Sara E. Díaz
Sara Díaz is an Assistant Professor of Modern Languages and Literature at Fairfield University, where she teaches all levels of Italian language, literature, and culture, and serves as the Coordinator of the Italian Language Program and Acting Director of Italian Studies. Her research focuses on marriage, gender, and comic discourses in late medieval and early modern Italian literature. Her interests in comedy and gender have led her to the prolific 17th century author and performer, Margherita Costa, and together with Jessica Goethals, she has recently edited and translated Costa’s 1641 farce, The Buffoons, for “The Other Voice in Early Modern Europe” series. She is at present completing a critical edition and translation of selections from Costa’s 1639 Love Letters for the same series.
Don Fader is Associate Professor of Musicology at the University of Alabama. His research
takes in a broad spectrum of issues in 17th- and 18th-century French and Italian music.
He is the recipient of the Bourse Chateaubriand (1998), the Westrup Prize (2005),
a fellowship from the National Endowment for the Humanities (2016), and he was a contributor
to Itinéraires d’André Campra, which received the French patrimoine prize for the
best francophone collection on music (2013). Besides numerous articles and essays,
he is the author of several musical editions, one of which received its modern premiere
at the Utrecht Early Music Festival in 2013. He is currently at work on a book for
Boydell & Brewer (London), Between Paris and Milan: Music, Dance, and European Cultural
Exchange in the Early 18th Century.
Marco Faini is Marie Skłodowska Curie Fellow at the Universities of Venice and Toronto. He was Andrew W. Mellon at ‘Villa I Tatti. The Harvard University Center for Italian Renaissance Studies’, and Research Associate at the Department of Italian, University of Cambridge. His research interests include comic literature, biblical epic, the history of devotion and devotional print, and the history of doubt. He has recently co-edited two volumes on Domestic Devotions in Early Modern Italy, and Domestic Devotions in the Early Modern World (Brill). He is presently co-editing a Companion to Pietro Aretino (Brill, forthcoming) and a collection of studies titled Le doute dans l’Europe moderne (Brepols).
Elsa Filosa is Assistant Professor of Italian at Vanderbilt University. She holds
a Ph.D. in Romance Languages from the University of North Carolina at Chapel Hill
and a Laurea in Modern Philology from the Università degli Studi di Milano. Her research
focuses on Fourteenth century Italian Literature, with particular emphasis on Dante,
Petrarch, and Boccaccio. She published a book (Tre Studi sul De mulieribus claris. Milan:
LED Edizioni Universitarie, 2012), several articles, and co-edited the proceedings
of the ABA Conference of 2010 and 2013. She has been for two mandates the Secretary
of the American Boccaccio Association. In 2015-2016, she has been the recipient of
the Villa I Tatti Fellowship in Florence, where she did research for her next book,
titled: The Florentine Conspiracy of 1360: Political Turmoil in Boccaccio’s Life and
Touba Ghadessi is Associate Provost for Academic Administration and Faculty Affairs and Associate Professor of Art History at Wheaton College. She is also the co-founder the Wheaton Institute for the Interdisciplinary Humanities (www.wheatoncollege.edu/WIIH), the chair of the Rhode Island Council for the Humanities (www.rihumanities.org), a board member of the Providence Athenaeum (https://providenceathenaeum.org), and the past joint president of the oldest Renaissance society in America, the New England Renaissance Conference (www.new-england-renaissance-conference.org). Her recently-published book, Portraits of Human Monsters in the Renaissance, focuses on the ways in which human difference has been historically represented, categorized, and interpreted in various Italian and French courts of the Renaissance. Her new research addresses theoretical constructs of monstrosity, as well as gender fluidity in images of French Valois rulers. Her work has been published in books and journals, such as the Harvard University I Tatti Studies and the Oxford University Journal of the History of Collections. Ghadessi has been awarded grants to study at the École des hautes études en sciences sociales (Paris), to conduct archival research in Paris, Florence, and Rome, and to participate in the Centre national de la recherche scientifique's sponsored seminars in Paris.
