Karina F. Attar is Assistant Professor of Italian at Queens College, CUNY, where she also serves as Associate Director of Writing at Queens. She holds a B.A. in Italian and Russian from Cambridge University (1994) and a Ph.D. in Italian from Columbia University (2005). She teaches undergraduate- and M.A.-level courses in Italian language and literature, and her research focuses on the history and literary representation of cross-cultural encounters in the medieval and early modern Mediterranean. She has published articles on novellas by Salernitano, Fortini, and Giraldi, and most recently co-edited, with Lynn Shutters, Teaching Medieval and Early Modern Cross Cultural Encounters (Palgrave Macmillan, 2014).
Luigi Ballerini (UCLA, Emeritus) was born in Milan, and studied in Milan, London and Bologna. Before joining the Italian Department at the University of California, Los Angeles, he taught at City College and the Graduate Center of the City University of New York, and at New York University, where in 1976 he became the director of Italian Studies. He now lives between New York and Milan. In New York he has collaborated with both visual artists and poets. In 1973 he organized the exhibition Italian Visual Poetry from 1912 to 1972 at the Finch College Museum. In 1991 he organized the meeting of Italian and American poets The Disappearing Pheasant. His publications include: literary criticism (La piramide capovolta, 4 per Pagliarani); translations (of, among others, Gertrude Stein, Lionel Abel, Leslie Fielder, Herman Melville, Benjamin Franklin, James Baldwin, Henry James, Charles Olson, LeRoy Jones); poetry collections, such as Il terzo gode (1994), Che figurato muore (1988), Shakespeherian rugs (1996), Uno monta la luna (2001), Cefalonia ’43 (reissued in 2005 and awarded with the Brancati and Lorenzo Montano prize); the plaquette Uscita senza strada ovvero come sbrinare una bandiera rossa (2000) and the plaquette Se il tempo è matto (2010). He edited, among others, Marinetti’s Gli indomabili and Mafarka il futurista, and Melville’s Benito Cereno, and published the anthologies La linea longobarda (1996), Shearsmen of Sorts: Italian Poetry 1975-1993 (1992), and The Promised Land (1999), Those Who Look Like Flies from Afar (2013). His 1991 volume Che oror l’orient, a collection of bilingual poems in Italian and Milanese dialect, was awarded the Feronia Prize for poetry. After collaborating with American publishing houses, in 2000 he founded Agincourt Press, which publishes experimental poetry, psychoanalysis, philosophy and literature. He is also known as a culinary historian, and is the founder of the library Chiesa Rossa, where he organizes the annual meeting Latte e Linguaggio (Milk and Language). With Massimo Ciavolella, he is General Editor of the Da Ponte Italian Library, a series published by the University of Toronto Press.
John Bidwell is Astor Curator of Printed Books and Bindings at the Morgan Library and Museum, before which he was Curator of Graphic Arts in the Princeton University Library. He has written extensively on the history of papermaking in England and America and in 2013 published his book, titled American Paper Mills, 1690 – 1832: A Directory of the Paper Trade with Notes on Products, Watermarks, Distribution Methods, and Manufacturing Techniques (Dartmouth College Press/American Antiquarian Society). At the Morgan he has curated exhibitions on Beatrix Potter, Henri Matisse, Victorian bestsellers, Gutenberg Bibles, and landscape design in the Romantic era. He is currently working on an exhibition marking the 200th anniversary of Mary Shelley’s Frankenstein, first published in 1818.
