martedì 20 dicembre 2016

Elenco dei Revisori

MEROPE
Elenco dei Revisori
aggiornato al 20 dicembre 2016

Rosario Arias (Universidad de Málaga, Spain)
Stefano Bronzini (Università di Bari)
Ivan Callus (University of Malta)
Ian Campbell (University of Edinburgh)
Allan C. Christensen (John Cabot University, Rome)
Renzo D’Agnillo (Università di Chieti-Pescara)
Elio Di Piazza (Università di Palermo)
Cristina Giorcelli (Università di Roma III)
Andrew King (University of Greenwich, UK)
Rama Kundu (Kurdwan University, West Bengal, India)
Gloria Lauri-Lucente (University of Malta)
Phillip V. Mallett (University of St Andrews, UK)
Mitsuharu Matsuoka (Nagoya University, Japan)
Jude V. Nixon (Salem State University, USA)
Francesca Orestano (Università di Milano)
Angelo Righetti (Università di Verona)
Antonella Riem (Università di Udine)
Alan Shelston (University of Manchester)
Enrico Terrinoni (Università di Perugia)
Philip Tew (Brunel University, London)

lunedì 27 luglio 2015

Merope n. 61-62 E.M. FOSTER REVISITED

MEROPE
Rivista semestrale di studi umanistici
ANNO XXIV - N. 61-62 – Gennaio-Luglio 2015 – nuova serie – Euro 18,00

Sommario

E.M. FORSTER REVISITED

edited by Gloria Lauri-Lucente, Francesco Marroni, Tania Zulli




Foreword

Francesco Marroni, Troping the Heart: E.M. Forster’s Homoerotic Greenwood

Gloria Lauri-Lucente, Nostalgia and Nostophobia: Filming Englishness and Italianness in A Room with a View and Where Angels Fear to Tread

Anna Enrichetta Soccio, Houses, Property and Nation in Howards End

Tania Zulli, “Betraying the Country”: Ideological Deception in A Passage to India

Stefania Michelucci, E.M. Forster, “The Story of a Panic”: An Anthropological Reading

Raffaella Antinucci, “A book on chivalry”: Questioning the Gentlemanly Code in Arctic Summer

Neval Berber, E.M. Forster’s “Ruritanias” and Queer Masculinities

James Corby, E.M. Forster: Muddling Through Italy

Ivan Callus, Friend or Country?: Narratives of Impossible Choice in Sophocles, E.M. Forster, and Beyond


Merope n. 61-62
E.M. FOSTER REVISITED
edited by Gloria Lauri-Lucente - Francesco Marroni - Tania Zulli
Edizioni Solfanelli
[ISBN-978-88-7497-692-8]
Pagg. 268 - € 18,00

