{"id":89,"date":"2023-07-11T15:14:09","date_gmt":"2023-07-11T19:14:09","guid":{"rendered":"https:\/\/web.colby.edu\/gianluca-rizzo\/?page_id=89"},"modified":"2023-08-08T14:33:40","modified_gmt":"2023-08-08T18:33:40","slug":"articles","status":"publish","type":"page","link":"https:\/\/web.colby.edu\/gianluca-rizzo\/articles\/","title":{"rendered":"Articles"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"89\" class=\"elementor elementor-89\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-1f10531 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"1f10531\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-90ce66b\" data-id=\"90ce66b\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-4a6b87e elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"4a6b87e\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-1ae7138\" data-id=\"1ae7138\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-39f32fa elementor-widget elementor-widget-text-editor\" data-id=\"39f32fa\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.18.0 - 08-12-2023 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<p><b>Peer-Reviewed Articles:<\/b><\/p><p>\u00a0<\/p><ul><li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Il futuro del<\/span><\/i><span style=\"font-weight: 400\"> Fax (giallo)<\/span><i><span style=\"font-weight: 400\">: Storia, persistenze e inattualit\u00e0 di una macchina di poesia<\/span><\/i><span style=\"font-weight: 400\">, in <\/span><span style=\"font-weight: 400\">Rivista di Studi Italiani<\/span><span style=\"font-weight: 400\">, XXXIX, n. 1, 2021, pp. 99-131.<\/span><\/li><li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Poesia in scena: Antonio Porta e il teatro della neoavanguardia<\/span><\/i><span style=\"font-weight: 400\">, <\/span><span style=\"font-weight: 400\">il Verri<\/span><span style=\"font-weight: 400\">, No. 74, ottobre 2020, pp. 15-25.<\/span><\/li><li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Il sotterfugio della poesia: note di lettura su alcuni testi di Luigi Ballerini<\/span><\/i><span style=\"font-weight: 400\">, <\/span><span style=\"font-weight: 400\">Italica<\/span><span style=\"font-weight: 400\">, vol. 95, n. 3 (Fall 2018), pp. 461-468.\u00a0<\/span><\/li><li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Faria\u2019s Method: An Introduction to the Poetry of Mariano B\u00e0ino<\/span><\/i><span style=\"font-weight: 400\">, <\/span><span style=\"font-weight: 400\">Italica,<\/span><span style=\"font-weight: 400\"> vol. 95, n. 1 (Spring 2018), pp. 50-73.<\/span><\/li><li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">What\u2019s Left of 1963: Mariano B\u00e0ino and the Avant-garde with Two \u201cNei,\u201d<\/span><\/i> <span style=\"font-weight: 400\">Forum Italicum<\/span><span style=\"font-weight: 400\">, 52, n. 1, Spring 2018, pp. 153-180.\u00a0<\/span><\/li><li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Se si vuole sapere se A \u00e8 causa dell\u2019effetto B: Scienza e realismo nelle sperimentazioni poetiche della neo-avanguardia<\/span><\/i><span style=\"font-weight: 400\">, <\/span><span style=\"font-weight: 400\">Studi Novecenteschi<\/span><span style=\"font-weight: 400\">, XLIV, numero 93, gennaio-giugno 2017, pp. 79-101.\u00a0<\/span><\/li><li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">D\u00fcrer\u2019s Spleen and St. Jerome\u2019s Skull: Identifying <\/span><\/i><span style=\"font-weight: 400\">Melencolia<\/span> <span style=\"font-weight: 400\">II, <\/span><span style=\"font-weight: 400\">Rivista di Studi Italiani<\/span><span style=\"font-weight: 400\">, XXXV, n. 1, aprile 2017, p. 41-59.\u00a0<\/span><\/li><li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Invettiva, eufemismo e poesia maccheronica<\/span><\/i><span style=\"font-weight: 400\">, <\/span><span style=\"font-weight: 400\">il Verri<\/span><span style=\"font-weight: 400\">, No. 54, febbraio 2014, pp. 50-61.<\/span><\/li><li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">La verifica della poesia: il teatro secondo i novissimi, Pagliarani (e T.S. Eliot)<\/span><\/i><span style=\"font-weight: 400\">, <\/span><span style=\"font-weight: 400\">Autografo<\/span><span style=\"font-weight: 400\">, No. 50, anno XXI, 2013, (published in winter 2014), pp. 121-137.