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dc.contributor.authorCherchi, Paolo
dc.date.accessioned2025-11-27T21:10:22Z
dc.date.available2025-11-27T21:10:22Z
dc.date.issued2024
dc.date.submitted2024-12-20T12:32:25Z
dc.identifierONIX_20241220_9791221503197_143
dc.identifier2704-5919
dc.identifierhttps://library.oapen.org/handle/20.500.12657/96348
dc.identifier.urihttps://doab-dev.siscern.org/handle/20.500.12854/206472
dc.description.abstractTomaso Garzoni’s Piazza universale di tutte le professioni del mondo (1585) describes about five hundred kinds of jobs, both intellectual and manual. Garzoni tells the story of each one of them, its origins, its tools, its performers. It is an astounding display of the variety of human activities, from kings to executioners, comes with endless lists of the tools used by each profession and a host of historic and erudite data. All works, be high or humble, are indispensable in society: there are no good or bad jobs but only good and bad workers. The Piazza represents a turning point in the history of the work: it collects what was known about it while giving to it a literary dignity; moreover its “technical” description prepares the terrain for the scientific understanding of the work.
dc.languageItalian
dc.relation.ispartofseriesStudi e saggi
dc.rightsopen access
dc.subject.classificationthema EDItEUR::N History and Archaeology::NH History::NHB General and world history
dc.subject.otherEncyclopedism
dc.subject.otherwork
dc.subject.othertrades
dc.subject.otherjobs history
dc.subject.otherwork ethics
dc.titleChapter La Piazza universale di Tomaso Garzoni: una svolta nella letteratura del lavoro
dc.typechapter
oapen.identifier.doi10.36253/979-12-215-0319-7.53
oapen.relation.isPublishedBy2ec4474d-93b1-4cfa-b313-9c6019b51b1a
oapen.relation.isbn9791221503197
oapen.pages7
oapen.place.publicationFlorence
dc.seriesnumber257
dc.abstractotherlanguageTomaso Garzoni’s Piazza universale di tutte le professioni del mondo (1585) describes about five hundred kinds of jobs, both intellectual and manual. Garzoni tells the story of each one of them, its origins, its tools, its performers. It is an astounding display of the variety of human activities, from kings to executioners, comes with endless lists of the tools used by each profession and a host of historic and erudite data. All works, be high or humble, are indispensable in society: there are no good or bad jobs but only good and bad workers. The Piazza represents a turning point in the history of the work: it collects what was known about it while giving to it a literary dignity; moreover its “technical” description prepares the terrain for the scientific understanding of the work.


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