http://www.edizionisolfanelli.it/merope61-62.htm

lunedì 20 luglio 2015

Merope n. 61-62 (ANNO XXIV - N. 61-62 – Gennaio-Luglio 2015): Foreword

Foreword





The idea of dedicating an entire issue of Merope to E.M. Forster stems not so much from the desire to furnish yet another series of essays on the novelist but rather from a reflection on the status of theory and method in contemporary Forsterian criticism. The vibrant and sustained interest in Forster’s work has given us the possibility to gauge the hermeneutic viability and durability of the enormous quantity of critical material that floods our desks, which more often than not has been produced with job prospects or funding opportunities in mind. In a moment in time in which the same articles on the same aspects are continuously being published in various parts of the world, in a moment, that is to say, in which a scholar ends up by confronting his own work with that of other scholars in a sort of endless metacritical vertigo, Forster has become an author whose work poses to the critics of the third millennium a whole spectrum of issues that seriously undermine, or at least question, the certainties underlying their work. In an interesting inversion of roles, we the critics are not the ones who raise questions and turn to Forster’s novels for answers, but rather, as the essays in this volume demonstrate, it is Forster who questions us and invites us to set aside the worn-out formulas, modes and tendencies of contemporary criticism which seems to be entrapped in a sort of autotelic self-referential representation that very rarely addresses the issues raised by the texts themselves.
In a memorable verse Wallace Stevens writes: “Real and unreal are two in one”. Forster was well aware that life’s enigma lies precisely in this unity between real and unreal, between truth and falsehood. He in fact had perfectly understood that the fluid reality in which we are immersed is quite different from the reductive and simplistic dichotomies which Forsterian criticism at times tends to propose. Unfortunately, too many critics seem to have forgotten that when Forster talks about connection, he is not merely postulating a union between “different classes, sexes, and sides of the individual self”, as David Bradshaw writes, but is rather hypothesizing the ability to go beyond the Victorian conception of society and of the individual so as to construe instead a world in which everything can be destabilised and nothing is certain with the exception of the shadowy uncertainty of things. Forster can thus be considered as neither a traditionalist nor a modernist, and his novels are part of a greater change that encompasses the status of the work of art and of the product of the human imagination.
In many respects, the closing essay of the volume by Ivan Callus offers the sort of answer — one that is extreme but also highly original in its constant construction and deconstruction of a series of assumptions — that Forster’s work prompts a critic to formulate.  Significantly enough, nearly all the essays question and re-question in a site of negotiation and creative tension the criticism that has been produced on Forster which, as Francesco Marroni demonstrates, cannot be read without continuously confronting it with his novels. In an analogous vein, the essay by Gloria Lauri-Lucente examines a number of filmic adaptations of Forster’s novels and relentlessly confronts them with the criticism that they have inspired. Clearly, the Forster we have tried to depict does not attempt to offer the reader a definitive study of the author. Rather, as in the case of Tania Zulli’s contribution, our depiction takes on the cast of a scene that is constantly fluctuating, in which innumerable possibilities have the ability to indefinitely promote and renew thoughts and counter-thoughts, statements and counter-statements. Out of this multifariousness, what emerges is not so much one distinct voice but rather a reverberation of voices which contradict one another without fearing contradiction in and of itself. Within such a framework, the essay by Anna Enrichetta Soccio focuses on the way in which the spatial elements in Howards End constitute a modality of simplification in a horizon that is in reality much more complex, and in so doing, it highlights the inability on Forster’s part  to build a narrative text which encompasses entirely reality’s complexities. From a different perspective, but again with a somewhat similar focus on incompleteness, Raffaella Antinucci’s Arctic Summer studies the way in which in this unfinished novel, the nostalgic treatment of the theme of gentlemanliness limits Forster’s perspective and ultimately ends up by curtailing his imagination. As a result, the narration is transformed into an anachronistic discourse that is no longer viable and is unable to reach a conclusion, thus leaving the reader with a series of unanswered questions.
Again, complexity lies at the core of the anthropological study by Stefania Michelucci who argues that a simple text like “The Story of a Panic” contains within it a more complex text which exemplifies Forster’s refusal of any simplistic interpretative formula. It is as if in all of his works Forster himself is constantly reminding us that “[t]he novel’s spirit is the spirit of complexity. Every novel says to the reader: ‘Things are not so simple as you think’”, as Milan Kundera has put it in The Art of the Novel. Forster does not court complexity, he does not display it with the prosopopoeia of someone who exudes certainty, but, on the contrary, he lives it, he experiences it and, in the process, he reveals its obtuse superficiality. In this respect Neval Barber’s essay on the homoerotic work The Heart of Bosnia, which has never been published and still in manuscript form, further illustrates the strong link between the representation of complexity and Forster’s personal life through which he explores the type of masculinity that is permissible in the South, where it is still possible to encounter an untainted and authentic sexuality. It is precisely the South — in this case Italy — that is the focus of James Corby’s essay on the “intriguing complexities” which a term such as “muddle” denotes, a term whose semantic vectors seem to gesture towards a vision of the world in which there is no longer any room for clarity and in which sexuality itself has become a structural element of confusion that is to be understood as the complexity of life, of one’s actions and of one’s sentiments.
It is quite evident even to the reader who casts only a cursory glance at the novels and at the works of non-fiction referred to in this issue of Merope that the essays we have gathered actively engage with one another as they strive to demonstrate that writing about Forster — that is to say, writing about the “spirit of complexity” that lies at the heart of Forster’s work — constitutes an indirect response to the simplifications of a consumer culture which is driven by the needs of the market and is consequently incapable of furnishing discourses that are not riddled by superficial statements and platitudes. We live in an epoch in which simplicity seems to exert a dangerously seductive allure particularly in the creation of themes and characters in narratives that are immediately recognizable and that are completely devoid of any type of hermeneutic depth. Forster lies at the very antipodes of such an attitude, which is why his work beckons its readers to be constantly aware that “[t]hings are not simple as you think”.