Lina Bolzoni is a Professor of Italian Literature at the Scuola Normale Superiore in Pisa, where she has also served as Dean of the Classe di Lettere e Filosofia. Since 2000, Dr. Bolzoni has been the director of the Centro per l’Elaborazione Informatica di Testi e Immagini nella tradizione letteraria and a Visiting Professor at many European and American universities, including Harvard University, UCLA, New York University, and the Collège de France. She has also been a Visiting Scholar at the Getty Center for the History of Art and the Humanities and a Whitney J. Oates Short-Term Fellow of the Humanities Council at Princeton University. She is the author of many articles and books on Italian Renaissance literature, the relationship between literature and philosophy, the utopian tradition, medieval vernacular preaching, chivalric poetry, treatises on women and love, the art of memory, and the relationship between literature and the figurative arts. Her recent publications include La stanza della memoria (Torino: Einaudi, 1995) and La rete delle immagini (Torino: Einaudi, 2002). La rete delle immagini was awarded three prizes: Premio Viareggio per la saggistica (2002), Premio Brancati Zafferana Etnea per la saggistica (2002), and the Aldo and Jeanne Scaglione Prize for an Outstanding Scholarly Work in the Field of Italian Studies awarded by the Modern Language Association of America (2003). In April 2007, she was elected as a member of the American Philosophical Society.
Federica Caneparo earned her PhD at the Scuola Normale Superiore of Pisa, Italy, where she focused on Italian Literature and Renaissance Art History. She also received a “diploma di specializzazione” (Italian post-graduate program) in Medieval and Renaissance Art History at the University of Pisa. Caneparo is the author of the monograph Di molte figure adornato. L’Orlando furioso nei cicli pittorici tra Cinque e Seicento (Officina Libraria, Milano 2015 http://www.officinalibraria.com/catalogo/scheda.php?libro=122), and of several articles and essays. Her research interests include the history of the book, the culture of Italian Renaissance, art and politics, and the relationship between visual arts and literature, especially Ariosto’s Orlando furioso, Dante’s Commedia, Boccaccio’s Decameron, Ovid’s Metamorphoses, and Erasmus’ Adagia. She has been the recipient of fellowships from the École Normale Supérieure, the Warburg Institute, and the Houghton Library, and she has collaborated in organizing various exhibitions in Italy. Currently, she is preparing a monograph on the role of the visual arts in the formation of the Italian literary canon, while collaborating at University of Chicago.
Jo Ann Cavallo
Jo Ann Cavallo, Professor of Italian and current Italian Department Chair at Columbia University, specializes in the Italian Renaissance romance epic and its performance traditions in the Mediterranean. Her most recent book, The World beyond Europe in the Romance Epics of Boiardo and Ariosto (University of Toronto Press, 2013), was awarded the Modern Language Association’s Scaglione Publication Award for a Manuscript in Italian Literary Studies (2011) and is forthcoming in Italian translation (with Mondadori). She is also the author of Boiardo’s Orlando Innamorato: An Ethics of Desire (Associated University Presses, 1993), The Romance Epics of Boiardo, Ariosto, and Tasso: From Public Duty to Private Pleasure (University of Toronto Press, 2004), and co-editor of Fortune and Romance: Boiardo in America (MRTS, 1998). Her articles focus on early Christian and gnostic literature (the Gospel of Matthew and the Gospel of Truth), Italian authors from the medieval to the modern period (Marco Polo, Dante, Petrarch, Pulci, Boiardo, Ariosto, Castiglione, Machiavelli, Tasso, Giordano Bruno, and Elsa Morante), and folk traditions that dramatize epic narratives (Sicilian puppet theater and the epic Maggio of the Tuscan-Emilian Apennines). Her documentary on the Maggio is entitled Il maggio emiliano: ricordi, riflessioni, brani (2003). Her current project is a co-edited volume of essays entitled “Speaking Truth to Power from Medieval to Modern Italy” scheduled to be published as a special issue of Annali d’Italianistica in 2016. Professor Cavallo has also adapted several episodes from Boiardo’s Orlando Innamorato into comedies that have been performed in various regions of Italy (2000-2006), and in English translation in New York City (Medieval Festival at Fort Tryon Park, 2003; Central Park’s Naumburg Bandshell, 2006).
