MDPI - Publisher of Open Access Journals

20 pages, 3805 KB

Open AccessArticle

Solvent Transfer and the Reimagining of Hell: Religious Narrative in Rauschenberg’s Inferno Series

by Donghang Wu, Xinjia Zhang and Fan Wang

Religions 2025, 16(10), 1290; https://doi.org/10.3390/rel16101290 - 10 Oct 2025

Viewed by 894

In an era of accelerating secularization, art serves as a vital mediator for non-institutional forms of spirituality. This article examines Robert Rauschenberg’s Inferno series (1958–1960) as a case study of how modern art reconfigures religious narratives to engage with humanity’s “ultimate concerns.” Through his solvent transfer technique, Rauschenberg dismantles Dante’s theological structure and reconfigures it into a fragmented, participatory experience of spirituality. The argument develops in two parts. First, it demonstrates how Rauschenberg secularizes sacred imagery to portray modern social realities as a “contemporary inferno” marked by systemic violence and commodified desire. Second, it theorizes that the materiality of solvent transfer—its blurring, erasure, and contingent traces—creates what may be called “material spirituality,” a sacred presence perceived through absence and indexical trace. Within this reconfigured structure, spectatorship itself takes on a ritualistic character. When confronted with fragmented and unstable imagery, viewers engage in active, contemplative practice, transforming the act of viewing into a secular ritual of attentiveness. Thus, Rauschenberg’s Inferno radically redefines the religious function of art—not as redemption, but as the cultivation of fragile yet enduring forms of spirituality within the estrangement of modern life. Full article

(This article belongs to the Special Issue Arts, Spirituality, and Religion)

► Show Figures

Figure 1

14 pages, 245 KB

Open AccessArticle

“Florentino Ariza Sat Bedazzled”: Initiating an Exploration of Literary Texts with Dante in the Undergraduate Seminar

by Sarah Faggioli

Religions 2019, 10(9), 496; https://doi.org/10.3390/rel10090496 - 22 Aug 2019

Viewed by 3386

Abstract

Dante’s Commedia provides a useful context or “frame” for a discussion of love in literature from the Middle Ages to the present day in the undergraduate seminar. Selected cantos of the Commedia can initiate an examination of love—lust, romantic love, caritas—and provide ways to analyze depictions of love by important authors. For example, Inferno Cantos I and III introduce the concept of the “journey”—Dante’s through the three realms of the afterlife, and our “journey” through a series of texts to be read over one semester. Dante’s education in Inferno constitutes an understanding of sin and of hell as the farthest place from God and His love. Moreover, in Canto I of Paradiso, Dante reiterates that God and His love can be found throughout creation “in some places more and in others less” (I: 3), and he concludes his poem with a vision of God and of the entire universe as moved by His love. Six great authors—Francis of Assisi, Vittoria Colonna, William Shakespeare, Jane Austen, Flannery O’Connor, and Gabriel García Márquez—articulate in their own words this very human experience of love, of loving something or loving someone. In the process, they illuminate both Dante’s experience in the afterlife and ours in the modern world. Full article

(This article belongs to the Special Issue Teaching Dante)

14 pages, 237 KB

Open AccessArticle

Starring Dante

by Albert Russell Ascoli

Religions 2019, 10(5), 319; https://doi.org/10.3390/rel10050319 - 13 May 2019

Cited by 1 | Viewed by 4445

Abstract

This essay offers an example of a guiding thread in my own research on and teaching of Dante’s Commedia. Specifically, I will follow a strand that leads us from Dante’s encounter with the “bella scola” of classical poets in Inferno Canto 4, through a key scene in the Purgatorio where Dante and his guide Virgil meet the late classical poet Statius, to the remarkable six-canto suite in the Heaven of the Stars, sign of Gemini, in which Dante-poet has Dante-character undergo a series doctrinal tests on the theological virtues. His successful response to the challenges posed by the apostles Peter, James, and Paul doubly authorizes him as poet and as Christian teacher of the highest order. These unique experiences as Dante is successively introduced to and made part of a rising series of elite groups, highlights his double role as humble student and prospective teacher of others. Among the various aims of this essay is to give a sample of a way in which teachers of the Commedia may address the perennial pedagogical problem of how to account for the extraordinary spectacle of a first-person epic that at once expresses deep piety with profound “charitas” (spiritual love) and appears as the absolute height of a self-aggrandizement seemingly inconsistent with Christian humility. Another is to suggest one possible strategy for teaching the Comedy as a whole, and especially the final canticle, the Paradiso, which even Dante himself notoriously thinks is “not for everyone”. Full article

(This article belongs to the Special Issue Teaching Dante)

Search Results (3)

Further Information

Guidelines

MDPI Initiatives

Follow MDPI

Saved Queries

Search Filter Reset All

Years

Feature Papers

Subjects

Journals

Article Types

Countries / Regions

Search Results (3)

Further Information

Guidelines

MDPI Initiatives

Follow MDPI