The Editors

lunedì 6 luglio 2015

NOTES ON CONTRIBUTORS di MEROPE n. 61-62

NOTES ON CONTRIBUTORS


RAFFAELLA ANTINUCCI is tenured Reseacher in English Literature at the University of Naples Parthenope (Italy) and former Lecturer in Italian at Manchester Metropolitan University (UK). She has published articles on Victorian culture and fiction, literature and cinema, comparative literatures, and corpus stylistics. She is the author of a monograph on the literary representations of the Victorian gentleman (Sulle orme del gentiluomo: percorsi narrativi ed episteme vittoriana, 2009) and has co-edited a special issue of Rivista di Studi Vittoriani on Edward Lear (2012).

NEVAL BERBER is a DAAD Postdoctoral Fellow in English Studies at the University of Regensburg, Germany. She has published articles and edited volumes on the representations of the Balkans in nineteenth- and twentieth-century English literature. Her most recent books are Unveiling Bosnia-Herzegovina in British Travel Literature, 1844-1922 (2010) and Nello specchio dell’Altro. Orientalismo, balcanismo e queerness in E.M. Forster (2012).

IVAN CALLUS is Associate Professor in the Department of English at the University of Malta. He is the founding co-editor of the journal CounterText, launched with Edinburgh University Press in 2015, and co-editor of a number of critical collections, the most recent of which are Posthumanist Shakespeares (2012) and Style in Theory: Between Literature and Philosophy (2013). He is the author of numerous papers on contemporary literature, posthumanism, and poststructuralist theory.

JAMES CORBY is a Senior Lecturer and Head of the Department of English at the University of Malta. He is the founding co-editor of CounterText and a founding member of the Futures of Literature Network. He has published on literature and philosophy, including articles on romanticism, modernism, phenomenology, performance, politics, and contemporary American literature. He co-edited Style in Theory: Between Literature and Philosophy (2013).

GLORIA LAURI-LUCENTE is Associate Professor and Head of the Department of Italian at the University of Malta, where she teaches courses in Film Studies, Italian Literature, Anglo-Italian Studies, and Comparative Literature. She is also Director of the Institute of Anglo-Italian Studies and Deputy Dean of the Faculty of Arts. She has published numerous articles and book chapters internationally, mainly on the lyric tradition, Anglo-Italian Studies, and Film Studies.

FRANCESCO MARRONI is Professor of English at the Gabriele d’Annunzio University of Chieti-Pescara, Italy. He is Director of the Centre for Victorian and Edwardian Studies (CUSVE), Vice President of the Gaskell Society (UK) and editor of Merope, Rivista di Studi Vittoriani and Traduttologia. His most recent books are Victorian Disharmonies (2010) and Come leggere “Jane Eyre” (2013).

STEFANIA MICHELUCCI is Associate Professor of English Literature at the University of Genoa, Italy. Her publications include The Poetry of Thom Gunn: A Critical Study (2009), Space and Place in the Works of D.H. Lawrence (2002), the critical edition of Twilight in Italy and Other Essays by D.H. Lawrence (1997), and numerous articles on nineteenth- and twentieth-century authors and the relationship between literature and the visual arts. A new translation and edition of D.H. Lawrence’s The Fox is forthcoming.

ANNA ENRICHETTA SOCCIO is Associate Professor of English at the Gabriele d’Annunzio University of Chieti-Pescara, Italy. She has published articles on nineteenth- and twentieth-century authors (Charles Dickens, Thomas Hardy, George Meredith, Elizabeth Gaskell and Philip Larkin). She has co-edited a special issue of Rivista di Studi Vittoriani on Edward Lear (2012). Her most recent book is Come leggere “Hard Times” (2014).

