{"id":6975,"date":"2020-01-23T14:47:14","date_gmt":"2020-01-23T13:47:14","guid":{"rendered":"https:\/\/www.lilec.it\/romanticismo\/?p=6975"},"modified":"2021-11-08T22:39:17","modified_gmt":"2021-11-08T21:39:17","slug":"la-questione-romantica-vecchie-rotte-nuove-cartografie","status":"publish","type":"post","link":"https:\/\/www.lilec.it\/romanticismo\/la-questione-romantica-vecchie-rotte-nuove-cartografie\/","title":{"rendered":"La Questione Romantica: Vecchie rotte, nuove cartografie (2019)"},"content":{"rendered":"<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 nonhundred-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-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\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-column-has-shadow fusion-flex-column-wrapper-legacy\"><div class=\"fusion-title title fusion-title-1 fusion-title-text fusion-title-size-three\"><h3 class=\"fusion-title-heading title-heading-left\" style=\"margin:0;\"><strong>Volume 11, n. 1-2<\/strong><\/h3><span class=\"awb-title-spacer\"><\/span><div class=\"title-sep-container\"><div class=\"title-sep sep-double sep-solid\" style=\"border-color:#e0dede;\"><\/div><\/div><\/div><div class=\"fusion-text fusion-text-1\"><p><img decoding=\"async\" class=\"size-medium wp-image-6976 aligncenter\" src=\"https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/01\/questioneromantica-217x300.jpeg\" alt=\"\" width=\"217\" height=\"300\" srcset=\"https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/01\/questioneromantica-200x276.jpeg 200w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/01\/questioneromantica-217x300.jpeg 217w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/01\/questioneromantica-400x552.jpeg 400w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/01\/questioneromantica-600x829.jpeg 600w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/01\/questioneromantica-741x1024.jpeg 741w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/01\/questioneromantica-800x1105.jpeg 800w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/01\/questioneromantica-1112x1536.jpeg 1112w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/01\/questioneromantica-1200x1657.jpeg 1200w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/01\/questioneromantica-1483x2048.jpeg 1483w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/01\/questioneromantica.jpeg 1776w\" sizes=\"(max-width: 217px) 100vw, 217px\" \/><\/p>\n<\/div><div class=\"accordian fusion-accordian\" style=\"--awb-border-size:1px;--awb-icon-size:13px;--awb-content-font-size:18px;--awb-icon-alignment:left;--awb-hover-color:#f9f9f9;--awb-border-color:#cccccc;--awb-background-color:#ffffff;--awb-divider-color:#e0dede;--awb-divider-hover-color:#e0dede;--awb-icon-color:#ffffff;--awb-title-color:#333333;--awb-content-color:#747474;--awb-icon-box-color:#333333;--awb-toggle-hover-accent-color:#9b1717;--awb-title-font-family:&quot;Bayon&quot;;--awb-title-font-weight:400;--awb-title-font-style:normal;--awb-title-font-size:22px;--awb-title-line-height:1.5;--awb-content-font-family:&quot;Bayon&quot;;--awb-content-font-style:normal;--awb-content-font-weight:400;\"><div class=\"panel-group fusion-toggle-icon-boxed\" id=\"accordion-6975-1\"><div class=\"fusion-panel panel-default panel-495941c92dd9094e5 fusion-toggle-has-divider\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_495941c92dd9094e5\"><a aria-expanded=\"false\" aria-controls=\"495941c92dd9094e5\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-6975-1\" data-target=\"#495941c92dd9094e5\" href=\"#495941c92dd9094e5\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">SAGGI<\/span><\/a><\/h4><\/div><div id=\"495941c92dd9094e5\" class=\"panel-collapse collapse \" aria-labelledby=\"toggle_495941c92dd9094e5\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<ul>\n<li><strong>Alessandro Gebbia: <\/strong><em>La \u00abBallata del vecchio marinaio\u00bb di Samuel Taylor Coleridge o della condizione umana<\/em><\/li>\n<li><strong>Roberto Baronti Marchi\u00f2: <\/strong><i>Romantic Geography: i luoghi, le atmosfere e gli spazi emotivi<\/i><\/li>\n<li><strong>Mario Martino:\u00a0<\/strong><em>La revisione del romantico. Dickens e il paradigma amoroso in <\/em>Little Dorrit<\/li>\n<li><strong>Fiorella Gabizon:\u00a0<\/strong>The Jew<em> di Richard Cumberland. Nuove mappature della figura dell&#8217;ebreo nell&#8217;immaginario collettivo inglese<\/em><\/li>\n<li><strong>Vincenzo Salerno:\u00a0<\/strong><em>Geografia e immaginazione. Mondi possibili e mondi d&#8217;invenzione in <\/em>Frankenstein<em> di Mary Shelley\u00a0<\/em><\/li>\n<li><strong>Ralph Pite:\u00a0<\/strong><em>\u00abIn a small mill-race severed from his stream\u00bb: Wordsworth&#8217;s Undaunted Rivers<\/em><\/li>\n<li><strong>Laura Diamanti:\u00a0<\/strong><em>Toponymy and Topography in William Wordsworth&#8217;s Poetry and Prose<\/em><\/li>\n<li><strong>Miko Takahashi:<\/strong> <em>The