Dante y Fellini: El sonido de la ciudad infernal

Abstract

In this contribution we propose the analysis of some auditorial elements that configure the acoustic landscape of the Città di Dite by Dante. With such an expression, the author of the Commedia defines hell and under the “urban” metaphore he starts the representation of spaces and characters that compose the work. The ontological darkness of the site calls for a constant presence of acoustic descriptions for the representation of the events: The process of becoming hell of Lucifer's city undergoes mainly an acoustic registry. The acoustic perceptions, infra-musical, constitute, an important transmission channel of the events. Such a narrative instrument is intensively exploited, in much older times than in the Cinema. We propose a relationship between the technique of Dante's acoustic narrative and that of Fellini, considered in Le tentazioni del dottor Antonio, one of the four episodes that constitute the collective film Boccaccio 70.