TANIA ZULLI is Associate Professor of English at the University of Roma 3, Italy. She has published articles on colonial and postcolonial literature and culture. She has edited a volume on She by H. Rider Haggard (2009). Her most recent books are Colonial Transitions (2011) and Come leggere “A Passage to India” (2014). She is Secretary of the Centre for Victorian and Edwardian Studies (CUSVE).



venerdì 16 gennaio 2015

SUBMISSION AND ASSESSMENT OF CONTRIBUTIONS

merope
biannual journal of humanities
SUBMISSION GUIDELINES


SUBMISSION AND ASSESSMENT OF CONTRIBUTIONS

The journal welcomes original contributions that have not been published elsewhere. Contributions should not exceed 5000 words, including notes and bibliographical references and must be sent by e-mail to the Editor, Prof. Francesco Marroni, francesco.marroni@unich.it, and Prof. Tania Zulli taniazulli@uniroma3.it.

All contributions must be accompanied by an abstract in English of no more than 300 words, a brief bio-bibliographical note which should not exceed 100 words, a running title and five keywords.

Since all articles will be subject to a double blind peer review before publication, they must be sent anonymously: name of author, institution, academic position and e-mail address must be sent in a separate file. Any direct references within the article to the author or their other works must be avoided.   
The Editor will select two readers from a list of both Italian and foreign external experts, and will  request their assessments of the contribution within one month. Authors will be notified of the result of the external assessment within sixty days.
In the case of a positive assessment with suggested alterations, the article will be sent back to the author who will be invited to take the eventual comments into consideration and resubmit it after making the amendments suggested. Only after revision will the article be accepted for publication. In the case of a negative judgment on the part of both readers the article will be rejected.   

EDITORIAL GUIDLINES

LETTER SIZE AND LINE SPACING
Articles must be written in Times New Roman in the following sizes: Name of author 12; Title 14; Main text 12; Long centre page quotations 10; Footnotes 10.
Line spacing is 1,5 for the text and for centre page quotations, and single (1) for footnotes.

PAGE LAYOUT
1. The whole text must be justified, apart from the name of the author and title which are to be left-aligned. A space (size 14) must be left between the name of the author and title; two spaces (size 14) must be left between the title and the beginning of the text.  
2. Each paragraph (including the opening) must be indented (0.5 cm). Footnotes must also be indented (0.5 cm).
3. Paragraph titles and sections must be written in italics (except numbers), with the same letter size and leaving one space from the text which follows (size 11).

PUNCTUATION
Punctuation marks follow the number of the footnote and closing double rounded inverted commas. Only question and exclamation marks precede the inverted commas and the number of the note is placed at the end, after the inverted commas.
e.g.: “[…] and he eventually found the place”1. / “[…] did he eventually find the place?”1

QUOTATIONS IN THE TEXT

1. Short quotations must be placed in the main text between inverted commas “  ”. A maximum of two lines of verse and a maximum of four lines for prose must be placed in the main text. Long quotations must be separated from the text without opening and closing quotation marks and with an indent (1 cm) on the left and an indent (1 cm) on the right of the text. Before and after the quotations one space (size 11) must be left.
2. Suspension points indicating an interruption or break in the quotation must be placed between square brackets.
E.g.: “There was no hope. [...] Just then [...] when the law had been so flagrantly outraged”.


