David Bowe

Victoria Maltby Junior Research Fellow
MA (Oxon), MSt, DPhil
Faculty of Medieval and Modern Languages (sub faculty of Italian)

David is currently working on representations of female and feminine voices in medieval Italian literature, from the Origins, via the works of Guittone d’Arezzo and the Compiuta Donzella di Firenze amongst others, to Dante’s Beatrix loquax. He is interested in dialogue (especially the tenzone tradition) and dialogism as well as intersections between material culture and poetic imagery. He is the current Postdoctoral mentor for the interdisciplinary Medieval Studies Masters Programme and a Retained Lecturer in Italian at Pembroke College.

He completed a DPhil on dialogic models of conversion and self-representation in medieval Italian poetry in 2014 and has previously held visiting fellowships at the University of Leeds Centre for Dante Studies and Humanities Research Institute, as well as stipendiary and college lectureships at Balliol, Jesus, and St Peter’s Colleges, Oxford. In 2016 he was an Associate Lecturer at the University of York.

David was a founding member and convener of the TORCH Network, Gender and Authority, co-funded by the Balliol Interdisciplinary Institute, which hosts twice termly seminars and other activities. He also convenes the Introductions to Medieval Culture series, aimed at undergraduate and first-year graduate students, and teaches FHS papers on Dante and medieval Italian literature.

  • ‘Dante e la “serena”: lettura sbagliata, “performance” fallita’, Atti del 2014 seminario dantesco 'AlmaDante', ed. by Giuseppe Ledda & Filippo Zanini (Bologna: Petali), pp. 189-201.
    Lo scopo di questo intervento è di identificare e interpretare un momento intertestuale, nel XIX canto del Purgatorio di Dante, in cui il poeta effettua una rivalutazione della propria storia letteraria attraverso l’esperienza del Dante personaggio a guisa di spettatore e lettore.
  • ‘Text, Artefact and the Creative Process: the Sad Bewildered Quills of Guido Cavalcanti’, MHRA Working Papers in the Humanities, 9, pp. 9-20
    A manuscript presupposes a scribe. In fact, it quite literally presupposes a hand (manus) that writes (scribere), and this is precisely what Guido Cavalcanti (c. 1255-1300) offers us in his tragic yet playful depiction of the act of writing in the sonnet ‘Noi siàn le triste penne 9 isbigottite’ [We are the sad, bewildered quills].

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