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Furthermore, the book explores why the “Dan Brown Craze” has lasted this long and exerted a broad and far-reaching impact upon the reading, writing, studying, translating, publishing, and marketing of fiction in China. As such, it shows how his thrillers have been appreciated and studied in China, and what kinds of discoveries, challenges, controversies, and insights have surfaced in the Chinese appreciation of Brown’s novels.
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This book examines the plot, characterization, themes, setting, codes, knowledge, institutions, and techniques in his novels, and delivers a careful textual analysis, a selective dissemination of relevant information on different subjects, and a perceptive comparison between Brown and other Chinese and Western writers. They see an urgent need for a revision, if not an entire redefinition, of their existing beliefs and values. Brown’s rendering of dichotomies, such as science and religion, humanity and divinity, good and evil, and liberty and privacy, resonates well with his Chinese readers because they feel that these issues are no longer irrelevant to them. No living foreign writer has generated so much media coverage and scholarship in China within such a short period of time not even Toni Morrison or J.K. All of Brown’s novels have subsequently been translated into Chinese and sold millions of copies.
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Since the Chinese translation of The Da Vinci Code was released in China in 2004, the “Dan Brown Craze” has swept across the country. It is a must-read for anyone who has read Inferno and wondered just how its enigmatic questions are real or relevant. How do the clues unveiled in symbology professor Robert Langdon's daring quest from Florence to Venice and Istanbul overlap with history? What codes and symbols did Dante employ in the Divine Comedy and which secret religious, philosophical, and scientific themes are hidden within his work? What lies behind Botticelli's Mappa dell'Inferno? And what are the cult scientists known as transhumanists really up to? Inferno Decoded is a book that ranges as widely as Dan Brown's novel, from the terrors of the Black Death to the scientific debates around population growth and prolonging of life-spans, and from the economic, political, and religious tumult in Florence at the dawn of the Renaissance to real-life locations in Florence, Venice and Istanbul today. In this illuminating companion to Dan Brown's Inferno, historian Michael Haag sets out the truth behind the novel's myths, mysteries and locations.
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The final chapter brings the story up to the present, showing how the poet's work has been seen (from the fourteenth century onwards) as accessible to 'the many', and demonstrating some of the means by which Dante has reached a yet wider British public over the past century, particularly through translation, illustration, and various forms of performance. Throughout, the role of Anglo-Italian cultural contacts and intermediaries in shaping the public understanding of Dante in Britain is given prominence - from clerics and merchants around Chaucer's time, through itinerant scholars, collectors and tourists in the early modern period, to the exiles and expatriates of the nineteenth and twentieth centuries. Much of the evidence is based on previously unpublished material in (for example) letters, journals, annotations and inventories and is drawn from archives in the UK and across the world, from Milan to Mumbai and from Berlin to Cape Town. Individual authors and periods have been studied before, but Dante's British Public takes a wider and longer view, using a selection of vivid and detailed case studies to record and place in context some of the wider conversations about and appropriations of Dante that developed in Britain across more than six centuries, as access to his work extended and diversified.
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This is the first account of Dante's reception in English to address full chronological span of that process.