<\/span><\/li><li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Il guaio dell\u2019asino morto \u00e8 che ci vuole l\u2019interpretazione. Giuliani, Pagliarani e le riscritture di Perrault<\/span><\/i><span style=\"font-weight: 400\">, <\/span><span style=\"font-weight: 400\">Autografo<\/span><span style=\"font-weight: 400\">, No. 50, anno XXI, 2013, (published in winter 2014), pp. 141-160.<\/span><\/li><li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Pasolini, Fo and the issue of language<\/span><\/i><span style=\"font-weight: 400\">, <\/span><span style=\"font-weight: 400\">L\u2019anello che non<\/span> <span style=\"font-weight: 400\">tiene. <\/span><span style=\"font-weight: 400\">Journal of Modern Italian<\/span> <span style=\"font-weight: 400\">Literature, Voll. 18-19, No. 1-2, Spring-Fall 2006-2007, pp. 95-109.<\/span><\/li><\/ul>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-1ebfb55 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"1ebfb55\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-483bee2\" data-id=\"483bee2\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-4edabf4 elementor-widget elementor-widget-spacer\" data-id=\"4edabf4\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.18.0 - 08-12-2023 *\/\n.elementor-column .elementor-spacer-inner{height:var(--spacer-size)}.e-con{--container-widget-width:100%}.e-con-inner>.elementor-widget-spacer,.e-con>.elementor-widget-spacer{width:var(--container-widget-width,var(--spacer-size));--align-self:var(--container-widget-align-self,initial);--flex-shrink:0}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container,.e-con>.elementor-widget-spacer>.elementor-widget-container{height:100%;width:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer{height:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner{height:var(--container-widget-height,var(--spacer-size))}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty,.e-con>.elementor-widget-spacer.elementor-widget-empty{position:relative;min-height:22px;min-width:22px}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon,.e-con>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon{position:absolute;top:0;bottom:0;left:0;right:0;margin:auto;padding:0;width:22px;height:22px}<\/style>\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-dcb3445 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"dcb3445\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-7f6f2f9\" data-id=\"7f6f2f9\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6c2df1f elementor-widget elementor-widget-text-editor\" data-id=\"6c2df1f\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><b>Non Peer-Reviewed Articles:<\/b><\/p><p><b><br><\/b><\/p>\n<p><\/p>\n<ul>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">\u201cPoesia, prima persona plurale\u201d, with Lorenzo Mari, <\/span><span style=\"font-weight: 400\">Le Parole e Le Cose<\/span><span style=\"font-weight: 400\">, available online:&nbsp;<\/span><a href=\"https:\/\/www.leparoleelecose.it\/?p=45566\" target=\"_blank\">https:\/\/www.leparoleelecose.it\/?p=45566&nbsp;<\/a><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">\u201cHiccer, o il gioco delle tre carte,\u201d in Mariano B\u00e0ino, <\/span><i><span style=\"font-weight: 400\">Ritratto immaginario di Hiccer<\/span><\/i><span style=\"font-weight: 400\">, (Nola: Il Laboratorio, 2022).&nbsp;<\/span><\/li>\n<li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Intervista con Daniele Poletti. Diaforia, 23 settembre 2021<\/span><\/i><span style=\"font-weight: 400\">, <\/span><span style=\"font-weight: 400\">Rossocorpolingua<\/span><span style=\"font-weight: 400\">, Anno 5, No. 1, Marzo 2022, pp. 46-53, also available online:&nbsp;<\/span><a href=\"http:\/\/www.rossocorpolingua.it\/index.php?it\/380\/p-46-53-intervista-con-daniele-poletti\" target=\"_blank\">http:\/\/www.rossocorpolingua.it\/index.php?it\/380\/p-46-53-intervista-con-daniele-poletti&nbsp;<\/a><\/li>\n<li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Cecco Angiolieri\u2019s Hypothetical Poetry<\/span><\/i><span style=\"font-weight: 400\">,<\/span><span style=\"font-weight: 400\"> Or,<\/span><span style=\"font-weight: 400\"> Issue 8, Spring 2012, p. 28.