Daniela D’Eugenio is a Ph.D. Candidate in the Comparative Literature Department at the Graduate Center, CUNY. She holds an M.A. in History of Italian Language from the University of Florence and an M.A. in Teaching Italian as a Second Language from the University of Padua. She is currently working on her dissertation entitled “Transferring Macro-terms. Cultural, Linguistic, and Literary Transitions of Proverbs, Proverbial Phrases, and Epithetical Compound Words by Vincenzo Brusantini, John Florio, and Pompeo Sarnelli.” Recently, she has been awarded a short-term fellowship at the Newberry Library to complete one of its chapters. Her interest in the intersection between linguistics and paleography has led her to collaborate with such institutions as the Accademia della Crusca and the Morgan Library. Accordingly, an excerpt from her M.A. thesis has been published in Forum Italicum: “Lionardo Salviati and his collection of Tuscan Proverbs: Philological Issues with Codex Cl. I 394″ (2014).
Alessandro Giammei is Cotsen Postdoctoral Fellow in the Society of Fellows at Princeton University, where he teaches in the Department of French and Italian and in the Prison Teaching Initiative. He holds a PhD from Scuola Normale Superiore, completed his Laurea studies at the University of Rome la Sapienza, and taught at New York University as a visiting scholar researcher. His first book, Nell’officina del nonsense di Toti Scialoja, was funded by a grant from the Fondazione Scialoja and won the Harvard Edition of the Edinburgh Gadda Prize in 2015. His published articles address trans-historical and interdisciplinary topics at the crossway of textual and visual studies, Renaissance and modernity. He is currently working on a book about Ludovico Ariosto’s multimedia legacy in the literary, visual, and political culture of the 20th century.
Neil Harris is Associate Professor of Archival Studies and Library Science at the University of Udine. He earned his Ph.D. in Comparative Literature in 1986 at the University of Leicester with a dissertation titled Milton’s “Sataneid”: The Poet and the Devil in Paradise Lost. He also studied at the Scuola Normale Superiore di Pisa, researching on the bibliographical tradition of Boiardo’s Orlando innamorato. After a collaboration with the University of Florence, in 1992 he was appointed professor at the University of Udine, where from 2008 to 2015 he served at the chair of the department of Storia e Tutela dei Beni Culturali and from 2009 to 2013 he was a representative for its general archive. He collaborates with the Istituto Nazionale di Studi sul Rinascimento in Firenze, where he organized several conferences, such as “La tipografia e la sua variante” (2003) and “Un fuoruscito fiorentino alla corte di Francia, Jacopo Corbinelli” (2008). He is also a member of the Institut d’Histoire du Livre di Lyon and for them he published the digital editions “Analytical bibliography: An alternative prospectus” (2002, 2004, and 2006) and “Paper and watermarks as bibliographical evidence” (2010, 2015). His research interests focus on the history of the book in the fifteenth and sixteenth century, the Orlando innamorato, and the fortune of the chivalric poem. He has published extensively on these topics and signed the entry “history of the book” in The Oxford Companion to the Book (2010). Among his most recent interest are Vaticinia di Giovannini (2007), Beaziano’s rhymes (2008), Giolito’s editions of Petrarch’s works (2015), and the Arab gospels by Tipografia Medicea Orientale (2015). He contributed to the catalogue of the sixteenth-century editions of Biblioteca Laurenziana (2002), of the incunabola at the Biblioteca dei Cappuccini in Florence (2003), of the seventeenth-century editions of the Biblioteca del Seminario Vescovile in Treviso (2006), of the incunabola at the Biblioteca Comunale di San Gimignano (2007), and of the incunabola of the Franciscans collections in Florence (2012).