QUOTATIONS IN NOTES

books and articles
1. Names and surnames of authors of books must be indicated together with the title and subtitle, place of publication, editor, year of publication and page number(s). Other information (series, number of edition or reprint etc.) are optional. In the case of more than one volume – such as, for example, the letters of an author – the number of the volume must be indicated immediately after the title in Arabic numerals (e.g.: 6 voll., and for English texts, 6 vols.), and the number of the volume quoted before the page indication and in Roman numerals (e.g.: G. S. Haight (ed.), The George Eliot Letters, 7 vols., New Haven and London, Yale University Press, 1954-1955, vol. V, pp. 19-20).
Any translations used that are different from the original language must be indicated after the title.
2. Titles of books, journals and collected volumes must be in italics. Works by more than one author must be indicated with the name of the editor before the title followed by (ed.) or (eds.) when there is more than one editor; or edited by, (a cura di), (sous la direction de), (herausgegeben von) (a cargo de). e.g: Allan C. Christensen, Francesco Marroni, David Paroissien (eds.), Dialogic DickensInvention and TransformationChieti, Solfanelli, 2015. If the name of the editor is not provided, the name of the first author must be given followed by et al. e.g.: Alessandro Serpieri et al., Nel laboratorio di Shakespeare. Dalle fonti ai drammi, Parma, Pratiche, 1988, 4 voll. Avoid initials such as AA.VV., which, from a bibliographical point of view, have no information value. In the case of volumes containing proceedings, the place of publication  and date of the conference must be included with the names of editors. e.g.: Ungaretti e la cultura romana, Atti del Convegno (Roma, 13-14 novembre 1980) edited by Rosita Tordi, Roma, Bulzoni, 1983.
3. Journal articles and essays in collected volumes (of one or more authors) and other such publications must be placed between double rounded quotation marks. Journals must contain year number and season number in Arabic numerals; immediately after these two numbers the month (or season) and year of publication must be indicated in brackets: e.g. Merope, 6, 3 (September 1994). The number of the issue must be indicated, in Arabic numerals, only if the year number is missing: e.g. Merope 13 (September 1994). Abbreviations should not be used for the names of journals except in rare cases (such as, for example, PMLA): write Rivista di Studi Vittoriani instead of RSV.
4. The journal from which the quoted article is taken follows the title of the article without “in” after the comma; the book from which the quoted article is taken follows the title of the article preceded by “in” after the comma.
5. When the same text is cited more than once only the surname of the author is to be indicated followed by the title, cit., and page number(s), or followed only by op. cit., and page number(s). e.g.: Said, Culture and Imperialism, cit., p. 246 / Said, op. cit., p. 246.
6. For successive quotations from the same text use Idem if the quotation is from the same page, Ibid. or Ibidem followed by the page number if the quotation is from a different page.

WEB SITES
Quotations from web sites must be indicated as follows:
Tommaso Pincio “Estate Artica”, 10 novembre 2014, http://tommasopincio.net/2014/11/10/estate-artica. Ultimo accesso: 28 luglio 2015. For English texts: [last accessed July 28th 2015]

BIBLIOGRAPHICAL REFERENCES AT THE END OF THE TEXT
If the article contains a (short) bibliography, the references must be listed in alphabetical order according to authors’ surnames and, for each author’s works, in chronological order of publication. 
e.g.:

Texts
-  Milton, John, Paradise Lost, ed. Christopher Ricks, London and New York, Penguin, 1989.
- Dostoevsky, Fyodor, Crime and Punishment, ed. Richard Peace, trans. Jessie Coulson, Oxford and New York, Oxford University Press, 2008.

Journal articles
Carabine, Keith, “‘The Secret Sharer’: A Note on the Dates of Its Composition”, Conradiana 19, 3 (1987), pp. 209-213.

volume articles
McBratney, John, “The Failure of Dickens’s Transatlantic Dream in American Notes”, in Christine de Vine (ed.), Nineteenth-Century British Travelers in the New World, Farnham and Burlington, Ashgate, 2013, pp. 69-85.

web sites
www.researchgate.net

graphs and images
Tables and graphs must be in black and white and must be inserted in the article in Word format (10). The images must be in jpeg format with a minimum resolution of 300 dpi.
Descriptions of the images must appear under the images and be preceded by consecutive numbering.



Merope is a biannual journal.
To subscribe or purchase individual issues write to:
Edizioni Solfanelli
Gruppo Editoriale Tabula Fati
Via Colonnetta n. 148
66100 CHIETI SCALO – ITALY
tel. 0871 561806

http://www.rivistamerope.it/

lunedì 12 gennaio 2015

NORME PER I COLLABORATORI di MEROPE

merope
rivista semestrale  di studi umanistici
NORME EDITORIALI


CONSEGNA E VALUTAZIONE DEI CONTRIBUTI

La rivista accoglie proposte originali, non pubblicate altrove, della lunghezza massima di 5000 parole, incluse le note e i riferimenti bibliografici. I contributi dovranno essere inviati per posta elettronica al Direttore della Rivista, Prof. Francesco Marroni, francesco.marroni@unich.it, e alla Prof. Tania Zulli taniazulli@uniroma3.it.

Ogni lavoro sottoposto dovrà essere accompagnato da un abstract in inglese, di non oltre 300 parole, una breve nota bio-bibliografica (massimo 100 parole), una proposta di titoletto corrente e l’indicazione di cinque keywords.

Prima della pubblicazione, gli articoli sono valutati secondo la procedura del double blind peer review e dovranno quindi pervenire in forma anonima: il nome dell’autore, l’istituzione di appartenenza, la posizione accademica e l’indirizzo email dovranno essere inviati in un file a parte. Inoltre, dovranno essere evitati riferimenti diretti alla propria persona o ai propri lavori all’interno dell’articolo.
La Direzione sceglie due revisori in un elenco di esperti esterni, italiani e stranieri, chiedendo la valutazione del contributo entro un mese. L’esito della valutazione esterna sarà notificato agli autori entro un termine massimo di sessanta giorni.
Se i revisori esprimono giudizi favorevoli ma suggeriscono cambiamenti, l’articolo sarà rimesso all’autore con l’invito a prendere in considerazione i commenti e a rinviarlo dopo aver apportato le modifiche, seguendo i suggerimenti formulati. Soltanto dopo la revisione l’articolo sarà accettato per la pubblicazione. Nel caso di giudizi negativi da parte di entrambi i revisori l’articolo sarà respinto.


NORME REDAZIONALI

Dimensioni carattere e interlinea
Gli articoli devono essere scritti in Times New Roman rispettando le seguenti dimensioni: Nome autore 12; Titolo 14; Corpo del testo 12; Citazioni lunghe a centro pagina 10; Note a piè di pagina 10.
L’interlinea è 1,5 per il testo e per le citazioni a centro pagina, mentre è singola (1) per le note a piè di pagina.

layout di pagina
1. Tutto il testo va giustificato, tranne il nome dell’autore e il titolo che sono allineati a sinistra. Tra nome dell’autore e titolo va lasciata una spaziatura (dimensione 14); tra il titolo e l’inizio del testo vanno lasciate due spaziature (dimensione 14).
2.    Ogni paragrafo (incluso quello iniziale) avrà un rientro di 0,5 cm. Anche le note a piè di pagina avranno un rientro di 0,5 cm.
3. I titoli di paragrafi e sezioni vanno scritti in corsivo (tranne l’eventuale numerazione), conservando la stessa dimensione del carattere e lasciando una spaziatura rispetto al testo che segue (dimensione 11).

Punteggiatura
I segni di punteggiatura seguono il numero di nota in apice e le virgolette di chiusura. Soltanto i punti interrogativi ed esclamativi precedono le virgolette e il numero di nota è posto alla fine, dopo le virgolette stesse.
Es.: “[…] and he eventually found the place”1. / “[…] did he eventually find the place?”1


Citazioni nel testo
1. Le citazioni brevi vanno nel corpo dell’articolo tra virgolette doppie “  ”. Restano inclusi nell’articolo massimo due versi per i testi poetici e massimo quattro righe per testi in prosa. Le citazioni lunghe sono staccate dal testo, senza virgolette di apertura e di chiusura e con rientro di 1 cm a destra e 1 cm a sinistra rispetto al testo.  Prima e dopo le citazioni centrate va lasciata una spaziatura (dimensione 11).
2. I puntini che indicano un’interruzione o taglio della citazione vanno tra parentesi quadre.
Es.: “There was no hope. [...] Just then [...] when the law had been so flagrantly outraged”.