Reception and Adaptation of English Romanticism in Modern Japanese Literature<\/em><\/li>\n<\/ul>\n<\/div><\/div><\/div><div class=\"fusion-panel panel-default panel-e5b109d368f57f40f fusion-toggle-has-divider\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_e5b109d368f57f40f\"><a aria-expanded=\"false\" aria-controls=\"e5b109d368f57f40f\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-6975-1\" data-target=\"#e5b109d368f57f40f\" href=\"#e5b109d368f57f40f\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">MARGINALIA<\/span><\/a><\/h4><\/div><div id=\"e5b109d368f57f40f\" class=\"panel-collapse collapse \" aria-labelledby=\"toggle_e5b109d368f57f40f\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<ul>\n<li>\n<div><strong>Elisabetta Marino:<\/strong>\u00a0<i>Gli Shelley e Pedro Calder\u00f3n de\u00a0 la Barca<\/i><\/div>\n<\/li>\n<li><strong>Francesco de Renzo:\u00a0<\/strong><em>Lingua tra Stato e Nazione nell&#8217;Ottocento<\/em><\/li>\n<\/ul>\n<\/div><\/div><\/div><div class=\"fusion-panel panel-default panel-ed03b7970922f8158 fusion-toggle-has-divider\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_ed03b7970922f8158\"><a aria-expanded=\"false\" aria-controls=\"ed03b7970922f8158\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-6975-1\" data-target=\"#ed03b7970922f8158\" href=\"#ed03b7970922f8158\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">POET'S CORNER<\/span><\/a><\/h4><\/div><div id=\"ed03b7970922f8158\" class=\"panel-collapse collapse \" aria-labelledby=\"toggle_ed03b7970922f8158\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<ul>\n<li>\n<div><b>Maurizio Soldini: <\/b><em>Poesie inedite<\/em><\/div>\n<\/li>\n<li><strong>Ralph Pite: <\/strong><em>Selected Poems<\/em><\/li>\n<li><strong>Three Nineteenth Century Canadian Poetesses\u00a0<\/strong><\/li>\n<li><strong>Richard Cumberland: <\/strong><em>L&#8217;ebreo: una commedia<\/em> (trad. di Fiorella Gabizon)<\/li>\n<\/ul>\n<\/div><\/div><\/div><div class=\"fusion-panel panel-default panel-55a2b13cdfb417f7a fusion-toggle-has-divider\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_55a2b13cdfb417f7a\"><a aria-expanded=\"false\" aria-controls=\"55a2b13cdfb417f7a\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-6975-1\" data-target=\"#55a2b13cdfb417f7a\" href=\"#55a2b13cdfb417f7a\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">RECENSIONI<\/span><\/a><\/h4><\/div><div id=\"55a2b13cdfb417f7a\" class=\"panel-collapse collapse \" aria-labelledby=\"toggle_55a2b13cdfb417f7a\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<ul>\n<li><strong>Marco Canani:\u00a0<\/strong>Diego Saglia, Ian Haywood, eds., <em>Spain in British Romanticism,<\/em> 1800-1840<\/li>\n<li><strong>Alessandro Gebbia:\u00a0<\/strong>Tiziana Morosetti, ed.,<em> Staging the Other in Nineteenth-Century British Drama<\/em><\/li>\n<\/ul>\n<\/div><\/div><\/div><div class=\"fusion-panel panel-default panel-64be8f51e9fd279dc fusion-toggle-has-divider\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_64be8f51e9fd279dc\"><a aria-expanded=\"false\" aria-controls=\"64be8f51e9fd279dc\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-6975-1\" data-target=\"#64be8f51e9fd279dc\" href=\"#64be8f51e9fd279dc\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">NOTIZIE<\/span><\/a><\/h4><\/div><div id=\"64be8f51e9fd279dc\" class=\"panel-collapse collapse \" aria-labelledby=\"toggle_64be8f51e9fd279dc\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<ul>\n<li><em>Mary Shelley&#8217;s Frankenstein 1818-2018: Circuits and Circulation<\/em><\/li>\n<li><i>Frankenstein,<\/i> in the Wake of Creation<\/li>\n<li><em>Frankenreads <\/em>in Bologna<\/li>\n<li><em>Mary Shelley &#8211; Spirit of Place<\/em><\/li>\n<li>Jonathan Sachs<em>, The Poetics of Decline in British Romanticism<\/em><\/li>\n<li>Dahlia Porter<em>, Science, Form, and the Problem of Induction in British Romanticism<\/em><\/li>\n<li><em>Festival Shelley <\/em>2018, 3-8 giugno 2018, Villa Paolina, Viareggio<\/li>\n<li><em>Romanticism and Time, <\/em>Conference of the French Society for the Study of English Romanticism<\/li>\n<li><em>NASSR 2018, <\/em>Annual Meeting of the North American Society for the Study of Romanticism<\/li>\n<li><em>Change of Air: Atmosphere, Health, and Locality in the Romantic Era, 1760-1840<\/em>, University of Oxford<\/li>\n<li><em>Romantic Facts and Fantasies<\/em>, The British Association for Romantic Studies 16th International Conference<\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":6,"featured_media":6979,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[29,30,31],"tags":[],"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: Vecchie rotte, nuove cartografie (2019) - 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\/la-questione-romantica-vecchie-rotte-nuove-cartografie\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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