Literaly journey in the Tuscia of Divine Comedy. – In the field of Odeporic geography, many scholars have commented on the theme of the journey linked to the name of Dante Alighieri (Cavalieri, 2015; Ferroni, 2015) and as Ferroni (2015) claims we might consider conferring on Dante the competence of geographer. In fact, it is sufficient to read the descriptions of the various Italian places (which he directly or indirectly knows) and their physical-geographical aspects to understand, through a real journey in the Dantesque era, the characteristics of the landscape within which the Comedy is narrated. Through an in-depth reading of the cantos, the goal of this paper is to propose a Dantean itinerary in Tuscia, tracing places, symbols and images. The methodological analysis also included an online survey to verify the existence of similar proposals and a search to examine the feasibility of the itinerary. To achieve this result, ISTAT data (2019-2021) on the tourist movement in the area were also collected. The stages of the proposed itinerary, therefore, concern the historic center of Viterbo and the Urban Park of Bullicame, Bolsena and Bagnoregio.

“Paese guasto” and “il bel paese”. Italian places of the divine comedy and Revelli’s Dante. – The places of the Commedia are dressed of a meaning physical and symbolic at the same time, and, the echo of this description, appears strongly detailed in Dante’s verses. The evocative power of the places can be measured from an effective comparison with Eliot’s poem which, with clear evidence, is inextricably linked to Dante’s Commedia; the dead country, as Dante defines it, can definitely be compared to the adjective waste used by Eliot. This evocative connection allows Dante to still live as a fundamental reference point for modern Twentieth-century society. As it is customary in the stream of Italian intellectuals operating in the early Twentieth century, we cannot ignore the fascination of Dante’s exegesis; Paolo Revelli, geographer as well as “dantista”, brings to fulfilment the intellectual custom we have spoken of. Dante and Italy are two indissoluble names and Revelli understands and emphasizes Dante’s role in the geography of Italy.

The geography of the Divine Comedy: some remarks. – The geography of the Divine Comedy, although it is supplied with a dimension of proximity, defines a space basically symbolic which is by analogy to temporal synchrony, here action and space merge into a single reality that give substance to the Theatrum.
Dante’s sources of knowledge and geographical perception can be traced back to the observation of the “man of culture” and to his wanderings as exiled as well as to an apparatus of readings typical of the Florentine cul-ture on the threshold of Humanism.

Literary cartography: mapping Italy in the Divina Commedia. – The present contribution aims to collect the non-diegetic geographic-literary-visual elaborations inherent to the Divine Comedy taking into account two perspectives: that of “static” maps that re-propose the places of the Divine Comedy. And that of digital maps and computational initiatives proposed in alternative visual forms, taking advantage of modern virtual tools. Such innovative tools have made it possible to overcome a number of methodological limitations inherent in traditional cartography, and thus the information “loaded” onto the virtual map is greater in quantity, not
presenting the limitations, in terms of size, with which static maps are characterized instead.

The Geography of Dante explained to children. – During the 7th century since Dante’s death, a broad reflection on the character and his work has developed, particularly on the value the text retains in the present day.
This contribution has focused on the didactic potential that the text and the illustrations of the places of the Divine Comedy can have in order to introduce children to an understanding of the symbolic and paradigmatic value of the landscape.

Dante, Celestino and the Forgiveness: from the Comedy to a destination branding. – Despite references to Celestino V on the Divine Comedy are not clear, the lives of Dante Alighieri and the Pope are certainly intertwined. Dante’s expectations on a spiritual renewal of the Roman Church, disappointed by Celestino’s resignation, seem to find acknowledgment today in a series of actions devoted to promoting his main bequest, the Forgiveness, a new territorial brand that is also serving the purpose to help the territory of L’Aquila recover from the 2009 earthquake, especially in trying to fostering a tourism development around Celestino’s figure.