{"id":2173,"date":"2012-07-19T20:13:54","date_gmt":"2012-07-19T20:13:54","guid":{"rendered":"http:\/\/www.lilec.it\/romanticismo\/wp\/?page_id=2173"},"modified":"2016-11-09T18:26:23","modified_gmt":"2016-11-09T17:26:23","slug":"english-the-languages-of-romanticism","status":"publish","type":"page","link":"https:\/\/www.lilec.it\/romanticismo\/attivita-editoriale\/la-questione-romantica\/la-questione-romantica\/english-the-languages-of-romanticism\/","title":{"rendered":"La Questione Romantica: The Language(s) of Romanticism"},"content":{"rendered":"<p><a href=\"http:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2012\/07\/5691.jpg\"><img decoding=\"async\" class=\"alignleft size-medium wp-image-2228\" title=\"5691\" src=\"http:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2012\/07\/5691-214x300.jpg\" alt=\"\" width=\"214\" height=\"300\" srcset=\"https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2012\/07\/5691-214x300.jpg 214w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2012\/07\/5691.jpg 500w\" sizes=\"(max-width: 214px) 100vw, 214px\" \/><\/a><strong>Numero 2 <\/strong>(Aprile 2010)\u00a0 <a href=\"http:\/\/www.lilec.it\/romanticismo\/wp\/?page_id=2264\">EDITORIALE<\/a> <strong><strong><strong><strong>SAGGI<\/strong><\/strong><\/strong><\/strong><\/p>\n<ul>\n<li>\n<div><a href=\"http:\/\/www.lilec.it\/romanticismo\/wp\/?p=2864\">Frederick Burwick, <em>Romantic Irony, Metadrama, and the Demonic.<\/em><\/a><\/div>\n<\/li>\n<li>Carla Pomar\u00e8, <em>Dramatising the Old Testament: Byron\u00b4s Appropriation of the Bible in the <\/em>Hebrew Melodies.<\/li>\n<li>Fabio Liberto, <em>The Politics of Language in P.B. Shelley.<\/em><\/li>\n<li>Jacopo Doti, Boris Godunov<em>: una tragicommedia romantica \u00e0 la Shakespeare.<\/em><\/li>\n<\/ul>\n<h3><strong><strong>MARGINALIA (Materiali e Documenti)<\/strong><\/strong><\/h3>\n<ul>\n<li>Carlotta Farese, <em>Il romanzo in scena: la <\/em>Pamela<em> tra Richardson e Goldoni.<\/em><\/li>\n<li>\n<div>Serena Baiesi,<em> Lorenzo Da Ponte sulla scena inglese.<\/em><\/div>\n<\/li>\n<li>\n<div>Igor Maver, <em>Byronism on the Slovene Territory in the 19th Century.<\/em><\/div>\n<\/li>\n<li>Francesco Benozzo, <em>Poeti senza seguaci: Wordsworth, Roccatagliata Ceccardi e la vena perdente del Romanticismo europeo.<\/em><\/li>\n<li>Marco Veglia, <em>Lorenzo Viani e la leggenda versiliese di P.B. Shelley.<\/em><\/li>\n<\/ul>\n<h3><strong><strong>POET&#8217;S CORNER<\/strong><\/strong><\/h3>\n<ul>\n<li>Sarah Stickney <em>March. Wolves on the Platform. Baloney 1. Baloney 2.<\/em><\/li>\n<li>Maria Rita Cardarelli <em>Tempo.<\/em> <em>Donna con Taileur Bianco. Attesa. Trappola. Una Notte Come Tante.<\/em><\/li>\n<li>Sabrina Vesprini, <em>The Waves.<\/em><\/li>\n<\/ul>\n<h3><strong><strong>RECENSIONI<\/strong><\/strong><\/h3>\n<ul>\n<li>Donatella Montini, <em>Silvia Granata<\/em>, The Dear Charities of Social Life. The Work of Anna Laetitia Barbauld.<\/li>\n<li>Beatrice Battaglia, <em>La ricezione di Joanna Baillie in Italia.<\/em><\/li>\n<li>Franca Zanelli Quarantini, <em>Annarosa Poli<\/em>, Il diario \u201cepistolare\u201d di un\u00b4anima ardente: Eug\u00e9nie de Gu\u00e9rin.<\/li>\n<li>\n<div>Carlotta Farese, <em>Gemma Persico<\/em>, Criminali, Assassine, Adultere, Degenerate<em>&#8230; <\/em>Folli? Rappresentazioni del femminile nel sensation novel: i testi e il contesto<em>.