"Amami", raccolta di poesie che celebra un sentimento a volte ferito, a volte esaltante di un amore nascosto alla società.
Fa parte della raccolta "Rosso" poesie che esprimono il male di vivere in una società non più in linea con i principi morali dell'umanità.Silvia Perugia, nata e cresciuta a Roma, autrice di soggetti e sceneggiature di racconti a fumetti per ragazzi, ha collaborato con " Il Giornalino " (San Paolo Edizioni) e "Tiramolla" ( Vallardi Edizioni ) e varie collaborazioni.
“La grande ombra bianca” è stata la sua prima pubblicazione come autore di soggetto e sceneggiatura, per “Il Giornalino” (San Paolo Editrice )

L’autrice con la raccolta di poesie “Sabbia “ edita da Arduino Sacco Editore, ha voluto mantenere il nome Gigliodagosto, con il quale è conosciuta per i suoi blog e fra questi “L’incontro” dove sono pubblicati alcuni suoi racconti e poesie.

[Traduit de l’italien]


Le recueil de poèmes « Aime-moi » met en lumière le sentiment tantôt blessé, tantôt passionné d'un amour caché au reste du monde.
Il est associé au recueil de poèmes « Rouge » qui parle du mal de vivre dans une société ne respectant plus les principes moraux de l'humanité. Silvia Perugia est née et a grandi à Rome, en Italie. Elle a écrit des romans mais aussi des histoires et des bandes dessinées pour les enfants. Elle a également collaboré aux revues « Il Giornalino » (éditions San Paolo) et « Tiramolla » (éditions Vallardi), entre autres.
Son premier ouvrage intitulé « La grande ombra bianca » (La grande ombre blanche) a été publié dans la revue « Il Giornalino » (éditions San Paolo).
Silvia Perugia a signé le recueil de poèmes « Sabbia » (Sable), édité par Arduino Sacco, sous le pseudonyme Gigliodagosto qu'elle a utilisé pour écrire divers blogs, notamment « L'incontro » (La rencontre) où elle a publié plusieurs de ses récits et poésies.

In the early 1300s, Dante Alighieri set out to write the three volumes which make the up The Divine Comedy. Purgatorio is the second volume in this set and opens with Dante the poet picturing Dante the pilgrim coming out of the pit of hell. Similar to the Inferno (34 cantos), this volume is divided into 33 cantos, written in tercets (groups of 3 lines). The English prose is arranged in tercets to facilitate easy correspondence to the verse form of the Italian on the facing page, enabling the reader to follow both languages line by line. In an effort to capture the peculiarities of Dante's original language, this translation strives toward the literal and sheds new light on the shape of the poem. Again the text of Purgatorio follows Petrocchi's La Commedia secondo l'antica vulgata, but the editor has departed from Petrocchi's readings in a number of cases, somewhat larger than in the previous Inferno, not without consideration of recent critical readings of the Comedy by scholars such as Lanza (1995, 1997) and Sanguineti (2001). As before, Petrocchi's punctuation has been lightened and American norms have been followed. However, without any pretensions to being "critical", the text presented here is electic and being not persuaded of the exclusive authority of any manuscript, the editor has felt free to adopt readings from various branches of the stemma. One major addition to this second volume is in the notes, where is found the Intercantica - a section for each canto that discusses its relation to the Inferno and which will make it easier for the reader to relate the different parts of the Comedy as a whole.

This translation of Torquato Tasso's Il re Torrismondo, the first to be made directly from the Italian into English, is intended to help those students and scholars who do not command the language of the original text. This translation provides readers with a wider range of the Italian tragedy as a genre; it also allows readers to acquire a deeper awareness of the entire spectrum of the Italian Renaissance in its final brilliance. Tasso's King Torrismondo provides an example of Neo-Aristotelian dramatic theory of the second half of the fifteenth century. It incorporates into the dramatic genre elements of the epic lyric poem. Tasso's language can also be studied as an example of "imitation" of Virgil, Dante, Petrarch, and Tasso's own epic. Finally, Tasso's Torrismondo affords us an opportunity of comparative analysis of French, English, and Spanish literature in the development of tragedy as a European genre.