Professor of Music and Director of the Program in Italian Studies at Princeton University, Wendy Heller specializes in the music of the seventeenth and early eighteenth centuries, with emphasis on the study of opera from interdisciplinary perspectives, particularly gender and sexuality, dance, art history, and the classical tradition. Trained as a singer at New England Conservatory before receiving her PhD in musicology at Brandeis University, Heller’s scholarship is also strongly influenced by her extensive performing experience, and has been a driving force behind the production of baroque operas at Princeton. Author of the award-winning Emblems of Eloquence: Opera and Women’s Voices in Seventeenth-Century Venice, the first major study of gender and sexuality in Italian baroque opera, Heller has earned numerous fellowships and prizes from such organizations as the ACLS, the Mellon Foundation, the NEH, and the Gladys Krieble Delams Foundation. Winner of the Rome Prize in Post-Classical Humanist Studies, Heller has also been a been a Mellon Fellow at the Society of Fellows at Columbia University, a Visiting Fellow at New College Oxford, an appointee at the Villa I Tatti Harvard University Center for Renaissance Studies (as winner of the Frederick Burkhardt Fellowship for Recently Tenured Scholars). She was also the Sylvan C. and Pamela Coleman Fellow at the Metropolitan Museum of Art. In 2014, she was appointed an Old Dominion Professor through the Council of the Humanities at Princeton. Heller is also the author of Music in the Baroque and its companion volume Anthology of Music in the Baroque (W. W. Norton, 2013), which treat music of the seventeenth and early eighteenth-centuries in terms of its cultural and social context. She is currently completing a book entitled Animating Ovid: Opera and the Metamorphoses of Antiquity in Early Modern Italy and critical editions of Handel’s Admeto and Francesco Cavalli’s Veremonda Amazzone d’Aragona. Recent graduate seminars in musicology at Princeton include “Monteverdi’s L’incoronazione di Poppea”; “Handel’s London”; “Editing Opera from Cavalli to Puccini (taught with Ellen Lockhart).
Professor Javitch has been a member of the department of Comparative Literature and Italian at NYU since 1978. He received his Ph.D. in Comparative Literature from Harvard University in 1971. His publications include Poetry and Courtliness in Renaissance England (1978), Proclaiming a Classic: The Canonization of “Orlando Furioso” (1991), and Saggi sull’Ariosto e la Composizione dell’Orlando furioso (2012). He recently edited the Norton Critical Edition of Castiglione’s Book of the Courtier. He is working on a book devoted to the emergence of genre theory in the sixteenth century. He has been the recipient of numerous grants, among them fellowships from Villa I Tatti, the ACLS, the American Academy in Rome, and the Guggenheim Foundation.
Bettina R. Lerner is Assistant Professor of French and Comparative Literature at the City College and at the Graduate Center, CUNY. Her research focuses on popular culture and literature in nineteenth-century France. Her first book Inventing the Popular: Literature and Culture in Nineteenth-Century Paris is forthcoming and her more recent research addresses the rise of intellectual property laws and its effects on poetics in nineteenth-century France.
Prof. Looney holds a Ph.D. in Comparative Literature from the University of North Carolina at Chapel Hill (1980-87) and an M.A. in Sacred Poetics from Boston University (1978-80). In 2014, he joined the Modern Language Association as Director of Programs and Director of Association of Departments of Foreign Languages. Previously, he was a professor of Italian in the Department of French and Italian at University of Pittsburgh. Among his most well-known publications, Freedom Readers: The African American Reception of Dante Alighieri and the Divine Comedy. The William and Katherine Devers Series in Dante Studies. Notre Dame, Indiana: U of Notre Dame P, 2011; Ariosto, Ludovico. ‘My Muse will have a story to paint’: Selected Prose of Ludovico Ariosto. Trans. and intro. Dennis Looney. Lorenzo da Ponte Italian Library Series. Toronto: U Toronto P, 2010; Zatti, Sergio. The Quest for Epic: From Ariosto to Tasso. Ed. Dennis Looney. Trans. Sally Hill with D. Looney. Intro. Albert Russell Ascoli. Toronto: U Toronto P, 2006; Phaethon’s Children: The Este Court and Its Culture in Early Modern Ferrara. Co-edited with Deanna Shemek. Medieval and Renaissance Texts and Studies. Arizona State University Press. Tempe, Arizona: MRTS, 2005; Compromising the Classics: Romance Epic Narrative in the Italian Renaissance. Detroit: Wayne State University Press, 1996. Among his translations, Introduction to Clive James, trans. Dante’s Divine Comedy. New York: Liveright/Norton, 2013; Galileo Galilei, “Enigma,” in Paolo Palmieri, A History of Galileo’s Inclined Plane Experiment and its Philosophical Implications (Lewiston, New York: Edwin Mellen Press, 2011); “Translations from the Greek of Angelo Poliziano (1454-1494).” The Classical Outlook 88/2 (Winter 2011): 57; Hans-Georg Gadamer, “Die religiöse Dimension in Heidegger,” in Transcendence and the Sacred, Alan M. Olson and Leroy S. Rouner, eds. (Notre Dame, 1981): 193-207. He has been awarded many prizes, among which the honorable mention, MLA Marraro-Scaglione Italian Prize, 1996-97 for Compromising the Classics.
