\n[PAGINA IN CORSO DI ELABORAZIONE]\n
\u00c9lodie Ripoll<\/b>, L\u2019analyse des couleurs en litte\u0301rature peut-elle se passer de the\u0301orie?<\/p>\n\n
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Silvia Baroni<\/strong>, Le rouge et le noir chez Balzac. La valeur symbolique de la couleur dans La Peau de chagrin<\/em><\/p>\n<\/div>\n<\/div>\n\n
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Valeria Tettamanti<\/strong>, Usure et de\u0301gradation des couleurs chez Zola et Pardo Baza\u0301n: des taches aux marques<\/p>\n<\/div>\n<\/div>\n\n
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Jean-Michel Rietsch<\/strong>, Gustave Roud. Le bleu nouveau<\/em> des suppliantes<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div><\/div>Comptes rendus\/Recensioni<\/strong><\/h2>\nR.\u202fCelestin, E.\u202fDalmolin, C.\u202fBrun (dir.), Writing Terrorism<\/i>, Contemporary French & Francophone Studies, vol.\u202f24, n.\u202f4,\u202f<\/span>; E.\u202fBertho, C.\u202fBrun, X.\u202fGarnier<\/span> (dir.), Figurer le terroriste. La litt\u00e9rature au d\u00e9fi<\/i>\u00a0(E.\u202fDonati)<\/p>\nB.\u202f<\/i>Desorbay, Dany Laferri\u00e8re. La vie \u00e0 l\u2019oeuvre<\/i>\u00a0(J-F.\u202fPlamondon)<\/p>\n
G.\u202fSofo, Les \u00c9clats de la traduction. Langue, r\u00e9\u00e9criture et traduction dans le th\u00e9\u00e2tre d\u2019Aim\u00e9 C\u00e9saire<\/i>\u00a0(C.\u202f<\/i>Biondi)<\/p>\n
C.\u202fDornier, La Monarchie \u00e9clair\u00e9e de l\u2019abb\u00e9 de Saint-Pierre\u202f: une science politique des Modernes <\/i>(P.\u202fOppici)<\/p>\n\n
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La Trag\u00e9die \u00e0 l\u2019\u00e9poque d\u2019Henri IV<\/i>. Troisi\u00e8me s\u00e9rie, volume 1<\/i> (1589)<\/i>, \u00e9d. M.\u202fMastroianni, P.\u202fMartinuzzi, D.\u202fSpeziari, D.\u202fCecchetti, A.\u202fBettoni (G.\u202fFiore)<\/p>\nNotes de lecture\/Schede<\/strong><\/h2>\nPubblicato con contributi del Dipartimento di Lingue, Letterature e Culture Moderne dell’Universit\u00e0 di Bologna<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\nISBN 978 88 222 68389<\/span><\/strong><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>
Revue de presse\/ Rassegna stampa<\/strong><\/h2>\n<\/div><\/i><\/div>
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L’expression litt\u00e9raire de la couleur. Perspectives historiques, configurations po\u00e9tiques et stylistiques<\/strong><\/em><\/h3>\nsous la direction de Davide Vago<\/p>\n","protected":false},"author":2,"featured_media":2592,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2539","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rivista"],"_links":{"self":[{"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/2539","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/comments?post=2539"}],"version-history":[{"count":5,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/2539\/revisions"}],"predecessor-version":[{"id":2546,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/2539\/revisions\/2546"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media\/2592"}],"wp:attachment":[{"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media?parent=2539"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/categories?post=2539"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/tags?post=2539"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}