<\/em><\/div>\n<\/li>\n<li>Laura Russo, <em>C.S. Lewis<\/em>, Lettere ai bambini. Il magico mondo di Narnia nella corrispondenza con i giovani lettori, <em>a cura di Carlo M. Bajetta.<\/em><\/li>\n<\/ul>\n<h3><strong><strong>NOTIZIE<\/strong><\/strong><\/h3>\n<ul>\n<li><em>ESSE 2012: 11th \u00a0Conference of the European Society for the study of English.<\/em><\/li>\n<li><em>AIA 2011: Regenerating, Community, Territory, Voices, Memory and Vision.<\/em><\/li>\n<li><em>NASSR 2011: Romanticism and Independence<\/em>.<\/li>\n<li><em>The 40th Wordsworth Summer Conference 2011.<\/em><\/li>\n<li><em>BARS 2011: Enlightenment, Romanticism &amp; Nation.<\/em><\/li>\n<li><em>British Risorgimento. Rappresentazioni e interazioni britanniche nel proesso di unificazione nazionale italiana.<\/em><\/li>\n<li><em>Martini in Albione. Sul bel concerto rossiniano che ha visto il Conservatorio collaborare con l&#8217;Universit\u00e0 concittadina.<\/em><\/li>\n<li><em>In Memoriam. Ricordando Brian Southam e David Nokes.<\/em><\/li>\n<\/ul>\n<p align=\"center\"><span style=\"font-size: small;\">\u00a0<\/span><\/p>\n<div><\/div>\n<div><\/div>\n<div>\n<p style=\"text-align: center;\"><strong>DIRETTORE \u00a0<\/strong>Lilla Maria Crisafulli<\/p>\n<div style=\"text-align: center;\"><strong>CONDIRETTORI\u00a0 <\/strong>Annalisa Goldoni, Romolo Runcini<\/div>\n<div style=\"text-align: center;\"><strong>DIRETTORE RESPONSABILE\u00a0 <\/strong>Gigliola Nocera<\/div>\n<div style=\"text-align: center;\"><strong>RESPONSABILE SEGRETERIA DI REDAZIONE\u00a0 <\/strong>Gabriella Imposti<\/div>\n<div style=\"text-align: center;\"><strong>SEGRETERIA DI REDAZIONE\u00a0 <\/strong>Gioia Angeletti, Serena Baiesi, Andrea Birk, Luigi Contadini, Carlotta Farese, Fabio Liberto, Anna Mandich, Lara Michelacci, Laura Russo, Adriana Sfragaro<\/div>\n<div style=\"text-align: center;\"><strong>COMITATO DI REDAZIONE\u00a0 <\/strong>Gian Mario Anselmi, Laura Bandiera, Beatrice Battaglia, Cristina Fiallega, Paola Maria Filippi, Angelo Mangini, Piero Menarini, Cecilia Pietropoli, Maggie Rose, Elena Spandri, Annamaria Sportelli, Virginia Verrienti, Margherita Versari, Maria Luisa Wandruszka<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Numero 2 (Aprile 2010)\u00a0 EDITORIALE SAGGI Frederick Burwick, Romantic Irony, Metadrama, and the Demonic. Carla Pomar\u00e8, Dramatising the Old Testament: Byron\u00b4s Appropriation of the Bible in the Hebrew Melodies. Fabio Liberto, The Politics of Language in P.B. Shelley. Jacopo Doti, Boris Godunov: una tragicommedia romantica \u00e0 la Shakespeare. MARGINALIA (Materiali e Documenti) Carlotta Farese, Il [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":49,"menu_order":31,"comment_status":"open","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: The Language(s) of Romanticism - 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\/attivita-editoriale\/la-questione-romantica\/la-questione-romantica\/english-the-languages-of-romanticism\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La Questione Romantica: The Language(s) of Romanticism - Centro Interuniversitario per lo Studio del Romanticismo\" \/>\n<meta property=\"og:description\" content=\"Numero 2 (Aprile 2010)\u00a0 EDITORIALE SAGGI Frederick Burwick, Romantic Irony, Metadrama, and the Demonic. 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