guenther, S., Idelevich, E., Baecker, D., Schaufler, K.. Extensively Drug-Resistant Klebsiella pneumoniae Counteracts Fitness and Virulence Costs That Accompanied Ceftazidime-Avibactam Resistance Acquisition | Microbiology Spectrum, 2022, 18.04.22 Artikel: https://pubmed.ncbi.nlm.nih.gov/35435751/ Schaufler, K. Der Kampf gegen resistente Bakterien. Biospektrum 28, 222 (2022).

Über 1 Million Menschen sterben nach Schätzung der WHO jedes Jahr an antibiotikaresistenten Bakterien. Das Problem ist vielfältig: Viel zu oft werden Antibiotika verschrieben, in einigen Ländern sind sie sogar frei verfügbar. In der Tierhaltung werden sie oft prophylaktisch in größeren Ställen gegeben. Außerdem werden kaum neue Medikamente entwickelt - der Markt regelt eben nicht alles. Wissenschaftsjournalistin Daniela Remus erklärt im Gespräch mit Host Lucie Kluth, warum das so ist, wie Antibiotika überhaupt wirken und was das für die Gefahr bedeutet, sich im Krankenhaus mit multiresistente Keimen zu infizieren. Sie erklärt, warum Pilzesammeln im Wald Hoffnung bieten kann - und sie nimmt uns mit ins Labor am Helmholtz-Zentrum in Braunschweig, wo Naturstoffe auf ihre antibiotische Wirkung hin untersucht werden.  Die Hintergrundinformationen Helmhotz Zentrum für Infektionsforschung in Braunschweig, Forschungsgruppe von Prof. Mark Brönstrup: Neue Wirkstoffe Testolin, G., Cirnski, K., Rox, K., Prochnow, H., Fetz, V., Grandclaudon, C., Mollner, T., Baiyoumy, A., Ritter, A., Leitner, C., Krull, J., van den Heuvel, J., Vassort, A, Sordello, S., Hamed, M.M., Elgaher, W.A.M., Herrmann, J., Hartmann, R.W., Müller, R., and Brönstrup, M. (2020). Synthetic studies of cystobactamids as antibiotics and bacterial imaging carriers lead to compounds with high in vivo efficacy. Chemical Science, 11, 1316 – 1334. Peukert, C.; Popat Gholap, S.; Green, O.; Pinkert, L.; Van den Heuvel, J.; Van Ham, M.; Shabat, D.; Broenstrup. M. (2022). Enzyme-activated, Chemiluminescent Siderophore-Dioxetane Probes Enable the Selective and Highly Sensitive Detection of Bacterial ESKAPE Pathogens. Angewandte Chemie International Edition. Pinkert,L.; Lai,Y.H.; Peukert,C.; Hotop,S.K.; Karge,B.; Schulze,L.M.; Grunenberg,J.; Brönstrup,M.; (Jahr: 2021). Antibiotic Conjugates with an Artificial MECAM-Based Siderophore Are Potent Agents against Gram-Positive and Gram-Negative Bacterial Pathogens. In: J.Med.Chem.  Zur Pilz-Forschung von Prof. Marc Stadler: Helmholtz Zentrum für Infektionsforschung Helaly SE, Thongbai B, Stadler M (2018). Diversity of biologically active secondary metabolites from endophytic and saprotrophic fungi of the ascomycete order Xylariales. Nat Prod Rep, 35:992-1014 Sandargo B, Chepkirui C, Cheng T, Chaverra-Munoz L, Thongbai B, Stadler M, Hüttel S (2019). Biological and chemical diversity go hand in hand: Basidomycota as source of new pharmaceuticals and agrochemicals. Biotechnology Adv, in press. Eger, E. , Schwabe, M. , Schulig, L.2 , Hübner, N. , Bohnert, J., Bornscheuer, U. , Heiden, S., Müller, J. , Adnan, F., Becker, K., Correa-Martinez, C., Guenther, S., Idelevich, E., Baecker, D., Schaufler, K.. Extensively Drug-Resistant Klebsiella pneumoniae Counteracts Fitness and Virulence Costs That Accompanied Ceftazidime-Avibactam Resistance Acquisition | Microbiology Spectrum, 2022, 18.04.22 Artikel: https://pubmed.ncbi.nlm.nih.gov/35435751/ Schaufler, K. Der Kampf gegen resistente Bakterien. Biospektrum 28, 222 (2022).

