Articles and Edited Journals

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[dcs_heading size=”4″]You can download the full version of most of my articles by clicking the button below[/dcs_heading]
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“Theater and Theatricality in Italian Literature and Visual Media.” L’anello che non tiene, 24.1-2 (2012): 9-11.;

“The Short Play and Postmodernist Stage Directing: A Virtual Experiment with Pirandello’s Cecè.” Peer reviewed. Quaderni d’Italianistica 32.2 (2011): 159-82.;

“Clothes (Don’t) Make the (Wo)Man: Costume as Mask and Identity in Enrico IV and Nostra Dea.” Peer reviewed. PSA (Pirandello Society Annual) 24 (2011): 43-62.;

“The Italian Linguistic Continuum for the Stage: The Challenges of Translating Carta canta by Raffaello Baldini.” Peer reviewed. TSJ Translation: A Translation Studies Journal 3 (2011): 32-46. University of California-Santa Barbara. Full text here.;

“Prima dell’‘effetto Rashomon’: Pino Masnata e l’esperimento di Francesca da Rimini” (“Before the ‘Rashomon Effect’: Pino Masnata and the Francesca da Rimini Experiment”). Peer reviewed. Fulvio Orsitto, ed. L’Altro e l’Altrove nella cultura italiana. Cuneo: Nerosubianco, 2011. 148-57.;

“The Intertextual Short Play: An Example Using Verga’s Cavalleria rusticana and Capuana’s Il piccolo archivio.” Peer reviewed. This article first appeared in MLN (Modern Language Notes) 126 (2011): 47-73. Copyright © 2011 The Johns Hopkins University Press. Full text available here ;

“The Multiple Realities of the One-Act Play in Translation: Pirandello’s The Man with the Flower in His Mouth.” Peer reviewed. Journal of Italian Translation 5.2 (2010): 8-41. Full text here;

“Le didascalie tradotte alla prova: George Bernard Shaw e le versioni italiane dei Plays Pleasant e Unpleasant.” (“Stage Directions in Translation: George Bernard Shaw and the Italian versions of the Plays Pleasant and Unpleasant”). Peer reviewed. Testo a fronte 44 (2011): 97-126.;

“Virtual Theatres in Miniature Rooms: The Early Italian Dialogic Sonnets.” Peer reviewed. Italica 88.4 (2011): 499-514. Full text here.;

“The Synthetic Bard: Dramatic Synthesis from the Futurists to The Reduced Shakespeare Company.” Peer reviewed. Polymath, 1 (2011): 1-29. Full text here;

“Planes of Reality: Modernist One-Act Plays by Verga, D’Annunzio, and Pirandello.” Peer reviewed. L’anello che non tiene, 23.1-2 (2011): 69-86.;

“The Pirandello Society’s Website.” Pirandello Society Annual 23 (2010): 7-9.;

The Liar: Walking on Water.” The Prompter, 46.3 (2009): 2-3.;

“La traduzione teatrale.” (“Translation for the Theatre”). Peer reviewed. Testo a fronte 15 (1996): 63-80. Republished in Buffoni, Franco, ed. Traduttologia: La teoria della traduzione letteraria. Roma: Istituto poligrafico e Zecca dello Stato, Libreria dello Stato, 2006. 625-42.;

Production notes on Màcbèth in Pre-visioni – I registi di domani alla prova, School of Dramatic Art Paolo Grassi, 1998.

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[dcs_heading size=”3″]Edited Journals[/dcs_heading]

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European Stages 2 (2014), The Martin E. Segal Theatre Center, New York City – Managing Editor.;

European Stages 1 (2013), The Martin E. Segal Theatre Center, New York City – Managing Editor.;

L’Anello Che Non Tiene: Journal of Modern Italian Literature. Vol. 24, nn. 1-2. Special Issue “Theater and Theatricality in Italian Literature and Visual Media” – Guest Editor.;

PSA Pirandello Society Annual XXV (2012). Editor.;

Translation. A Translation Studies Journal. Vol. 3 (2011) “Translating Dialects.” University of California, Santa Barbara. Guest Editor.

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