You can download the full version of most of my published articles by visiting my Academia page
Articles (peer reviewed):
“Deliberate Starvation: Hunger Artists in Kafka, Różewicz, and Sinking Ship.” Global Performance Studies 6, nos 1–2 (2023). https://doi.org/10.33303/gpsv6n1-2a127. Peer reviewed and open access.
“And May the Best… Thing Win!”: Posthuman Actor-Networks in RuPaul’s Drag Race.” Queer Studies in Media and Popular Culture 8 (2023): 15–29, special issue on “Posthuman Drag” edited by Kai Prins and Florian Zitzelsberger. Peer reviewed. https://doi.org/10.1386/qsmpc_00085_1. Peer reviewed. In plain words on Kudos.
“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 Synthetic Bard: Dramatic Synthesis from the Futurists to The Reduced Shakespeare Company.” Peer reviewed. Polymath, 1 (2011): 1–29.
“The Short Play and Postmodernist Stage Directing: A Virtual Experiment with Pirandello’s Cecè.” Peer reviewed. Quaderni d’Italianistica 32.2 (2011): 159–82. https://doi.org/10.33137/q.i..v32i2.16313
“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.
“The Intertextual Short Play: An Example Using Verga’s Cavalleria rusticana and Capuana’s Il piccolo archivio.” Peer reviewed. MLN (Modern Language Notes) 126 (2011): 47–73.
“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.
“Stage Directions in Translation: George Bernard Shaw and the Italian versions of the Plays Pleasant and Unpleasant” [in Italian: “Le didascalie tradotte alla prova: George Bernard Shaw e le versioni italiane dei Plays Pleasant e 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.
“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.
Book Chapters (peer reviewed)
“Jean Genet.” The Routledge Companion to Absurdist Literature, edited by Michael Bennett, 207–16. Routledge, 2024. https://doi.org/10.4324/9781003422730-26. Peer reviewed.
“Latin America.” In Pirandello in Context, edited by Patricia Gaborik, 43–50. Cambridge University Press, 2024. https://doi.org/10.1017/9781108339391.010. Peer reviewed.
“Echoes of Theatre Past in Blasco Ibañez’s El comediante Fonseca and Cozarinsky’s El rufián moldavo.” In The Routledge Companion to Theatre-Fiction, Edited by Graham Wolfe, 54–66. Routledge, 2023. https://doi.org/10.4324/9781003204886-6. Peer reviewed.
“Before the ‘Rashomon Effect’: Pino Masnata and the Francesca da Rimini Experiment.” In L’Altro e l’Altrove nella cultura italiana, edited by Fulvio Orsitto, 148–57. Cuneo, Italy: Nerosubianco, 2011. Peer reviewed. [in Italian: “Prima dell’effetto Rashomon: Pino Masnata e l’esperimento di Francesca da Rimini”]
“Translation for the Theatre.” Peer reviewed. Testo a fronte 15 (1996): 63-80. [in Italian: “La traduzione teatrale”]. Republished in Buffoni, Franco, ed. Traduttologia: La teoria della traduzione letteraria. Roma: Istituto poligrafico e Zecca dello Stato, Libreria dello Stato, 2006. 625-42.