Canto VI, dove si tratta di quella medesima qualitade, dove si purga la predetta mala volontà di vendicare la 'ngiuria, e per questo si ritarda sua confessione, e dove truova e nomina Sordello da Mantua.

A look at Sordello's most famous Poem, and how Dante draws inspiration from it in his description of the Valley of Princes in Canto VII of the Purgatory.Enjoy!

Steve Sordello has spent nearly three decades working for some of the most iconic technology companies in Silicon Valley. Steve brings a diverse background in strategy, operational and financial management, mergers and acquisitions, and corporate leadership. Steve has served as the CFO of LinkedIn Corporation (LNKD), the online business networking service.During his tenure at LinkedIn, he oversaw LinkedIn's successful IPO, scaled the company from $10M to over $8B in revenue, raised critical capital and completed multiple private and public acquisitions, including LinkedIn's $26.2B merger with Microsoft where Steve has since continued to play a key leadership role in its success.Prior to LinkedIn, Steve served as CFO of TiVo, Inc. (TIVO), a manufacturer of digital video recorders, where he helped drive the company to profitability. Prior to TiVo, he served as CFO at Ask Jeeves, Inc. (ASKJ), an internet search engine company where he drove the dot-com turnaround, building a high-growth, highly profitable business and was instrumental in its sale to IAC in 2005. Steve also held senior roles at Adobe Systems, Inc. (ADBE), the global leader in digital media and digital marketing solutions. At Adobe, he drove the overall planning process and worked on a number of critical projects, including driving the financial analysis behind the acquisition of Photoshop, the launch of the Creative Bundle Suite, and the product launch of Acrobat. Prior to Adobe, Steve started his career on a rotation program at Syntex Corporation, a pharmaceutical company that was acquired by Roche Pharmaceuticals in 1994.Steve also serves as an independent director and audit committee chair at publicly traded Atlassian (TEAM), a leading provider of collaboration, development, and issue-tracking software, as an independent director at publicly traded Compass (COMP), a real estate technology company, and as a non-profit board member, trustee, and audit committee chair at Santa Clara University. Steve also served as an independent director and audit committee chair at publicly traded Cloudera (CLDR) up to its merger with Hortonworks in 2019.

In which Sordello describes a company of failed earthly rulers.

In which we meet Sordello.

L'histoire pourrait être simplement celle d'un coureur, de ses entraînements, de ses exploits, ses médailles… Pourtant, Jérôme Sordello est un peu plus que tout cela. Runner aguerri depuis sa plus tendre enfance, il est aujourd'hui un jeune homme assoiffé de connaissances qu'il a à cœur de partager.  Vendeur chez Decathlon, journaliste et coach, il accompagne ses collègues dans leurs plans d'entraînement et plus généralement tous les sportifs grâce à ses différents livres publiés, dont la célèbre “Bible du Running”.  Son secret ? Sa curiosité sans fin qui l'a emmené jusqu'au Kenya. Là-bas, aux premières loges, il suit les entraînements des plus grand·es champion·nes de course à pied, afin de comprendre leurs performances dominantes sur les grandes compétitions internationales. Portrait d'un sportif passionné et inspirant…  Et si, cette histoire vous a plu, n'hésitez pas à la partager à votre entourage et sur vos réseaux, et nous laisser un commentaire, une note étoiles sur Apple Podcast, Itunes.  On suivra ça avec attention !  Vous pouvez aussi vous abonner au podcast, cela vous permettra de récupérer les épisodes directement sur votre téléphone mobile, et les écouter dans vos déplacements Producteur : Pipo et Lola : https://pipoetlola.com/