Margherita Palumbo studied Philosophy at the University La Sapienza Rome, Library Science at the Vatican Library School, and Archival Science at the Vatican School of Paleography, Diplomacy and Archive. Until August 2015, she worked as a Librarian at the Biblioteca Casanatense in Rome, where she was curator of the special printed collections and responsible for the exhibition department and the didactic-center. Between 1989 and 1996, she intensively contributed to the didactic activity of the Scuola Speciale per Archivisti e Bibliotecari of the University La Sapienza Rome (Chair of History of Libraries). Her research focuses on the reconstruction of historical book collections, history of printing and libraries, history of censorship in the Early Modern Age, and intellectual and correspondence networks. She is the author of several books and essays on these topics. She was also a fellow at the Herzog August Bibliothek in Wolfenbüttel, and the Leibniz-Archiv in Hannover. She is currently involved in international research groups and she is co-founder of the Sodalitas Leibnitiana, and member of several international societies. She is also co-organizing an international conference in Rome for the 500th anniversary of the Reformation in 2017. At the moment, she is collaborating with PrPh books and for them in 2015, she edited the catalogue Dante. Fifty Books.
David Quint is a product of the Yale Comparative Literature Department, where he earned both his B.A. and Ph.D. He has studied literature written in Italian, English, French, Latin, Spanish, and, every so often, literature in Portuguese and German. He taught in the Department of Comparative Literature at Princeton University for a decade and half before taking up teaching at Yale in both the Comparative Literature and English departments. At the graduate level, he has offered courses on The European Epic Tradition, Ariosto and Cervantes, Milton, Montaigne, Aristocracy and Literature, Non-Shakespearean Drama, English Renaissance Lyric Poetry, Spenser. He has regularly taught the core course of the interdisciplinary Renaissance Studies program, The Renaissance in Italy. He is primarily interested in poetry, but he has also taught and written about the novel, the essay, and drama. His work has emphasized how literary form and the internal history of genres can be related to historical change and evolving social formations. He has directed dissertations whose subjects have ranged from classical antiquity to the twentieth century. Among his publications, Epic and Empire (1993); Montaigne and the Quality of Mercy (1998); Cervantes’s Novel of Modern Times: A New Reading of Don Quijote (2003); Inside Paradise Lost (2014). He co-edited, Literary Theory/Renaissance Texts (1986) and translated The Stanze of Angelo Poliziano (1979) and Ariosto’s Cinque Canti (1996).
Eugenio Refini is assistant professor of Italian studies at Johns Hopkins University. He obtained his PhD from the Scuola Normale Superiore of Pisa (2010). He was research fellow at the University of Warwick (2010–2013), Ahmanson fellow at Villa I Tatti – The Harvard University Center of Italian Studies (2013–2014), as well as the recipient of visiting fellowships from the École Normale Supérieure in Paris, the University of Geneva, and the Harry Ransom Research Center at the University of Texas, Austin. His main research interests are Renaissance poetics, rhetoric, and drama; the Classical tradition; and the intersections of music and literature. His publications include a monograph on Alessandro Piccolomini and several articles and book chapters on Ludovico Ariosto, Torquato Tasso, Giovan Battista Della Porta, Latin Humanism and vernacular translation, the early modern reception of the “sublime.”