Citazioni in nota

libri e articoli
1. I libri si indicano con il nome e cognome dell’Autore, Titolo e sottotitolo, luogo, editore, anno di pubblicazione e numero/i di pagina. Altri dati (serie, collana, numero dell’edizione o ristampa, ecc.) sono facoltativi. Nel caso di opere in più volumi — come ad esempio le lettere di un autore — va indicato il numero dei volumi subito dopo il titolo in cifre arabe (Es.: 6 voll., e per i testi inglesi, 6 vols.), e il numero del volume citato, prima dell’indicazione della pagina e, in cifre romane (Es.: G. S. Haight (ed.), The George Eliot Letters, 7 vols., New Haven and London, Yale University Press, 1954-1955, vol. V, pp. 19-20).
Le traduzioni usate, in lingua diversa dall’originale, vanno segnalate dopo il titolo.
2. Titoli di libri, di riviste, di opere collettanee vanno in corsivo. Le opere di più autori si indicano con il nome del curatore prima del titolo seguito da: (ed.) oppure (eds.) quando siano più curatori; oppure (a cura di), (sous la direction de), (herausgegeben von) (a cargo de). Es.: Allan C. Christensen, Francesco Marroni, David Paroissien (eds.), Dialogic Dickens. Invention and Transformation, Chieti, Solfanelli, 2015. In assenza del nome del curatore, si trascrive il nome del primo autore seguito da et al. Es.: Alessandro Serpieri et al., Nel laboratorio di Shakespeare. Dalle fonti ai drammi, Parma, Pratiche, 1988, 4 voll.). Evitare la formula AA.VV., che, dal punto di vista bibliografico, non ha valore informativo. Nel caso di volumi contenenti atti, insieme ai curatori, vanno citati il luogo e la data del convegno. Es.: Ungaretti e la cultura romana, Atti del Convegno (Roma, 13-14 novembre 1980) a cura di Rosita Tordi, Roma, Bulzoni, 1983.
3. Articoli in riviste, saggi in opere collettanee (di uno o più autori) e pubblicazioni simili, vanno tra virgolette doppie. Le riviste devono essere corredate del numero di annata e del numero stagionale in cifre arabe; subito dopo questi due numeri vanno indicati fra parentesi il mese (o la stagione) e l’anno di pubblicazione: es. Merope, 6, 3 (settembre 1994). Il numero del fascicolo va indicato, in cifre arabe, solo nel caso in cui manchi il numero dell’annata: es. Merope 13 (settembre 1994). Salvo qualche eccezione (come, per esempio, PMLA), per i nomi delle riviste non bisogna usare abbreviazioni: scrivere Rivista di Studi Vittoriani invece di RSV.
4. La rivista in cui è contenuto un articolo segue il titolo dell’articolo senza “in” dopo la virgola; il libro in cui è contenuto un saggio segue il titolo del saggio preceduto da “in” dopo la virgola.
5. Quando lo stesso testo è citato per la seconda volta (e successive) si scrive solo il cognome dell’autore seguito da titolo, cit., e numero/i di pagina, oppure seguito soltanto da op.cit. e numero/i di pagina. Es.: Said, Culture and Imperialism, cit., p. 246 / Said, op. cit., p. 246.
6. Per citazioni consecutive dal medesimo testo usare Idem se la citazione è dallo stesso numero di pagina, Ibid. o Ibidem seguito dal numero di pagina se la citazione è da un numero di pagina diverso.

siti web
Le citazioni da siti web vanno riportate come segue:
Tommaso Pincio “Estate Artica”, 10 novembre 2014, http://tommasopincio.net/2014/11/10/estate-artica. Ultimo accesso: 28 luglio 2015. Per i testi in inglese: [last accessed July 28th 2015]

riferimenti bibliografici alla fine del testo
Qualora l’articolo contenga una (breve) bibliografia, i riferimenti vanno elencati in ordine alfabetico secondo il cognome degli autori e, per ciascun autore, nell’ordine cronologico di pubblicazione delle opere.
Es.:

Libri
-  Milton, John, Paradise Lost, ed. Christopher Ricks, London and New York, Penguin, 1989.
- Dostoevsky, Fyodor, Crime and Punishment, ed. Richard Peace, trans. Jessie Coulson, Oxford and New York, Oxford University Press, 2008.

articoli in rivista
Carabine, Keith, “‘The Secret Sharer’: A Note on the Dates of Its Composition”, Conradiana 19, 3 (1987), pp. 209-213.

articoli in volume
McBratney, John, “The Failure of Dickens’s Transatlantic Dream in American Notes”, in Christine de Vine (ed.), Nineteenth-Century British Travelers in the New World, Farnham and Burlington, Ashgate, 2013, pp. 69-85.

siti web
www.researchgate.net


grafici e immagini
Tabelle e grafici devono essere in bianco e nero, e vanno inseriti nell’articolo in formato Word, con carattere di un punto inferiore rispetto a quello del testo (cioè 10).
Le immagini dovranno essere in formato jpeg, con una risoluzione minima di 300 dpi.
Le descrizioni delle immagini dovranno comparire sotto l’immagine stessa ed essere precedute da numerazione consecutiva.



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