A cura di Paolo PellegriniCio Cio San, Renata Tebaldi Pinkerton, Carlo Bergonzi Sharpless, Enzo Sordello Suzuki, Fiorenza Cossotto Kate Pinkerton, Lidia Nerozzi Goro, Angelo Mercuriali Il principe Yamadori, Michele Cazzato Lo zio Bonzo, Paolo Washington Il commissario imperiale, Virgilio Carbonari Yakusidè, Oscar Nanni L'ufficiale del Registro, Oscar Nanni Coro e Orchestra dell' Accademia Nationale di Santa Cecilia Tullio Serafin, direttore

In this podcast, Fr. Branson and Donovan talk through Virgil and Dante's encounter with Sordello which Dante uses as a call for Italian unity. After we enter into the Valley of Princes for those who placed worldly pursuits above spiritual ones until the very end. Here we encounter Judge Nino, a serpent, and the head of the Malaspina clan in addition to talking about the theological virtues. Join our reading group here: https://gtcc.co/dantegroupme Listen to our main podcast here: https://gtcc.co/podcast

Robert Browning (7 May 1812 – 12 December 1889) was an English poet and playwright whose dramatic monologues put him among the foremost Victorian poets. His poems are noted for irony, characterization, dark humour, social commentary, historical settings and challenging vocabulary and syntax. His career began well, but shrank for a time. The long poems Pauline (1833) and Paracelsus (1835) were acclaimed, but in 1840 Sordello was seen as wilfully obscure. His renown took over a decade to return, by which time he had moved from Shelleyan forms to a more personal style. In 1846 Browning married the older poet Elizabeth Barrett and went to live in Italy. By her death in 1861 he had published the collection Men and Women (1855). His Dramatis Personae (1864) and book-length epic poem The Ring and the Book (1868–1869) made him a leading British poet. He continued to write prolifically, but his reputation today rests mainly on his middle period. By his death in 1889, he was seen as a sage and philosopher-poet who had fed into Victorian social and political discourse. Societies for studying his work formed in his lifetime and survived in Britain and the United States into the 20th century.Bio via Wikipedia See acast.com/privacy for privacy and opt-out information.

In this episode we'll cover chapter 5-7 in the Ante-Purgatory, where the Pilgrim and Virgil meet Sordello, as a new Guide who is a Roman Poet but also had Faith and is among the saved souls. There is also an incredible beauty as they enter the Valley of Princes, with the fourth group of souls, and they have to stop as the first day is coming to end, in the dusk and twilight. Enjoy! Recommended version for joining this series is Mark Musa's Penguin Classics Edition here: https://amzn.com/0140444424

Dante is sidelined for a while as Virgil and Sordello talk about merit, and discuss the way no one in this region has the will to progress when it's night. And since it's soon going to be night, Sordello proposes to show them a nice place they can spend the night in: the Valley of the Princes. They go there and Sordello points out several of the rulers sitting together in the valley.

Virgil and Sordello embrace again, before Sordello explains they must find a safe place for the night.

Steve Sordello is the CFO of LinkedIn and serves on Santa Clara’s Board of Trustees. Prior to LinkedIn, Steve was CFO of TiVo, CFO of Ask Jeeves, and held senior management roles at Adobe Systems and Syntex (now part of Roche). Steve holds a MBA from Santa Clara and a degree in business administration. Raised in the Bay Area, Steve grew up working amid his parents’ apricot, prune and walnut orchards.In this conversation, we discuss lessons Steve learned from his CFO roles, differences between small and large companies, how LinkedIn is mapping the global economy, how Steve balances short-term shareholder obligations with long-term social impact, and what career advice Steve would give college students. See acast.com/privacy for privacy and opt-out information.

