{"id":7054,"date":"2020-02-17T14:10:23","date_gmt":"2020-02-17T13:10:23","guid":{"rendered":"https:\/\/www.lilec.it\/romanticismo\/?p=7054"},"modified":"2021-11-08T22:35:46","modified_gmt":"2021-11-08T21:35:46","slug":"la-questione-romantica-larte-del-ricordo-romanticismo-e-cultural-memory","status":"publish","type":"post","link":"https:\/\/www.lilec.it\/romanticismo\/la-questione-romantica-larte-del-ricordo-romanticismo-e-cultural-memory\/","title":{"rendered":"La questione Romantica: L&#8217;Arte del ricordo: Romanticismo e cultural memory (2020)"},"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-text fusion-text-1\"><p>Volume 12, n. 1-2<\/p>\n<\/div><div class=\"fusion-image-element in-legacy-container\" style=\"--awb-caption-title-font-family:var(--h2_typography-font-family);--awb-caption-title-font-weight:var(--h2_typography-font-weight);--awb-caption-title-font-style:var(--h2_typography-font-style);--awb-caption-title-size:var(--h2_typography-font-size);--awb-caption-title-transform:var(--h2_typography-text-transform);--awb-caption-title-line-height:var(--h2_typography-line-height);--awb-caption-title-letter-spacing:var(--h2_typography-letter-spacing);\"><span class=\" fusion-imageframe imageframe-none imageframe-1 hover-type-none\"><img decoding=\"async\" width=\"215\" height=\"300\" title=\"Scan, la questione romantica vol 12, frontespizio\" src=\"https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/02\/Scan-la-questione-romantica-vol-12-frontespizio-215x300.jpg\" alt class=\"img-responsive wp-image-7048\" srcset=\"https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/02\/Scan-la-questione-romantica-vol-12-frontespizio-200x279.jpg 200w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/02\/Scan-la-questione-romantica-vol-12-frontespizio-400x557.jpg 400w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/02\/Scan-la-questione-romantica-vol-12-frontespizio-600x836.jpg 600w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/02\/Scan-la-questione-romantica-vol-12-frontespizio-800x1114.jpg 800w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/02\/Scan-la-questione-romantica-vol-12-frontespizio-1200x1671.jpg 1200w, https:\/\/www.lilec.it\/romanticismo\/wp\/wp-content\/uploads\/2020\/02\/Scan-la-questione-romantica-vol-12-frontespizio.jpg 1712w\" sizes=\"(max-width: 800px) 100vw, 1200px\" \/><\/span><\/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-7054-1\"><div class=\"fusion-panel panel-default panel-664b2f898681a01cf fusion-toggle-has-divider\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_664b2f898681a01cf\"><a aria-expanded=\"false\" aria-controls=\"664b2f898681a01cf\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-7054-1\" data-target=\"#664b2f898681a01cf\" href=\"#664b2f898681a01cf\"><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=\"664b2f898681a01cf\" class=\"panel-collapse collapse \" aria-labelledby=\"toggle_664b2f898681a01cf\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<ul>\n<li><strong>Giancarlo Lacchin<\/strong>: <em>Mnemosyne. Poesia, mito e memoria in H\u00f6lderlin<\/em><\/li>\n<li><strong>Elena Spandri<\/strong>: <em>Wordsworth, Memory Culture and the Ubiquitous<\/em><\/li>\n<li><strong>Rossana Bonadei<\/strong>: <em>Romantic Mythologies of \u2018Naturality\u2019 and the Construction of the Excursionary Gaze<\/em><\/li>\n<li><strong>Christoph Ehland<\/strong>: <em>Beyond the \u00abthe Miasma of London\u00bb: John Keats as a Tourist<\/em><\/li>\n<li><strong>Marco Canani<\/strong>: <em>John Keats and the Memory of\u00a0 Poetry: A Survey of \u00abTexts\u00bb and \u00abTraces\u00bb<\/em><\/li>\n<li><strong>Anna Anselmo<\/strong>: <em>The Cockney Abroad: Leigh Hunt, the South and<\/em> Blackwood&#8217;s Magazine <em>between Individual and Cultural Memory<\/em><\/li>\n<li><strong>Simon Grimble<\/strong>: <em>\u00abA space of stunted grassand dry rubbish\u00bb: Imagining \u2018Equal Ground\u2019 in Gaskell, Eliot and Dickens<\/em><\/li>\n<li><strong>Maria Gabriella Riccobono<\/strong>: <em>L&#8217;arte dell&#8217;oblio, l&#8217;arte del ricordo e la memoria del<\/em> Purgatorio <em>dantesco nello <\/em>Zeuberberg<\/li>\n<li><strong>Eleonora Sparvoli<\/strong>: <em>Le tre memorie proustiane<\/em><\/li>\n<li><strong>Gioia Angeletti<\/strong>: <em>Risonanze wordsworthiane in<\/em> Highland River <em>di Neil Miller Gunn<\/em><\/li>\n<li><strong>Lia Guerra<\/strong>: <em>History, Memory