{"id":3050,"date":"2009-11-17T11:33:16","date_gmt":"2009-11-17T11:33:16","guid":{"rendered":"http:\/\/377"},"modified":"2009-11-17T11:33:16","modified_gmt":"2009-11-17T11:33:16","slug":"magda-campanini-catani","status":"publish","type":"post","link":"https:\/\/siefar.org\/gb\/magda-campanini-catani\/","title":{"rendered":"Magda CAMPANINI CATANI"},"content":{"rendered":"<div class=\"corpsTexte\" style=\"text-align: justify;\"><strong><span style=\"font-size: small;\">Venezia, Italie * <\/span><\/strong><a href=\"mailto:campacat@unive.it\"><span style=\"font-size: small;\">campacat@unive.it<\/span><\/a><strong><span style=\"font-size: small;\"><br \/> <\/span><\/strong><\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\"><strong><br \/> <\/strong><\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\"><strong><span style=\"font-size: small;\"> Charg\u00e9e d&#8217;enseignement * Universit\u00e9 Ca&#8217;Foscari (Venise) * Litt\u00e9rature fran\u00e7aise, XVIe, XVIIe si\u00e8cles<\/span><\/strong><\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\">\u00a0<\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\"><em><span style=\"font-size: small;\">Prose narrative, recueils \u00e9pistolaires (XVIe-XVIIe s.)<\/span><\/em><span style=\"font-size: small;\"><br \/> <\/span><\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\">\u00a0<\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\"><span style=\"color: #800000;\"><strong><span style=\"font-size: small;\">OUVRAGES<\/span><\/strong><\/span><span style=\"font-size: small;\"><br \/> &#8211; <em>L&#8217;Immagine riflessa. La riscrittura delle fonti nei <\/em>Contes amoureux<em> di Jeanne Flore,<\/em> Venezia, Supernova, 2000. <\/span><\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\"><span style=\"color: #800000;\"><strong><br \/> ARTICLES<\/strong><\/span><br \/> &#8211; \u00ab La relecture du mythe : quelques \u00e9chos de la tradition classique dans les <em>Comptes amoureux<\/em> de Jeanne Flore\u00bb, in M. Cl\u00e9ment &amp; J. Incardona (dir.), <a href=\"1\/\"><em>L\u2019\u00c9mergence litt\u00e9raire des femmes \u00e0 Lyon \u00e0 la Renaissance (1520-1560)<\/em><\/a>, Saint-\u00c9tienne, PUSE, 2008, p.197-209.<br \/> &#8211; \u00ab Le forme dell\u2019io nella scrittura epistolare : le raccolte di lettere tra modello retorico e invenzione letteraria \u00bb, in R. Gorris et A. Vanautgaerden (dir.), <em>L\u2019Auteur \u00e0 la Renaissance<\/em>, Turnhout, Brepols, 2009, p.543-556 (aborde l\u2019\u00e9mergence du sujet f\u00e9minin dans les <em>Epistres familieres et invectives <\/em>d\u2019H\u00e9lisenne de Crenne).<br \/> &#8211; \u00ab Les <em>Contes amoureux<\/em> de Jeanne Flore : notes pour une \u00e9tude intertextuelle \u00bb, in D.Desrosiers-Bonin &amp; E. Viennot (dir.), <a href=\"1\/\"><em>Actualit\u00e9 de Jeanne Flore<\/em><\/a>, Paris, H. Champion, 2004, p.127-143.<br \/> &#8211; \u00ab Le <em>Angoysses douloureuses<\/em> di H\u00e9lisenne de Crenne e <em>Il Libro del Peregrino<\/em> di Jacopo Caviceo : due romanzi a confronto \u00bb, in I<em>l Romanzo nella Francia del Rinascimento : dall&#8217;eredit\u00e0 medievale all&#8217;Astrea<\/em>, Fasano, Schena, 1996, p.165-178.<\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Venezia, Italie * campacat@unive.it Charg\u00e9e d&#8217;enseignement * Universit\u00e9 Ca&#8217;Foscari (Venise) * Litt\u00e9rature fran\u00e7aise, XVIe, XVIIe si\u00e8cles \u00a0 Prose narrative, recueils \u00e9pistolaires (XVIe-XVIIe s.) \u00a0 OUVRAGES &#8211; L&#8217;Immagine riflessa. La riscrittura delle fonti nei Contes amoureux di Jeanne Flore, Venezia, Supernova, 2000. ARTICLES &#8211; \u00ab La relecture du mythe : quelques \u00e9chos de la tradition classique [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":1933,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[14],"tags":[],"categorie_personnage":[],"class_list":["post-3050","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"gb","enabled_languages":["fr","gb"],"languages":{"fr":{"title":true,"content":true,"excerpt":false},"gb":{"title":false,"content":false,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/posts\/3050","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/comments?post=3050"}],"version-history":[{"count":0,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/posts\/3050\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/media\/1933"}],"wp:attachment":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/media?parent=3050"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/categories?post=3050"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/tags?post=3050"},{"taxonomy":"categorie_personnage","embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/categorie_personnage?post=3050"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}