In this lecture, we discuss: (a) the late-repentant: unabsolved/violent death with Buonconte da Montefeltro and Pia Tolomei; (b) the late-repentant: negligent with Sordello; and (c) we consider the drama of the angels and serpent, the gate of Purgatory, and various ways Dante portrays the purgatorial act by means of allegory. --- Send in a voice message: https://anchor.fm/alexander-schmid9/message Support this podcast: https://anchor.fm/alexander-schmid9/support

In this episode, we discuss (a) Sordello and prayer, (b) the drama of the Angels and the Serpent, and (c) the dream of Ganymede and Jupiter. --- Send in a voice message: https://anchor.fm/alexander-schmid9/message Support this podcast: https://anchor.fm/alexander-schmid9/support

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Gran Premio Nuvolari Se la Mille Miglia è la gara per auto storiche più evocativa al mondo, il Gran Premio Nuvolari non è certo da meno. Organizzato da Mantova Corse in collaborazione con il Museo Tazio Nuvolari, il Gran Premio Nuvolari ha celebrato quest’anno la sua 21esima edizione nel fine settimana del 16-18 settembre scorso. Quasi 300 le vetture d’epoca – prodotte esclusivamente dal 1919 al 1969 – al via in piazza Sordello a Mantova che hanno attraversato i centri storici più suggestivi del nord e del centro Italia, attraverso 61 prove cronometrate distribuite sui 1.000 km di competizione. E di competizione vera si tratta. Più che in qualsiasi altra gara di regolarità per “veteran”, il GP Nuvolari mette a dura prova gli equipaggi giunti a Mantova con spirito battagliero ma da veri gentlemen driver. Emozionanti i passaggi in piazza del Campo a Siena… in piazza dei Miracoli a Pisa… sotto gli sbandieratori di Arezzo… e al felliniano Grand Hotel di Rimini per la cena di gala ospitata da Audi, main sponsor da oltre 10 anni del GP Nuvolari. Alla fine, la coppia Giuliano Canè - Laura Confalonieri, al volante di una Lancia Aprilia del 1938, ha riportato una vittoria di misura in questa edizione speciale, inserita ufficialmente nel calendario eventi del 150° dell’Unità d’Italia. Canè-Confalonieri hanno preceduto sul traguardo mantovano la coppia campione in carica Vesco-Guerini su Fiat 508 S Balilla Sport del 1934 e l’equipaggio Fortin-Pilè su Fiat 600 del 1957. Tra le donne si sono imposte Boni e Barziza su Lancia Aprilia del 1949, mentre la coppa “Franco Marenghi” è andata ai motociclisti della Polizia di Stato, per il primo anno a fianco dell’evento a garantire un servizio di sicurezza di alto livello. Anche noi di Ruote in Pista ci siamo cimentati per la prima volta in questa specialità con un risultato onorevole seppur nella parte bassa della classifica… La nostra vena corsaiola ha prevalso sulla costanza facendoci bruciare qualche tappa...con le conseguenti penalità di rito... Ci ripromettiamo di migliorare il risultato il prossimo anno, ma intanto archiviamo un week end divertente all’insegna dei motori... di una volta!

This lecture covers Purgatorio 5, 6, 9 and 10. The purgatorial theme of freedom introduced in the previous lecture is revisted in the context of canto 5, where Buonconte da Montefeltro’s appearance among the last minute penitents is read as a critique of the genealogical bonds of natural necessity. The poet passes from natural to civic ancestry in Purgatorio 6, where the mutual affection of Virgil and Sordello, a former citizen of the classical poet’s native Mantua, sparks an invective against the mutual enmity that enslaves contemporary Italy. The transition from ante-Purgatory to Purgatory proper in canto 9 leads to an elaboration on the moral and poetic structure of Purgatorio, exemplified on the terrace of pride in canto 10.

This lecture covers Purgatorio 5, 6, 9 and 10. The purgatorial theme of freedom introduced in the previous lecture is revisted in the context of canto 5, where Buonconte da Montefeltro’s appearance among the last minute penitents is read as a critique of the genealogical bonds of natural necessity. The poet passes from natural to civic ancestry in Purgatorio 6, where the mutual affection of Virgil and Sordello, a former citizen of the classical poet’s native Mantua, sparks an invective against the mutual enmity that enslaves contemporary Italy. The transition from ante-Purgatory to Purgatory proper in canto 9 leads to an elaboration on the moral and poetic structure of Purgatorio, exemplified on the terrace of pride in canto 10.

Sordello

A look at the Sordello's most famous Provençal Poem "Blacatz" (c. 1240), and how Dante draws inspiration from this poem in his description of the Valley of Princes in Canto VII of the Purgatory.Enjoy!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy