https://doi.org/10.25620/ci-02_20 Metamorphosing Dante: Appropriations, Manip- ulations, and Rewritings in the Twentieth and Twenty-First Centuries, ed. by Manuele Gragno- lati, Fabio Camillei, and Fabian Lampart, Cul- tural Inquiry, 2 (Vienna: Turia + Kant, 2011), pp. 339–53 DAVIDE LUGLIO ‘Anzichè allargare, dilaterai!’ Allegory and Mimesis from Dante’s Comedy to Pier Paolo Pasolini’s La Divina Mimesis CITE AS: Davide Luglio, ‘‘Anzichè allargare, dilaterai!’: Allegory and Mimesis from Dante’s Comedy to Pier Paolo Pasolini’s La Divina Mimesis’, in Metamorphosing Dante: Appropriations, Manipulations, and Rewrit- ings in the Twentieth and Twenty-First Centuries, ed. by Manuele Gragnolati, Fabio Camillei, and Fabian Lampart, Cultural Inquiry, 2 (Vienna: Turia + Kant, 2011), pp. 339–53 <https://doi.org/10. 25620/ci-02_20> RIGHTS STATEMENT: © by the author(s) is version is licensed under a Creative Commons Aribution- ShareAlike 4.0 International License. ABSTCT: Early in his life Pasolini showed interest in Dante: in a leer sent to Luciano Serra in 1945, he declared that ‘la questione di Dante è im- portantissima’. He later reaffirmed his interest in Dante in two aempts to rewrite the Commedia: La Mortaccia and La Divina Mimesis. La Mortaccia is an unfinished text from 1959 wrien as free indirect speech in Roman dialect, in which the author tells the story of a prostitute. Walking at night along the Via Tiburtina, she meets three ‘canacci lupi’, which she tries in vain to escape. Eventually Dante comes to her rescue and takes her to the Rebibbia jail. But by 1963, Pasolini had already leſt behind the project of La Mortaccia and its linguistic perspective, dependent on the legacy of the fiſties. In that year he mentioned La Divina Mimesis for the first time. In the seventh section of Poesia in forma di rosa (‘Progeo di opere future’), it is described as ‘opera, se mai ve ne fu, da farsi’: e ICI Berlin Repository is a multi-disciplinary open access archive for the dissemination of scientific research documents related to the ICI Berlin, whether they are originally published by ICI Berlin or elsewhere. Unless noted otherwise, the documents are made available under a Creative Commons Aribution-ShareAlike 4.o International License, which means that you are free to share and adapt the material, provided you give appropriate credit, indicate any changes, and distribute under the same license. See http://creativecommons.org/licenses/by-sa/4.0/ for further details. In particular, you should indicate all the information contained in the cite-as section above.