Jessica Goethals is Assistant Professor of Italian at the University of Alabama. She is currently writing a book provisionally entitled Margherita Costa, Diva of the Baroque Court. With Sara Díaz, she is the editor and translator of Margherita Costa’s “ridiculous” comedy The Buffoons, published in the Other Voice in Early Modern Europe series in 2018. Other recent publications include the articles “The Patronage Politics of Equestrian Ballet: Allegory, Allusion, and Satire in the Courts of Seventeenth Century Italy and France” (Renaissance Quarterly, recipient of the RSA’s William Nelson Prize) and “The Bizarre Muse: The Poetics and Persona of Margherita Costa” (Early Modern Women: An Interdisciplinary Journal), as well as a forthcoming article on representations of St. Cecilia in seventeenth-century literature, theater, and opera. She has also written on Pietro Aretino, Paolo Giovio, Luigi Guicciardini, and Eustachio Celebrino. She is the Managing Editor of I Tatti Studies in the Italian Renaissance.
Chriscinda Henry is Assistant Professor of Art History at McGill University in Montréal. Her research focuses on the relationship between secular art, collecting, and sociability in Renaissance Europe, and her first book on this subject, Playful Pictures and the Art of Social Life in the Venetian Renaissance Home is forthcoming from Penn State University Press. The book maps connections between art, vernacular fiction, music, and theater between 1490-1540.
John Hunt is an assistant professor of history at Utah Valley University. His first book, The Vacant See in Early Modern Rome: A Social History of the Papal Interregnum was published by Brill in 2016. His is currently working on a second book that explores gambling and sociability in early modern Italy.
Erith Jaffe-Berg is a Professor of theatre at the Department of Theatre, Film and Digital Production at the University of California at Riverside. Her research focuses on the commedia dell’arte and performances by minority groups in Early Modern Italy. She is the author of two books: Commedia dell’Arte and the Mediterranean: Charting Journeys and Mapping “Others” (2015) and The Multilingual Art of Commedia dell’Arte (2009). She has published essays on early modern performance in various journals and anthologies, including the Bloomsbury A Cultural History of Theatre in the Middle Ages (2018) and the Bloomsbury A Cultural History of Tragedy (2019) as well as the forthcoming Routledge Companion to Theatre History and Historiography. She is currently completing a book on the Jewish contribution to sixteenth and seventeenth-century theatre in Northern Italy. She is a member of the Son of Semele Theatre Ensemble (SOSE), an Ovation award winning, LA-based theatre company (www.sonofsemele.org) and a frequent collaborator with the Los Angeles-based Theatre Dybbuk (www.theatredybbuk.org). For her work, Prof. Jaffe-Berg has been awarded a UC Humanities Research Institute fellowship, a Gladys Krieble Delmas Foundation grant, a National Endowment for the Humanities grant as well as a grant from the Canadian embassy.
Eric Nicholson teaches literature and theatre courses at NYU Florence, and Syracuse University Florence. An active member of the international research collaborative Theater Without Borders, with Robert Henke he has co-edited Transnational Exchange in Early Modern Theater (2008), and Transnational Mobilities in Early Modern Theater (2014). He recently contributed the chapter on “Commedia dell'Arte in early modern English drama” to The Routledge Research Companion to Anglo-Italian Renaissance Literature and Culture (2019). For the Syracuse and NYU Florence programs, he has directed and performed in plays by Aristophanes, Shakespeare, Molière, and others, among them “Clorilli, a Pastoral Drama by Leonora Bernardi of Lucca,” in its premiere modern production (Spring 2018).
Sarah Gwyneth Ross
Sarah Gwyneth Ross is Professor and Chair of History at Boston College, where her specialization in “The Renaissance” allows her to research and teach courses on all sorts of things she loves, especially literature, performance, and women’s and gender studies. Ross has published two books, The Birth of Feminism (Harvard University Press, 2009) and Everyday Renaissances (Harvard University Press, I Tatti Studies in Italian Renaissance History, 2016), as well as many shorter pieces treating her favorite topic: the cultural and intellectual lives of people whom we wouldn’t necessarily expect to have had them before the modern era, such as women and harried urban artisans and professionals. A few years ago, Ross embarked on a multi-generational study of the Andreini family, the actors and the authors, as well as the alchemists, the soldiers, and the painters. That project has now grown out of all proportion and threatens to eat her alive. She doesn’t mind.
