Associate Professor and Chair
Ph.D., Johns Hopkins University
Office: Thomas Hall 134
Office phone: 610 526-5048
Office fax: 610 526-7479
Roberta Ricci received her Ph.D. in Italian Literature from Johns Hopkins University, MD, after a Laurea in Lettere Moderne summa cum laude from the University Pisa in Philology. Her scholarly interests concern mostly philological issues connected with the varianti d’autore, paratextuality, commentary, reception, readership, authorship, in reference to the manuscript tradition of early modern Italian literature. She is now working as co-editor for a special interdisciplinary issue of
NIS 2016 dedicated to the Italian Renaissance, to which she will also
contribute, and on Poggio Bracciolini. For the project on Bracciolini she has been awarded the Renaissance Society 2013 Summer Grant and the BMC Faculty Grant. Ricci describes her research in the below post and video:
Since her arrival on campus, Roberta Ricci has created six new courses: ITAL 380 Modernity, Neurosis, and Psychoanalysis: Crossing National Boundaries in 20th Century Italy and Europe , ITAL 307 The Best of Italian Literature, ITAL 235 The Italian Women's Movement (Cross-Listed with Gender and Sexuality and Film Studies), ITAL 299 Grief, Sexuality, Identity: Emerging Adulthood (Cross-Listed with Gender and Sexuality and Film Studies), and ITAL 255 Uomini d'onore in Sicilia (Cross-Listed with Film Studies) (see the article on the Alumane Bulletin, August 2011), and Food in Italian Literature, Culture and Cinema (Cross-listed with Film Studies).
Outside the college, she has served as a member of the juries to select recipients of NEH Summer Institute grants and wrote entries on Italian authors for the Nineteenth-Century Literature Criticism series. She serves as referee in the Nuova Rivista di Letteratura Italiana published by the University of Pisa and she is a member of the Comitato Scientifico for the series "Voci Di Repertorio", Pacini-Fazzi Press, Lucca.
For her book, entitled “Scrittura, riscrittura, autoesegesi: voci autoriali intorno all’epica in volgare. Boccaccio, Tasso” --ETS Press, Pisa, 2011--Roberta Ricci has been awarded national grants (NEH, Renaissance Society of America), as well as fellowships (Bogliasco Foundation) and summer research grants from Bryn Mawr College (Faculty Grant, Center for International Studies). This study examines the presence and connections of four different literary codes --that of the author who writes, the author who comments his own work, of the reader, and of the literary critic—in two poems remarkable for their place within the cultural panorama of early-modern Italian literature: Boccaccio’s Teseida and Tasso’s Gerusalemme Liberata. In the history of the epics in Tuscan vernacular, Boccaccio’s public, prolix, and learned glosses written in the third person, on one hand, and Tasso’s private, complex, and ambivalent letters addressed to the intellectuals working at the Curia Romana, on the other, not only continue to raise philological, chronological, and theoretical issues connected to the genre par excellence, but also open a fruitful line of investigation on the authorial process of artistic invention and on literary self-consciousness.
Approaches to Teaching the Works of Primo Levi
Primo Levi, Holocaust survivor and renowned memoirist, is one of the most widely read writers of post–World War II Italy. His works are characterized by the lean, dispassionate eloquence with which he approaches his experience of incarceration in Auschwitz. His memoirs—as well as his poetry and fiction and his many interviews—are often taught in several fields, including Jewish studies and Holocaust studies, comparative literature, and Italian language and literature, and can enrich the study of history, psychology, and philosophy.The first part of this volume provides instructors with an overview of the available editions, anthologies, and translations of Levi’s work and identifies other useful classroom aids, such as films, music, and online resources. In the second part, contributors describe different approaches to teaching Levi’s work. Some, in presenting Survival in Auschwitz, The Reawakening, and The Drowned and the Saved, look at the place of style in Holocaust testimony and the reliability of memory in autobiography. Others focus on questions of translation, complicated by the untranslatable in the language and experiences of the concentration camps, or on how Levi incorporates his background as a chemist into his writing, most clearly in The Periodic Table.