156/5000 Character of reference of the Roman and national culture, it is also for the classical culture as President of the Associazione L’Espressione Latina. She is Honorary President of Uil-UNSA Unione Nazionale Scrittori e Artisti.
She graduated in Literature with specialization in Classical Philology. She did research at the chair of Latin Palaeography and Diplomatic at the Sapienza University of Rome. Already editor-in-chief of the bilingual magazine Columna, she collaborates with newspapers and magazines.
Four times the Culture Award of the Presidency of the Council of Ministers has been attributed to her. Of his poetry they have dealt with, among others, Italo Romano, Irene Marusso, Mirella Violi, Orazio Tanelli, Francesco Coppola, Lucilla Prosperini, Antonio Siciliano.
For Poetry she published:
Quelli che vanno, 1965, Maia, Siena; Il vascello perduto, 1970, Trevi, Rome ; Requiem per un’estate, 1982, L’Espressione Latina, Rome; Liberarsi della radice, 1983, Trevi, Rome; Continente sommerso, Campanili e asfodelo, 1986, L’Espressione Latina, Rome; Hermana, 1998, Fermenti, Rome; Dall’ipogeo alle stelle, 2001, Uil, Unione Nazionale Scrittori, Rome; I segni del tempo, 2002, Premio Linea Cultura, Milan; Trylogy, 2004, ArtEuropa Edizioni, Rome; Europa Europa, 2008, Edizioni ArtEuropa (already Altredizioni Casa Editrice).
For essay she published:
Il seme della giustizia, 1962, Vito Bianco Editore, Roma; Il giorno dell’ira, 1967, first edition, 1968, second edition, Trevi, Rome; Un ragazzo di nome Mario Andrea, 1980, Fermenti, Rome; Mio figlio terrorista, 1980, Trevi, Rome; La terra, 1986, L’Espressione Latina, Rome; Confine d’ombra, 2000, Fermenti, Rome; Dies Irae, revisited edition of the Il giorno dell’ira, 2005, Edizioni ArtEuropa (Altredizioni Casa Editrice property); Quattro mani d’amore, 2006, Edizioni ArtEuropa (Altredizioni Casa Editrice property).
For the Theater published:
Perchè, Madre Coraggio?, 1989, L’Espressione Latina, Rome
Some of his poetic texts have been translated into French, Romanian, English, modern Greek, Chinese, Russian, Spanish.
Her work has dealt with RAI, Italian radio, Romanian, and Vatican and various authors. Of the most significant interventions on his poetry was made a collection for the types of new imprint, Rome, titled Clio e la parola, 2003.
The poetry of Maria Racioppi, just because it is rooted in love and lives, palpitates and is innervated by lyrically loving tension, persuades us […] the two sources, emotional and intellectual, bring water to the same river, which is precisely that of artistic creativity, in which the materiality of experience asks to be combined with the ideality of transcendence (Francesco Sisinni, Premessa a Trylogi, 2004).
The Vichian-Foscolian motif of civilization is experienced by Racioppi with a reverent soul, because the roots of life are religiously felt as seeds of the current living (Antonio Piromalli, preface to Dall’ipogeo alle stelle, 2001).
In post-experimentalism the poetry of Maria Racioppi manages to revive ancient myths. And it is only a matter of a religion as old as the religion of man. A positive “I would say courageous” data that recovers the past, not in an archaeological form, but of living relevance (Massimo Grillandi, IDEA, 1986).
A complex multifaceted mythology between Nature and History. Hermana is all focused on arrhythmic, dissonant sequences, the syntax is absent, the parenetic speech. In this work the philologist Racioppi has touched poetically high peaks, illuminating the tunnel of history with light, leading us by the hand through the meanders of life (Antonio Coppola, La Procellaria, year 2003, n ° 39).
The phonic, lexical values, the style, the linguistic texture, the musicality that derives give shape to the timbre that makes the poetry of Racioppi recognizable, even if it is read without signature (Giuseppe Jovine, Il Ponte Italo-Americano, July 1988).
History is not enough for Maria Racioppi, she needs eternity, time that does not know lunar. Poetry of the universal afflatus in pain, but also of the full awareness of one’s own role, poetry shouted in full voice even when the pain, never only intimately circumscribed to the personal sphere but always nourished by cosmic suffering, cracks the tones on the diapason of a humanity lost (Pina Majone Mauro, Nuovo Giornale dei Poeti, June 1999).
From the observation of reality and from the disagreement between objectivity and subjectivity, between the ego and the non-ego, particular moods, autobiographical memories, metaphysical questions, meditations on the Other flow together in the particular mood states. The verses have icastic and immediate force that denote a rich essentiality in terms of present-past relationship, subjectivity-objectivity, in a succession of space-time underlying the personal history of Racioppi (Francesco Dell’Apa, Il Corriere di Roma, October 2004 ).