{"id":127,"date":"2011-12-14T12:37:05","date_gmt":"2011-12-14T12:37:05","guid":{"rendered":"http:\/\/www.lilec.it\/romanticismo\/wp\/?page_id=126"},"modified":"2017-03-08T14:52:56","modified_gmt":"2017-03-08T13:52:56","slug":"orroreterrore","status":"publish","type":"page","link":"https:\/\/www.lilec.it\/romanticismo\/orroreterrore\/","title":{"rendered":"La Questione Romantica: Orrore\/Terrore"},"content":{"rendered":"<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-overflow:visible;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-margin-bottom:0px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><a href=\"http:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2011\/12\/0656.jpg\"><img decoding=\"async\" class=\"alignleft size-medium wp-image-2199\" title=\"0656\" src=\"http:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2011\/12\/0656-206x300.jpg\" alt=\"\" width=\"206\" height=\"300\" srcset=\"https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2011\/12\/0656-206x300.jpg 206w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2011\/12\/0656.jpg 275w\" sizes=\"(max-width: 206px) 100vw, 206px\" \/><\/a><strong>Volume III-IV<\/strong> (Primavera 1997)<a href=\"http:\/\/www.lilec.it\/romanticismo\/wp\/?page_id=132\" target=\"_blank\"> EDITORIALE<\/a><\/p>\n<h3><strong>SAGGI<\/strong><\/h3>\n<ul>\n<li><a href=\"http:\/\/www.lilec.it\/romanticismo\/wp\/?p=134\" target=\"_blank\">Giovanna Franci, <em>Dal gothic romance agli incubi romantici. Alcune note sul viaggio del fantastico, dal meraviglioso al perturbante<\/em><\/a>.<\/li>\n<li>Massimiliano Demata, <em>L\u2019orrore di Melmoth the Wanderer tra realt\u00e0 e pazzia.<\/em><\/li>\n<li>Mirella Billi, <em>La sublime ambiguit\u00e0 dell\u2019orrore.<\/em><\/li>\n<li>Niels Werber, <em>Al limitar del bosco. Il perturbante nel Romanticismo (Zauberei im Herbste di J. von Eichendorff e Ignaz Denner di E.T.A. Hoffmann).<\/em><\/li>\n<li>Amanda Gilroy, <em>\u00abThe chasm of an Insufficient Void\u00bb: Shelley\u2019s Prose and the Dilemma of Subjectivity.<\/em><\/li>\n<li>Annalisa Bottacin, <em>Un esteta attratto dal visionario: Th\u00e9ophile Gautier lettore di Jacques Cazotte.<\/em><\/li>\n<li>David Punter, <em>Frankenstein and Dracula: Prehistories of the Mind.<\/em><\/li>\n<li>Romolo Runcini, <em>Terrore e orrore nell\u2019orizzonte narrativo di Honor\u00e9 de Balzac.<\/em><\/li>\n<\/ul>\n<h3><strong>MARGINALIA (Materiali e Documenti)<\/strong><\/h3>\n<ul>\n<li>Ciro Riccardo, <em>Ludwig Tieck su Shakespeare e il meraviglioso (1793) .<\/em><\/li>\n<li>Ludwig Tieck,<em> Come Shakespeare tratta il meraviglioso (1793).<\/em><\/li>\n<li>Gioia Angeletti, <em>Two Cities of Dreadful Night: James Thomson\u2019s London and Giacomo Leopardi\u2019s Recanati.<\/em><\/li>\n<li>Kevin Barry, <em>Crediting Power: Romantic Aesthetics and Paper Money 1797-1825.<\/em><\/li>\n<li>Paola Salerni, <em>Perversioni e decadenze dell\u2019ultimo Gautier. La funesta musa di Mademoiselle Dafn\u00e9.<\/em><\/li>\n<li>Jeanne Moskal, <em>Mary Shelley\u2019s Rambles in Germany and Italy and the Discourses of Race and National Manners.<\/em><\/li>\n<li>B\u00e9atrice Didier, <em>Deux Autobiographies: Mme Roland et George Sand.<\/em><\/li>\n<\/ul>\n<h3><strong>POET&#8217;S CORNER<\/strong><\/h3>\n<ul>\n<li>George Bowering<em> Coming to Shelley<\/em><em> Ravens and Woodcocks<\/em><em> Birds doing<\/em><em> Wolf in Woods.<\/em><\/li>\n<\/ul>\n<ul>\n<li>Tomaso Kemeny<em> Lampi di poetica,<\/em> <em>Il Deserto s&#8217;Infuria,<\/em><em> La Belua<\/em><em> La Ferita.<\/em><\/li>\n<\/ul>\n<ul>\n<li>Kathleen Fraser <em>From Wordless to Word: Entering the Ecstatic,<\/em><em> Cue or Starting point.<\/em><\/li>\n<\/ul>\n<h3><strong>RECENSIONI<\/strong><\/h3>\n<ul>\n<li>Diego Saglia, E. J. Clery<em>, The Rise of Supernatural Fiction.<\/em><\/li>\n<\/ul>\n<ul>\n<li>Attilio Caso, M. Crouzet, <em>Le Rouge et le Noir. Essai sur le romanesque stendhalien.<\/em><\/li>\n<\/ul>\n<ul>\n<li>Anna Maria Antonicelli, Alfredo De Paz<em>, Europa romantica. Fondamenti e paradigmi della sensibilit\u00e0 moderna.