Veronica Franco (whose life is featured in the motion picture Dangerous Beauty) was a sixteenth-century Venetian beauty, poet, and protofeminist. This collection captures the frank eroticism and impressive eloquence that set her apart from the chaste, silent woman prescribed by Renaissance gender ideology.

As an "honored courtesan", Franco made her living by arranging to have sexual relations, for a high fee, with the elite of Venice and the many travelers—merchants, ambassadors, even kings—who passed through the city. Courtesans needed to be beautiful, sophisticated in their dress and manners, and elegant, cultivated conversationalists. Exempt from many of the social and educational restrictions placed on women of the Venetian patrician class, Franco used her position to recast "virtue" as "intellectual integrity," offering wit and refinement in return for patronage and a place in public life.

Franco became a writer by allying herself with distinguished men at the center of her city's culture, particularly in the informal meetings of a literary salon at the home of Domenico Venier, the oldest member of a noble family and a former Venetian senator. Through Venier's protection and her own determination, Franco published work in which she defended her fellow courtesans, speaking out against their mistreatment by men and criticizing the subordination of women in general. Venier also provided literary counsel when she responded to insulting attacks written by the male Venetian poet Maffio Venier.

Franco's insight into the power conflicts between men and women and her awareness of the threat she posed to her male contemporaries make her life and work pertinent today.

One of the most important Italian poets of the last century, Vittorio Sereni (1913–83) wrote with a historical awareness unlike that of any of his contemporaries. A poet of both personal and political responsibility, his work sensitively explores life   under fascism, military defeat and imprisonment, and the resurgence of extreme right-wing politics, as well as the roles played by love and friendship in the survival of humanity. The first substantial translation of Sereni’s oeuvre published anywhere in the world, The Selected Poetry and Prose of Vittorio Sereni is a unique guide to this twentieth-century poet. A bilingual edition, reissued in paperback for the poet’s centenary, it collects Sereni’s poems, criticism, and short fiction with a full chronology, commentary, bibliography, and learned introduction by British poet and scholar Peter Robinson.

"Amami", raccolta di poesie che celebra un sentimento a volte ferito, a volte esaltante di un amore nascosto alla società.
Fa parte della raccolta "Rosso" poesie che esprimono il male di vivere in una società non più in linea con i principi morali dell'umanità.Silvia Perugia, nata e cresciuta a Roma, autrice di soggetti e sceneggiature di racconti a fumetti per ragazzi, ha collaborato con " Il Giornalino " (San Paolo Edizioni) e "Tiramolla" ( Vallardi Edizioni ) e varie collaborazioni.
“La grande ombra bianca” è stata la sua prima pubblicazione come autore di soggetto e sceneggiatura, per “Il Giornalino” (San Paolo Editrice )

L’autrice con la raccolta di poesie “Sabbia “ edita da Arduino Sacco Editore, ha voluto mantenere il nome Gigliodagosto, con il quale è conosciuta per i suoi blog e fra questi “L’incontro” dove sono pubblicati alcuni suoi racconti e poesie.

[Traduit de l’italien]


Le recueil de poèmes « Aime-moi » met en lumière le sentiment tantôt blessé, tantôt passionné d'un amour caché au reste du monde.
Il est associé au recueil de poèmes « Rouge » qui parle du mal de vivre dans une société ne respectant plus les principes moraux de l'humanité. Silvia Perugia est née et a grandi à Rome, en Italie. Elle a écrit des romans mais aussi des histoires et des bandes dessinées pour les enfants. Elle a également collaboré aux revues « Il Giornalino » (éditions San Paolo) et « Tiramolla » (éditions Vallardi), entre autres.
Son premier ouvrage intitulé « La grande ombra bianca » (La grande ombre blanche) a été publié dans la revue « Il Giornalino » (éditions San Paolo).
Silvia Perugia a signé le recueil de poèmes « Sabbia » (Sable), édité par Arduino Sacco, sous le pseudonyme Gigliodagosto qu'elle a utilisé pour écrire divers blogs, notamment « L'incontro » (La rencontre) où elle a publié plusieurs de ses récits et poésies.