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Dante's Divine Internet

Dante Dante Alighieri The Divine Comedy Religion Philosophy psychology the inferno

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#61 Rolandvere

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Posted 29 October 2016 - 07:26 AM

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#62 status - Hotz

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Posted 17 November 2016 - 12:59 PM

HELL  EXPLAINED  BY  A CHEMISTRY STUDENT
 
The following is an actual question given  on a University of Arizona chemistry mid-term and an actual answer turned in by a student.
     
The answer by this student was so  'profound' that the professor shared  it with colleagues via the Internet which is, of course, why we now have the pleasure of enjoying it as well :
     
Bonus Question: Is Hell exothermic (gives off heat) or endothermic (absorbs heat)?
 
Most  of the students wrote proofs of their beliefs using Boyle's Law (gas cools when it expands and heats when it is compressed) or some variant.
 
One student, however, wrote the following:
 
First, we need to know how the mass of Hell is changing in time. So we need to know the rate at which souls are moving into Hell and the rate at which they are leaving, which is unlikely. I think that we can safely assume that once a soul gets to Hell, it will not leave. Therefore, no souls are leaving. As for how many souls are entering Hell, let's look at the different religions that exist in the world today.
 
Most of these religions state that if you are not a member of their religion, you will go to Hell. Since there is more than one of these religions and since people do not belong to more than one religion, we can project that all souls go to Hell.
 
With birth and death rates as they are, we can expect the number of souls in Hell to increase exponentially.  Now, we look at the rate of change of the volume in Hell because Boyle's Law states that in order for the temperature and pressure in Hell to stay the same, the volume of Hell has to expand proportionately as souls are added.
 
This  gives two possibilities:
     
1. If Hell is expanding at a slower rate than the rate at which souls enter Hell, then the temperature and pressure in Hell will increase until all Hell breaks loose.
     
2. If Hell is expanding at a rate faster than the increase of souls in Hell, then the temperature and pressure will drop until Hell freezes over.
 
So  which is it?
 
If we accept the postulate given to me by Teresa during my Freshman year that, 'It will be a cold day in Hell before I sleep with you' and take into account the fact that I slept with her last night, then it must be true and thus I am sure that
Hell is exothermic and has already frozen over.
     
The corollary of this theory is that since Hell has frozen over, it follows that it is not accepting any more souls and  is therefore, extinct...leaving only Heaven  thereby proving the existence of a divine being which explains why last night
Teresa kept shouting 'Oh  my God.'
 
THIS  STUDENT RECEIVED AN A+.
 

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#63 status - Guest

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Posted 28 November 2016 - 11:30 AM

In conclusion the inferno of the Earth is for our psyche, not for our body. When we die our body disintegrates and becomes dust but our psyche lives on. It all depends on the weight of our psyche, if our psyche is very heavy it will descend deeper into the abyss.
 
 
There are thoughtful notes and links on this thread.
 
:bumpsmall:
 
TY

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Posted 04 December 2016 - 12:32 PM

 

I don't have any kind of poetry or prose to offer for this thread. But, Dante has always been a fascinating subject for me. Always with the allegory and symbolism. 

 

 

 

:chuckle:

 

Thanks for the notes and thoughts on this thread. It helped with my own homework on the subject.

 

:Grin8:


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Posted 30 January 2017 - 09:46 PM

Aren't you clever. All your poetic nonsense won't get you anywhere. I can write good copyright. You should see some of it over where I roam. I'll give you all my delights! 

 

:smiley-says-lol:

 

:chuckle:

 

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#66 status - Guest

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Posted 05 May 2017 - 04:33 PM

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It's a cold place in this environment. 

 

Rigid with frozen treason. 

 

The acumen of the damned is cold business. 


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Posted 06 August 2017 - 10:00 PM

Gustave Doré
 
Gustave Doré's (1832-1883) illustrations and Dante's Divine Comedy have become so intimately connected that even today, nearly 150 years after their initial publication, the artist's rendering of the poet's text still determines our vision of the Commedia. Planned by Doré as early as 1855, the Dante illustrations were the first in a series he referred to as the "chefs-d'oeuvre de la littérature." In addition to Dante, Doré's list of illustrated great works included Homer, Ossian, Byron, Goethe, Racine, and Corneille. The placement of Dante's Commedia at the top of this list reflects the poet's popularity within mainstream French culture by the 1850s. While France's initial interest in Dante was confined to the episodes of Paolo and Francesca (Inf.5) and Ugolino (Inf.33), the 19th century saw an expansion of interest in Dante's work which resulted in numerous translations of the Commedia into French, critical studies,newspapers, and specialized journals, and over 200 works of painting and sculpture between 1800-1930. Doré's choice of Dante'sInferno as the first of his proposed series of illustrated masterpieces of literature reflects the extent to which Dante had attained popular appeal in France by the 1860s.
 
Finding it difficult to secure a publisher willing to take on the expense of producing the expensive folio edition the artist envisioned, Doré himself financed the publication of the first book of the series, Inferno, in 1861. The production was an immediate artistic and commercial success. Buoyed by the popularity of Doré's edition of the Inferno, Hachette published Purgatorio and Paradiso in 1868 as a single volume. Subsequently, Doré's Dante illustrations appeared in roughly 200 editions, with translations from the poet's original Italian available in multiple languages.
 
Of Doré's literary series, few enjoyed as great a success as his Commedia illustrations. Characterized by an eclectic mix of Michelangelesque nudes, northern traditions of sublime landscape, and elements of popular culture, Doré's Dante illustrations were considered among his crowning achievements– a perfect match of the artist's skill and the poet's vivid visual imagination. As one critic wrote in 1861 upon publication of the illustrated Inferno: "we are inclined to believe that the conception and the interpretation come from the same source, that Dante and Gustave Doré are communicating by occult and solemn conversations the secret of this Hell plowed by their souls, traveled, explored by them in every sense."
 
Aida Audeh Associate Professor of Art History, Hamline University
 
 

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#68 Feathers

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Posted 07 August 2017 - 01:52 PM

A good lecture on the Inferno. Not nearly enough detail about the work but the professor does give a a decent portrayal of what you can expect from reading it. Especially when it comes to all the allegory and metaphor.
 
 

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#69 Ludikrus

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Posted 11 August 2017 - 10:52 AM

Dante is always challenging because it challenges the inner self. Realizing deficiencies and taking steps to correct the delinquencies within the soul. This is a personal thing within each of us. Dismissing Dante in an altruistic sense is folly. His work offers a map to the inner being of the greater soul.


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