<\/em><\/li>\n<\/ul>\n<ul>\n<li>Andrea Bedeschi Charles Du Bos, <em>Che cos\u2019\u00e8 la letteratura? a cura di Adriano Marchetti.<\/em><\/li>\n<\/ul>\n<ul>\n<li>Michele Matta, Giampiero Moretti<em>, Heidelberg romantica. Romanticismo tedesco e nichilismo europeo.<\/em><\/li>\n<\/ul>\n<ul>\n<li>Roberto Baronti Marchi\u00f2, G. Nori<em>, Il seme delle piramidi.<\/em><\/li>\n<\/ul>\n<ul>\n<li>Franca Zanelli Quarantini, Claude Pichois e Michel Brix<em>, G\u00e9rard de Nerval.<\/em><\/li>\n<\/ul>\n<ul>\n<li>Davide Monda, Edgar Quinet<em>, Lettres \u00e0 sa m\u00e8re Tome I 1808-1820, Textes r\u00e9unis et annot\u00e9s par Simone Bernard-Griffiths et G\u00e9rard Peylet.<\/em><\/li>\n<\/ul>\n<ul>\n<li>Maurizio Ascari, G. Tomasi, F. Biasutti, C. Corti, M. G. Messina, A. Poma, M. L. Perri<em>, Dipingere l\u2019idea. Interpretazioni tra filosofia e pittura, a cura di F. Biasutti.<\/em><\/li>\n<\/ul>\n<ul>\n<li>Alessandra Barbanti Tizzi, Margherita Versari<em>, La traccia d\u2019oro verso le madri. Novalis: dalla storia al mito.<\/em><\/li>\n<\/ul>\n<ul>\n<li>Anna Maria Preti, John Wyatt<em>, Wordsworth and the Geologists.<\/em><\/li>\n<\/ul>\n<h3><strong>NOTIZIE<\/strong><\/h3>\n<ul>\n<li><em>Quaderni del C.R.I.E.R.<\/em><\/li>\n<li><em>L\u2019Italie dans l\u2019Europe romantique.<\/em><\/li>\n<li><em>Risonanze classiche nell\u2019Europa romantica.<\/em><\/li>\n<li><em>Les ann\u00e9es romantiques La vergine d\u2019Ossian.Immagini e carte di Louisa Grace Bartolini.<\/em><\/li>\n<li><em>Mania greca (Grakomanie) e senso del passato: ambivalenze tematiche nelle poetiche del Romanticismo europeo attraverso alcuni testi fondamentali.<\/em><\/li>\n<li><em>Gli uomini interrogano le donne. E le donne&#8230;?<\/em><\/li>\n<li><em>Romantic Generations.<\/em><\/li>\n<li><em>Wordsworth Summer Conference at Dove Cottage 1997.<\/em><\/li>\n<li><em>Mary vs. Mary.<\/em><\/li>\n<\/ul>\n<p align=\"center\"><span style=\"font-size: small;\"><span style=\"color: #333333;\"><strong>DIRETTORE<\/strong><\/span> Lilla Maria Crisafulli.<\/span><\/p>\n<p align=\"center\"><span style=\"font-size: small;\"><span style=\"color: #000080;\"><strong><span style=\"color: #333333;\">CONDIRETTORI<\/span> <\/strong><\/span>Annalisa Goldoni, Romolo Runcini.<\/span><\/p>\n<p align=\"center\"><span style=\"font-size: small;\"><span style=\"color: #333333;\"><strong>DIRETTORE RESPONSABILE <\/strong><\/span>Gigliola Nocera.<\/span><\/p>\n<p style=\"text-align: center;\" align=\"center\"><strong>RESPONSABILE SEGRETERIA DI REDAZIONE\u00a0 <\/strong>Gabriella Imposti<\/p>\n<p style=\"text-align: center;\" align=\"center\">\u00a0<strong>SEGRETERIA DI REDAZIONE\u00a0 <\/strong>Lida Bellini, Massimiliano Demata, Maria Di Capua, Maria Rosa Giordani<\/p>\n<p style=\"text-align: center;\" align=\"center\">\u00a0<strong>COMITATO DI REDAZIONE\u00a0 <\/strong>Gian Mario Anselmi, Laura Bandiera, Franco D\u2019Intino, Daniela Gallingani, Morag Harris, Patrick Leech, Marie Louise Lentengre, Anna Mandich, Cecilia Pietropoli, Maggie Rose, Annamaria Sportelli, Pietro Taravacci, Graziella Todisco, Virginia Verrienti, Margherita Versari, Maria Luisa Wandruszka<\/p>\n<p style=\"text-align: center;\" align=\"center\">\u00a0<strong>COMITATO SCIENTIFICO <\/strong>Andrea Battistini, Betty Bennett, Drummond Bone, Marilyn Butler, Stuart Curran, Alfredo De Paz, B\u00e9atrice Didier, Keir Elam, Vita Fortunati, Giovanna Franci, Stuart Gillespie, Sergio Givone, William Keach, Paul Gerhard Klussmann, Franco Marenco, St\u00e9phane Michaud, Annarosa Poli, David Punter, Jeffrey C. Robinson, Silvano Sabbadini, Viola Sachs, Jean Starobinski, Raymond Trousson, Peter Vassallo, Timothy Webb<\/p>\n<p>\u00a0<div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":6,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.8.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>La Questione Romantica: Orrore\/Terrore - Centro Interuniversitario per lo Studio del Romanticismo<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.lilec.it\/romanticismo\/orroreterrore\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La Questione Romantica: Orrore\/Terrore - 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