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The Divine Comedy as a work cathartic

[...]
Transformed as 'the holy edifice Thrust forward heads
its parts,
Three on' the pole and one in each hand.
The first were horned like oxen, but the four
a single horn upon the forehead;
like monster never yet been seen.
Firm as a rock mountain high,
sit above her a whore dissolved
appeared to me with eyes swift glancing round, and
as if not to have removed,
I beheld her side a giant, and
baciavansi together some time .
But why
wanton, roving eye Turned upon me, her angry paramour
the scourge from head to foot;
then, suspect full ed'ira raw
loosed the monster, and drew him through the wood, so that only her
me
shield unto the whore and the strange beast.
[Purgatorio - Canto XXXII - verse 142/160]

The Divine Comedy, like all literary masterpieces, it never ceases to stimulate the imagination of his readers, leading each time to imaginary overwhelming that lend themselves beautifully - especially in the figurative - a virtually infinite interpretations.
Explain the Dante's Divine Comedy can be untied from all those restrictions on publishing the so-called "target" very often requires the freedom of action of the illustrator, subject to certain stylistic level performers.
When I was asked to participate in a group exhibition with an illustration drawn from the Purgatory, I was working for several months to a publishing project aimed at readers of 3 / 8 years, the protagonist of this project was a nice little group composed of hares, kittens, pandas (etc.), all completely equipped with soft smiles and winks. The scenarios were reassuring, playful and colorful with bright, vibrant colors. At that time, I mean, honey oozing from every pore!
Never was most propitious occasion to get away from quell'appiccicosa situation ... ever the occasion was more traumatic!
fact I was convinced that the most terrifying scenes end with the poem Hell I was wrong. The Purgatory hosts really awesome songs that expressive and originality have nothing to envy to the former.
In this sense, the song is exceptional XXXII.
and visionary, passionate, cruel.
behind those appearances are hidden allegories that evoke past events related to current events, despite the context and the actors have changed and are now past 700 years since the writing of the work.
Thanks to this, the catharsis Dante was even more purifying and refreshing!
Now please excuse me but I have to go .... a rabbit and an elephant waiting for me with their cute little smiles and winks!

PS
" guilt, PENALTY, THE ECSTASY IN DANTE . From Gustave Dore contemporary imagination" is the title of the exhibition that will open at 18, Friday, November 20 at Imola.
The exhibition is structured in two parts: first, the 135 pictures on display are the "divine" Gustave Dore created in 1861, in the second, the tables of contemporary illustrators, including myself.
The exhibition can be visited at Imola in the Gianni Polivante Centre Island, from 20 November 2009-7 January 2010.
for the occasion was published a nice catalog edited by Walter and Serena Simoni Pretolani.

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ideal bridge between school and the company. And 'NOW!

About two weeks ago, I attended the conference euphemistically called "The factory of beauty ... the beauty of the building".

the conference - in addition to representatives of various institutions - were some of the most important local companies (Staff International, Swinger, Incotex, Owl, etc.)..

The aim of the conference - that said - was the creation of "bridges" between the ideal fashion schools and local businesses. Great start, I thought naively. Finally, the school decides to confront the world of work.

shame, really, that what was to be a rapprochement between the two parts of the whole has been transformed into a process of blaming each other, on the one hand companies (rightly) complained about the poor quality of skills (linguistic, technical, etc) of the graduates, these other schools (all public, I later discovered) were square with some of the deleterious pillars of the Italian school: that the school should not be functional in the labor market, but the "formation" of the person, his inner life, of his being a citizen ... completely divorced from concrete projects that these citizens developed to give meaning to their lives.

It is not clear, in fact, how one can still argue that the work is "different" from the life of a citizen ... as if it had a value of educating the new generations. Certainly the school can not (and should) be reduced to a robot factory ready for the labor market, but must certainly addressing the question of what will become of these boys after "the scope" diploma. To do this, the school is (or should) listen to the demands of companies and make a quantum leap both on the content and on that methodology.

's usually when it comes to development of training systems, the Italian school system is hiding behind the well-abused "missing funds" ... as if taking a different perspective to the school depended on the amount of economic resources made available to make such a leap and cultural perspective.

I am very critical about it and they are mainly because the possibilities of change are in the hands of people: decide what teach and how to do is a choice and freedom of every teacher, not to mention that this is not to change the educational objectives of the know how to interpret and decide to join them along different paths.
entering in the school that hosted the conference, there were on display a number of houses built / designed by students. This ... this I figured I would have thought anyone who had stopped to watch them closely. "Not good for the carnival," I reiterated to the audience in front of my (critical) action.

apologizing publicly to students, perhaps, have thought that my criticism about them. The fault is never the students, such is not the fault of the children ... or ever player on a team. My observation was concerned, in fact, the professional perspective that was given to them, a simplistic view, trivial, what is fashion today.

I am convinced - the experience and relationships with the companies have confirmed this - there is a misunderstanding on what the act of "creating" fashion. Many, too many confuse it with being able to draw a figure "sympathetic" with the pretty face, lipstick and disheveled hair. The fashion culture that prevails in schools of every grade level and continues, in fact, churning out "good" sketches that designers will not see never the shelf of a boutique. And besides, as long as you do not start talking about "design" and "creativity" (and not being able to draw most of) the problem of schools, and their relationship with companies, will remain unsolved ... just like the remains unsolved problem related to what skills to educate their students.

And since not only good at criticizing, but also to propose design solutions (this bridge is built entirely) I'll take charge of launching a round table discussion on best practices on the formation of the fashion industry. Moreover, if the professional schools continue to lose students can not only be a matter of money spent in advertising. It is the product that needs to be changed, not the marketing. Fashion Ground Academy is ready to face. And you?