Prof. Reid holds a Ph.D. in English from the University of Kentucky, two M.A.s in Art History and English from the same University. He is currently Assistant Professor of English in the Department of Literature and Language at the East Tennessee State University. He is general editor of the The Manchester Spenser (Manchester University Press) and technical editor of the Nineteenth-Century Gender Studies. His manuscript, entitled The Italian Romance Epic in English: 1590-1600 is forthcoming (MHRA Tudor & Stuart Translation Series. Cambridge, UK: Modern Humanities Research Association). He wrote several articles on chivalric poems and translation. Among them, “The Enchantments of Circe: Translation Studies and the English Renaissance.” Spenser Review 44.44.1 (Spring-Summer 2014); “Translation as Transformation: Sir John Harington Englishes the Orlando Furioso,” La Fusta: Journal of Italian Language and Literature 13 (Fall 2004/Spring 2005): 53-58. Forthcoming in 2016 and 2017 are, “The Romance of Translation: Tasso’s Gerusalemme Liberata in the Elizabethan Twilight.” Forum for Modern Language Studies; “Textual Physiognomy: A Brief History and the New Theory of Dantean Portraiture.” California Italian Studies; “Teaching the Italian Romance Epic in Translation and as Translation.” Approaches to Teaching Ariosto and the Romance Epic Tradition, ed. Jo Ann Cavallo. MLA Approaches to Teaching World Literature Series; “Materials: English Translations of Boiardo, Ariosto, and Tasso.” Approaches to Teaching Ariosto and the Romance Epic Tradition, ed. Jo Ann Cavallo. MLA Approaches to Teaching World Literature Series.
Antonio Ricci holds a PhD in Italian from the University of Toronto. He is currently Associate Professor of Italian Studies and Humanities at York University, and he has taught at Fordham University. His research interests are in the areas of Renaissance print culture and reading in the medieval and early modern periods. His recent publications include “Real Presences: Literature and Artifacts in Early Modern Italy” (in Rituals of Politics and Culture in Early Modern Europe: Essays in Honour of Edward Muir, eds. M. Jurdjevic & R. Strom-Olsen, Centre for Reformation and Renaissance Studies, 2016, 235–257) and “The Business of Print in Ducal Florence: The Case of Anton Francesco Doni” (in Dissonanze Discordi, ed. Giovanna Rizzarelli, Il Mulino, 2013, 45–70).
Brian Richardson is an Emeritus Professor of Italian Language at the University of Leeds. His research interests focus on the late Middle Ages and Renaissance; the history of the Italian language; the history of the circulation of texts. He held a Leverhulme Major Research Fellowship from 2005 to 2008, working on the circulation of literature in Renaissance society with particular reference to manuscripts and the spoken or sung word. In 2009, he was co-investigator in a Workshops project, supported by the AHRC, on Scribal Culture in Italy, 1450-1650. He gave the Panizzi lectures for 2012 at the British Library on the topic of Women, Books and Communities in Renaissance Italy. In 2011-15, he was principal investigator of a project, funded by the European Research Council, entitled “Oral Culture, Manuscript and Print in Early Modern Italy, 1450-1700.” He was elected as a Fellow of the British Academy in 2003. Among his monographs and editions, Print Culture in Renaissance Italy: The Editor and the Vernacular Text, 1470-1600 (Cambridge: Cambridge University Press, 1994); Printing, Writers and Readers in Renaissance Italy (Cambridge: Cambridge University Press, 1999); (ed.) Giovan Francesco Fortunio, Regole grammaticali della volgar lingua (Rome and Padua: Antenore, 2001); Manuscript Culture in Renaissance Italy (Cambridge: Cambridge University Press, 2009).