<\/span><\/li>\n<li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Well-Oiled Words (and Numbers)<\/span><\/i><span style=\"font-weight: 400\">, <\/span><span style=\"font-weight: 400\">Journal of Italian Translation<\/span><span style=\"font-weight: 400\">, Vol. 6, No. 1, Spring 2012, p. 216.<\/span><\/li>\n<li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">The Inventory of Chaos<\/span><\/i><span style=\"font-weight: 400\">, <\/span><span style=\"font-weight: 400\">Or<\/span><span style=\"font-weight: 400\">, Issue 5, Spring 2010, p. 14.<\/span><\/li>\n<li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Aspects of Simultaneity in the Divine Comedy<\/span><\/i><span style=\"font-weight: 400\"> by F.T. Marinetti, edited and translated by G. Rizzo and D. Siracusa, in <\/span><span style=\"font-weight: 400\">Carte Italiane<\/span><span style=\"font-weight: 400\">, II, vol. 6, 2010, pp. 1-5.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">\u201cBallerini e la sfingefenice, ovvero del pelare le noci senza rompere il guscio,\u201d in <\/span><i><span style=\"font-weight: 400\">Balleriniana<\/span><\/i><span style=\"font-weight: 400\">, edited by G. Cavatorta and E. Coda (Ravenna: Danilo Montanari, 2010), pp. 413-429.<\/span><\/li>\n<li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Il teatro di Elio Pagliarani<\/span><\/i><span style=\"font-weight: 400\">, L\u2019<\/span><span style=\"font-weight: 400\">Immaginazione<\/span><span style=\"font-weight: 400\">, anno ventiseiesimo, No. 245,&nbsp;marzo<\/span> <span style=\"font-weight: 400\">2009, pp. 28-29.<\/span><\/li>\n<li style=\"font-weight: 400\"><i><span style=\"font-weight: 400\">Mutation, Mutilation, Love, and Machines<\/span><\/i><span style=\"font-weight: 400\">, <\/span><span style=\"font-weight: 400\">Or<\/span><span style=\"font-weight: 400\">, Issue 3, Fall 2009, p. 11.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Contributor to <\/span><i><span style=\"font-weight: 400\">BiGLI<\/span><\/i> <i><span style=\"font-weight: 400\">Bibliografia generale della lingua e della letteratura italiana<\/span><\/i><span style=\"font-weight: 400\">, Volume 13, (Rome: Salerno, 2006).<\/span><\/li>\n<\/ul>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-74c5733 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"74c5733\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-cfc6154\" data-id=\"cfc6154\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-30e8bb0 elementor-widget elementor-widget-spacer\" data-id=\"30e8bb0\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Peer-Reviewed Articles: \u00a0 Il futuro del Fax (giallo): Storia, persistenze e inattualit\u00e0 di una macchina di poesia, in Rivista di Studi Italiani, XXXIX, n. 1, 2021, pp. 99-131. Poesia in scena: Antonio Porta e il teatro della neoavanguardia, il Verri, No. 74, ottobre 2020, pp. 15-25. Il sotterfugio della poesia: note di lettura su alcuni [&hellip;]<\/p>\n","protected":false},"author":11144,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","ngg_post_thumbnail":0,"footnotes":""},"_links":{"self":[{"href":"https:\/\/web.colby.edu\/gianluca-rizzo\/wp-json\/wp\/v2\/pages\/89"}],"collection":[{"href":"https:\/\/web.colby.edu\/gianluca-rizzo\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/web.colby.edu\/gianluca-rizzo\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/gianluca-rizzo\/wp-json\/wp\/v2\/users\/11144"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/gianluca-rizzo\/wp-json\/wp\/v2\/comments?post=89"}],"version-history":[{"count":25,"href":"https:\/\/web.colby.edu\/gianluca-rizzo\/wp-json\/wp\/v2\/pages\/89\/revisions"}],"predecessor-version":[{"id":1108,"href":"https:\/\/web.colby.edu\/gianluca-rizzo\/wp-json\/wp\/v2\/pages\/89\/revisions\/1108"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/gianluca-rizzo\/wp-json\/wp\/v2\/media?parent=89"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}