Martina Piperno
Biographic Data
| ID | 3858011 |
|---|---|
| NAME | Martina Piperno |
| GIVEN NAMES | Martina |
| FAMILY NAME | Piperno |
| SIGNATURE | PIPERNO M |
| AFFILIATIONS | Università di Roma La Sapienza, Italia |
| ORCID | 0000-0002-6645-3454 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Introduzione
autorizzata ("Tutti i diritti riservati")
Sempre nel luogo più giusto, con i compagni più giusti
The essay retraces Carlo Levi's relationships with the “maestro” Tommaso Fiore, a classicist, anti-fascist, and southern Italian thinker. Fiore, through his letters in La rivoluzione liberale (1925–1926), pioneered a style of poetic investigative prose on the conditions of southern peasants, which might have influenced Levi. The essay also explores other potential points of intersection between Levi and Fiore, such as the academic volume La poesi…
Etruscan Places on Page and Screen
L’article étudie l’usage des références à l’archéologie étrusque dans deux œuvres de fiction : le film Sandra [Vaghe stelle dell’Orsa], réalisé par Luchino Visconti en 1965, et le livre Le Jardin des Finzi-Contini [Il giardino dei Finzi-Contini] de Giorgio Bassani, publié en 1962. Ces deux œuvres mobilisent des éléments issus de l’archéologie étrusque pour raconter des histoires liées à la mémoire de la Shoah. D’après Bassani, Visconti avait plag…
The Etruscan Inferno
In the novel Forse che sì forse che no (1910), Gabriele D’Annunzio provides an interesting contamination of suggestions from Dante’s Inferno with ancient Etruscan art and, more generally, with the mystifying landscape of the Tuscan city of Volterra. In doing so, he productively combines his typical imaginative and synaesthetic style with scholarly and cultural trends of the time suggesting that a secret ‘blood memory’ might tie together Tuscan ar…
Segnalazioni
Leonardo e la memoria culturale - Leonardo a Roma. Influenze ed eredità, a cura di Roberto Antonelli e Antonio Forcellino, Roma, Villa Farnesina, 3 ottobre 2019-12 gennaio 2020.Caravaggio, Bernini en het barokke Rome - Caravaggio-Bernini. Barok in Rome. Over het ontstaan van de barok in Rome met in de hoofdrol schilder Caravaggio en beeldhouwer Bernini, Rijksmuseum Amsterdam, 14 februari t/m 13 september 2020.La narratività della poesia nel secon…
Giambattista Vico's ‘Constructive’ Language and its Post-Revolutionary Readers
Reprinted in 1801, Vico's New Science (originally published 1744) had a profound impact on Bourbon Restoration culture, particularly in Italy and France, where it touched post-revolutionary readers profoundly. The reasons for Vico's revival in the early nineteenth century relate closely to the trauma of the political and social changes of that era. Vico's readership seems to have had significant peaks during periods of rapid social transformation…
Eccetto l’Ariosto”
Nothing to Declare? Authorship and Contradiction In and Around Giacomo Leopardi's Canti
The essay explores the construction of Leopardi's authorial persona, focussing on the key concepts of contradiction and retraction through an examination of the works which were later brought together in his Canti (definitive edition 1845). Self-contradiction, apostasy, and the continuous redefinition of the figure of the author – also through irony and desacralization – are shown to characterize Leopardi, both as a poet and as a philosopher. The…
No prominent works on this page.
Eccetto l’Ariosto”
Nothing to Declare? Authorship and Contradiction In and Around Giacomo Leopardi's Canti
The essay explores the construction of Leopardi's authorial persona, focussing on the key concepts of contradiction and retraction through an examination of the works which were later brought together in his Canti (definitive edition 1845). Self-contradiction, apostasy, and the continuous redefinition of the figure of the author – also through irony and desacralization – are shown to characterize Leopardi, both as a poet and as a philosopher. The…
Giambattista Vico's ‘Constructive’ Language and its Post-Revolutionary Readers
Reprinted in 1801, Vico's New Science (originally published 1744) had a profound impact on Bourbon Restoration culture, particularly in Italy and France, where it touched post-revolutionary readers profoundly. The reasons for Vico's revival in the early nineteenth century relate closely to the trauma of the political and social changes of that era. Vico's readership seems to have had significant peaks during periods of rapid social transformation…
Segnalazioni
Leonardo e la memoria culturale - Leonardo a Roma. Influenze ed eredità, a cura di Roberto Antonelli e Antonio Forcellino, Roma, Villa Farnesina, 3 ottobre 2019-12 gennaio 2020.Caravaggio, Bernini en het barokke Rome - Caravaggio-Bernini. Barok in Rome. Over het ontstaan van de barok in Rome met in de hoofdrol schilder Caravaggio en beeldhouwer Bernini, Rijksmuseum Amsterdam, 14 februari t/m 13 september 2020.La narratività della poesia nel secon…
The Etruscan Inferno
In the novel Forse che sì forse che no (1910), Gabriele D’Annunzio provides an interesting contamination of suggestions from Dante’s Inferno with ancient Etruscan art and, more generally, with the mystifying landscape of the Tuscan city of Volterra. In doing so, he productively combines his typical imaginative and synaesthetic style with scholarly and cultural trends of the time suggesting that a secret ‘blood memory’ might tie together Tuscan ar…
Etruscan Places on Page and Screen
L’article étudie l’usage des références à l’archéologie étrusque dans deux œuvres de fiction : le film Sandra [Vaghe stelle dell’Orsa], réalisé par Luchino Visconti en 1965, et le livre Le Jardin des Finzi-Contini [Il giardino dei Finzi-Contini] de Giorgio Bassani, publié en 1962. Ces deux œuvres mobilisent des éléments issus de l’archéologie étrusque pour raconter des histoires liées à la mémoire de la Shoah. D’après Bassani, Visconti avait plag…
Introduzione
autorizzata ("Tutti i diritti riservati")
Sempre nel luogo più giusto, con i compagni più giusti
The essay retraces Carlo Levi's relationships with the “maestro” Tommaso Fiore, a classicist, anti-fascist, and southern Italian thinker. Fiore, through his letters in La rivoluzione liberale (1925–1926), pioneered a style of poetic investigative prose on the conditions of southern peasants, which might have influenced Levi. The essay also explores other potential points of intersection between Levi and Fiore, such as the academic volume La poesi…
Art (6 works) · Art history (4 works) · Humanities (4 works) · Literature (4 works) · Philosophy (4 works) · Philosophy (4 works) · Educational and Social Studies (3 works) · Italian Fascism and Post-war Society (3 works) · Linguistics (3 works) · Computer Science (2 works)