Melissa Swain is a recent doctoral graduate from the Department of Italian Studies at NYU. She holds a B.A. in Italian Studies and Art History from the University of California, Santa Cruz, and a Post-Baccalaureate Certificate in Art and Archeological Conservation from Studio Art Centers International, Florence, Italy. Her research examines the representation of conjugal corulership in figural and literary portraits of fifteenth-century princely couples. She is the co-editor of John Freccero’s latest volume, In Dante’s Wake: Reading from Medieval to Modern in the Augustinian Tradition, edited with an introduction by Danielle Callegari and Melissa Swain (New York: Fordham University Press, 2015) as well as co-translator of the forthcoming edition of Vittoria Speranza di Bona’s verse in Renaissance Women’s Writing Between the Two Adriatic Shores, edited with an introduction and notes by Francesca Maria Gabrielli, translated by Shannon McHugh, Melissa Swain, and Francesca Maria Gabrielli (Toronto: Centre for Reformation and Renaissance Studies, 2016).
Jane Tylus is Professor of Italian Studies and Comparative Literature at NYU, where she also serves as faculty director of the Humanities Initiative. Her research focuses on late medieval and early modern Italy and Europe, particularly issues related to gender and religion; history of theatre; literature of 19th-century Sicily; and the history and culture of Siena. Her recent books include Siena, City of Secrets (Chicago, 2015), Early Modern Cultures of Translation (Penn, 2015, co-edited with Karen Newman), Reclaiming Catherine of Siena: Literacy, Literature, and the Signs of others (Chicago, 2009), and translations of the poetry of Gaspara Stampa and Lucrezia Tornabuoni de’ Medici. She is the editor of I Tatti Studies in the Italian Renaissance. She has taught at the University of Wisconsin-Madison and the Scuola Normale Superiore di Pisa, and in spring 2015 she was Robert Lehman Visiting Professor at Villa I Tatti in Florence. Among her other books, The Poetics of Masculinity in Early Modern Italy and Spain (Toronto, 2010), co-edited with Gerry Milligan; Medusa’s Gaze: Essays on Gender, Literature, and Aesthetics in the Italian Renaissance: In Honor of Robert J. Rodini (co-ed. with Paul Ferrara and Eugenio Giusti), a special edition of Italiana XI, 2005; The Longman Anthology of World Literature, Volume C, on Early Modern Europe (co-edited with David Damrosch, 2003); Epic Traditions in the Contemporary World (co-edited with Margaret Beissinger and Susanne Wofford, 1999); Writing and Vulnerability in the Late Renaissance (1993).
Sergio Zatti holds a PhD from Scuola Normale and is professor of “Storia della critica letteraria” at University of Pisa. He taught at Berkeley University, Yale University, and Harvard University. His research interest focuses on sixteenth century chivalric epic. Among his publications on the topic, L’uniforme cristiano e il multiforme pagano. Saggio sulla “Gerusalemme Liberata” (Il Saggiatore 1983); Il “Furioso” fra epos e romanzo (Pacini-Fazzi 1990); L’ombra del Tasso (Bruno Mondadori 1996); Il modo epico (Laterza 2000). A selection of his essays, The Quest for Epic. From Ariosto to Tasso, was edited by Dennis Looney and translated by Sally Hill and Dennis Looney (Toronto University Press 2006). He co-edited with Remo Ceserani (University of Bologna) the UTET edition of Orlando Furioso e and Cinque Canti (1997). Zatti also published on Boccaccio, Manzoni, Gozzano and analyzed transformation of genres (the novella) and thematic critical approaches. Among his publications on the topics, Il modo epico, Laterza 2000; Epos, Romance e Novel, Bollati-Boringhieri 2003; Parola e immagine, Pacini-Fazzi 2000; Prove di critica tematica, Vecchiarelli 2004. In recent years, Zatti has been working on comparative studies and on forms and historical models for modern autobiographies.