Massimo Scalabrini is professor of Italian at Indiana University Bloomington, where he also served as chair of the Department of French and Italian (2015-2019) and director of Renaissance Studies (2009-2015). He was trained in Italy and the US as a historian and critic of Italian literature. His research focuses on Renaissance and early modern literature and culture and his two major areas of publication have been comedy and the relationship between literary creation and political power. He is particularly interested in issues of literary memory and genealogy, the relationship between ‘high’ literature and popular culture, and the interplay of philology and criticism. His work tends to address the ethical and political implications of literature, while questioning the humanist claim of literary education (the humanæ litteræ) as a path toward a more civilized and ‘humane’ humanity. The issue of comedy is at the center of most of his publications so far, which include a monograph (L’incarnazione del macaronico: Percorsi nel comico folenghiano [Bologna: Il Mulino, 2003]), a critical edition (Lodovico Castelvetro, Parere sopra una comedia di Aristophano et sopra ciascuna di Plauto [Bologna: Commissione per i testi di lingua, 2015]), an edited volume (Folengo in America [Ravenna: Longo, 2012]), and 14 articles. The question of comedy also informs his next project, a book tentatively titled Conflitti e soluzioni nel Classicismo rinascimentale that investigates how the core rhetorical and ethical values of Renaissance Classicism (most prominently mediocritas, convenientia and discretion) function as powerful agents of conflict resolution in case studies taken from the canonical genres of the treatise, dialogue, epic poem and erudite comedy.
Paola Ugolini is Assistant Professor of Italian at The University at Buffalo. Her research interests include Renaissance court culture, gender studies and the history of sexuality, and issues of truthfulness and falsehood in the early modern period. She is the author of The Court and Its Critics. Anti-Court Sentiments in Early Modern Italy (University of Toronto Press, 2020), and the co-editor and co-translator of Veronica Gambara. Complete Poems: A Bilingual Edition (Toronto, 2014). She is also currently co-editing the Companion to Pietro Aretino (forthcoming with Brill).
Mary Vaccaro is Distinguished Professor of Art History at the University of Texas at Arlington. An authority on the School of Parma, she wrote a book on the paintings of Parmigianino (2002) after co-authoring a volume on the same artist's drawings (2000), both published by Umberto Allemandi & C. (Turin and London) in Italian and English editions. Numerous essays by her have appeared in journals and anthologies such as Apollo, The Burlington Magazine, Master Drawings, Renaissance Studies, and the Revue du Louvre et des musées de France. A research appointment as the Lila Wallace-Reader’s Digest Visiting Professor at Villa I Tatti (2015) allowed her to deepen her first-hand knowledge of drawings by Bolognese draftsmen, especially Ludovico Carracci and his younger cousins Agostino and Annibale. For the past two summers, she has studied the Carracci holdings (including caricatures) in the Royal Collection at Windsor Castle.
Emily Wilbourne is Associate Professor of Musicology at Queens College, in the City University of New York, and at the CUNY Graduate Center, where she teaches in the music department and is affiliated with the Global Early Modern Studies program. Since 2017 she has been Editor-in-Chief for Women & Music: A Journal of Gender and Culture, and she serves on the editorial boards of the Journal of the American Musicology Society and Women’s Studies Quarterly. Her first book, Seventeenth-Century Opera and the Sound of the Commedia dell’Arte, was published in 2016 by Chicago University Press, and an edited collection in honor of Suzanne G. Cusick appeared as a special issue of Women & Music in 2015. Wilbourne’s articles have appeared in the Journal of the American Musicological Society, Women & Music, Recercare, Teatro e storia, Italian Studies, Echo, and Workplace. In 2011, Dr. Wilbourne was awarded the Philip Brett Award for excellence in queer music scholarship for her article, “Amor nello specchio (1622): Mirroring, Masturbation, and Same-Sex Love”; in 2017-18, she was the Francesco De Dombrowski Fellowship at the Harvard University Center for Renaissance Studies at Villa I Tatti in Florence. Dr. Wilbourne is currently working on a second book, tentatively titled Opera’s Others: Race, Voice, and Slavery in Seventeenth-Century Florence. An collection of essays, co-edited with Suzanne G. Cusick, entitled Acoustemologies in Contact: Sounding Subjects and Modes of Listening in Early Modernity, is out to review.