and Family Romance: Mary Shelley and Jammaica Kincaid<\/em><\/li>\n<li><strong>Cristina Paravano<\/strong>: <em>\u00abMemories need to be shared\u00bb: la trasmissione della memoria culturale nella distopia da Mary Shelley a<\/em> Divergent<\/li>\n<\/ul>\n<\/div><\/div><\/div><div class=\"fusion-panel panel-default panel-2910959cd74a98c1a fusion-toggle-has-divider\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_2910959cd74a98c1a\"><a aria-expanded=\"false\" aria-controls=\"2910959cd74a98c1a\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-7054-1\" data-target=\"#2910959cd74a98c1a\" href=\"#2910959cd74a98c1a\"><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=\"2910959cd74a98c1a\" class=\"panel-collapse collapse \" aria-labelledby=\"toggle_2910959cd74a98c1a\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<ul>\n<li><strong>Roberta Garruccio<\/strong>: <em>Le rovine industriali. Note sulla storia lunga di una fascinazione culturale nuova<\/em><\/li>\n<li><strong>Beatrice Moja<\/strong>: <em>I bambini e la memoria culturale: infanzia, giocattoli e musei<\/em><\/li>\n<\/ul>\n<\/div><\/div><\/div><div class=\"fusion-panel panel-default panel-bb9359f45c854eb18 fusion-toggle-has-divider\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_bb9359f45c854eb18\"><a aria-expanded=\"false\" aria-controls=\"bb9359f45c854eb18\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-7054-1\" data-target=\"#bb9359f45c854eb18\" href=\"#bb9359f45c854eb18\"><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=\"bb9359f45c854eb18\" class=\"panel-collapse collapse \" aria-labelledby=\"toggle_bb9359f45c854eb18\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<ul>\n<li><strong>David Punter:<\/strong> <em>The Ballad of Refuge<\/em><\/li>\n<li><strong>Peter Robinson:<\/strong> <em>Written in the Bay, Violated Landscape, Where Europe Ends<\/em><\/li>\n<\/ul>\n<\/div><\/div><\/div><div class=\"fusion-panel panel-default panel-3a5f5a3c2b72af342 fusion-toggle-has-divider\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_3a5f5a3c2b72af342\"><a aria-expanded=\"false\" aria-controls=\"3a5f5a3c2b72af342\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-7054-1\" data-target=\"#3a5f5a3c2b72af342\" href=\"#3a5f5a3c2b72af342\"><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=\"3a5f5a3c2b72af342\" class=\"panel-collapse collapse \" aria-labelledby=\"toggle_3a5f5a3c2b72af342\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<ul>\n<li><strong>Marzia Iasenza:<\/strong> Padma Rangarajan, <em>Imperial Babel: Translation, Exoticism, and the Long Nineteenth Century<\/em><\/li>\n<li><strong>Beatrice Moja:<\/strong> Francesco Marroni e Francesca d&#8217;Alfonso, a causa di, <em>Jane Austen. Silenzi, lacune, allusioni<\/em><\/li>\n<li><strong>Maria Luisa Roli:<\/strong> Alessandro Costazza, a cura di, con la coll. di Marco Canani, <em>Il romantico nel Classicismo\/ il classico nel Romanticismo<\/em><\/li>\n<li><strong>Beatrice Moja:<\/strong> Laura Tosi, with Peter Hunt, <em>The Fabulous Journeys of Alice and Pinocchio. Exploring Their Parallel Worlds<\/em><\/li>\n<li><strong>Marco Canani:<\/strong>\u00a0Michela Vanon Alliata, <em>Hounted Minds: Studies in the Gothic and Fantastic Imagination<\/em><\/li>\n<\/ul>\n<\/div><\/div><\/div><div class=\"fusion-panel panel-default panel-96e5f146e8afe6602 fusion-toggle-has-divider\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_96e5f146e8afe6602\"><a aria-expanded=\"false\" aria-controls=\"96e5f146e8afe6602\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-7054-1\" data-target=\"#96e5f146e8afe6602\" href=\"#96e5f146e8afe6602\"><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=\"96e5f146e8afe6602\" class=\"panel-collapse collapse \" aria-labelledby=\"toggle_96e5f146e8afe6602\"><div class=\"panel-body toggle-content fusion-clearfix\">\n<ul>\n<li><em>Peterloo at 200: Histories, Narratives, Representations<\/em><\/li>\n<li><em>Humour and Satire in British Romanticism<\/em><\/li>\n<li><em>Seventh Bicentennial Keats Conference: John Keats in 1820<\/em><\/li>\n<li><em>Romantic Futurities: BARS 2020 PG\/ECR Conference<\/em><\/li>\n<li><em>British Romanticism and Europe<\/em><\/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":7047,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[29,30,1],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.8.1 - 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