{"id":8,"date":"2015-04-08T11:14:00","date_gmt":"2015-04-08T09:14:00","guid":{"rendered":"http:\/\/people.unipi.it\/cloner\/?page_id=8"},"modified":"2024-12-10T18:00:19","modified_gmt":"2024-12-10T17:00:19","slug":"pubblicazioni","status":"publish","type":"page","link":"https:\/\/people.unipi.it\/sara_soncini\/pubblicazioni\/","title":{"rendered":"Pubblicazioni"},"content":{"rendered":"

Studi monografici<\/strong><\/p>\n

The School for Scandal. Superfici<\/em> (con S. Greenup; Milano: Mimesis, 2022).<\/p>\n

Le metamorfosi di Sarah Kane: 4.48 Psychosis sulle scene italiane<\/em> (Pisa: Pisa University Press, 2020).<\/p>\n

Forms of Conflict: Contemporary Wars on the British Stage <\/em>(Exeter, University of Exeter Press, 2015).<\/p>\n

Percorsi nel teatro inglese dell\u2019Ottocento e del primo Novecento<\/em> (Pisa: ETS, 2012; con Mariacristina Cavecchi).<\/p>\n

Playing with(in) the Restoration: Metatheatre as a Strategy of Appropriation in Contemporary Rewritings of Restoration Drama <\/em>(Napoli: ESI , 1999).<\/p>\n

Curatele
\n<\/strong><\/p>\n

Worlds of Words: Complexity, Creativity, and Conventionality in English Language, Literature and Culture<\/em>, ed. by Roberta Ferrari and Sara Soncini (Part I: Literature); Fausto Ciompi, Laura Giovannelli (Part II: Culture) (Pisa, Pisa University Press, 2019).<\/p>\n

Shakespeare and Conflict: A European Perspective<\/em>, ed. by C. Dente and S. Soncini (Basingstoke: Palgrave Macmillan, 2013).<\/p>\n

Crossing Time and Space: Shakespeare translations in present-day Europe<\/em>, ed. by C. Dente and S. Soncini (Pisa: Plus\/Pisa University Press, 2008).<\/p>\n

Myths of Europe<\/em>, ed. by R. Littlejohns and S. Soncini (Amsterdam: Rodopi, 2007).<\/p>\n

Conflict Zones: Actions Languages Mediations<\/em> (Proceedings from the One-day Symposium Mediare il conflitto: azioni rappresentazioni linguaggi, Pisa, 15 May 2003), ed. by C. Dente and S. Soncini, Pisa: ETS, 2004.<\/p>\n

Shakespeare Graffiti, Il Cigno di Avon nella cultura di massa<\/em>, a cura di M. Cavecchi e S. Soncini, Milano, CUEM, 2002.<\/p>\n

Saggi, articoli, capitoli in volume<\/strong><\/p>\n

\u201cIn the Name of the Author: Samuel Beckett, Sarah Kane, and their Disputed Italian Productions<\/a>\u201d, in The Palgrave Handbook of Theatre Censorship<\/em>, ed. by Anne Etienne and Graham Saunders, Cham: Palgrave Macmillan, 2025, pp. 327-342.<\/p>\n

“China Travels: Figurations, Revisions, and Transformations from Wycherley’s Time to the Present Day”, The Country Wife. Between Pragmatic Analysis and Translation<\/em>, ed. A. Graziano, Sken\u00e8: Journal of Drama and Theatre Studies<\/em>, 9.2 (2023): 107-29, https:\/\/skenejournal.skeneproject.it\/index.php\/JTDS\/article\/view\/418\/416.<\/p>\n

\u201cPerforming simulacra: Human\/animal intersections in the work of Sarah Kane\u201d, Entering the Simulacra World<\/em>, ed. A. Ghezzani, L. Giovannelli, F. Rossi, C. Savettieri, Between<\/em>, XII.24 (2022): 483-507, doi: 10.13125\/2039-6597\/5192.<\/p>\n

\u201cThe Country Wife<\/em>, Southall Style: Restoration Comedy and the Multicultural Gaze\u201d, Journal of Contemporary Drama in English<\/em>, focus on: \u201cThe Theatre of Tanika Gupta\u201d, ed. G. Buonanno and C. Schlote, 10:2 (2022): 266-282, https:\/\/doi.org\/10.1515\/jcde-2022-0021.<\/p>\n

\u201cIn the Eye of the Storm: Refugee-Responsive Shakespeare on the Italian Stage\u201d, in The Shakespearean International Yearbook 19: Special Section, Shakespeare and Refugees<\/em>, ed. by T. Bishop and A.A. Joubin, Special Guest Editors T. Hoenselaars and S. O\u2019Neill, New York and Abingdon, Routledge, 2021, pp. 29-44.<\/p>\n

\u201c<\/strong>Hogarth in drag: Acts of transvestism in ‘The Grace of Mary Traverse’ and ‘Mother Clap\u2019s Molly House’\u201d, in Enduring Presence: William Hogarth’s British and European Afterlives, ed. by C. Patey, C.E. Roman, and G. Letissier<\/em>, Book 1: Aesthetic, Visual and Performative Cultures, Oxford, Peter Lang, 2021, pp. 163-182.<\/p>\n

“Theatre-making with Sarah Kane: 4.48 Psychosis<\/em> on the Italian stage”,\u00a0<\/strong>Coup de Th\u00e9\u00e2tre, <\/i>Special Issue: “Crossing Borders:\u00a0Contemporary Anglophone Theatre in Europe”,\u00a02019, pp. 75-92.<\/p>\n

“Amleto<\/em> e i rifugiati: narrazioni migranti in alcune rivisitazioni sceniche”, in Mediazioni letterarie: itinerari, figure e pratiche<\/em>, vol. 2, a cura di E. Di Pastena (Pisa: Pisa University Press, 2019), pp. 593-616.<\/p>\n

Anna Cetera-W\u0142odarczyk, J. Tronch, P. Drabek, V. Makarov, B. Montorfano, S. Soncini, N. Zakharov, \u201cNational e-resources of Shakespeare translations in Europe: (Dis)assembling the black box \u201d, Cahiers \u00c9lisab\u00e9thains: A Journal of English Renaissance Studies<\/em>, 2019, pp. 1\u201313,\u00a0https:\/\/doi.org\/10.1177\/0184767819835567<\/p>\n

“‘O O O O that Shakespeherian Rap’:\u00a0Reimagining Othello<\/em> through Contemporary Popular Music”,\u00a0TEXTUS. English Studies in Italy, \u201cShakespeare and Popular Culture\u201d,<\/em> ed. by C. Calvo and A. Petrina, vol. XXXII no. 3 (Literature), 2018, pp. 97-117.<\/p>\n

“\u2018Money\u2019s a Meddler\u2019:\u00a0Jeanette Winterson\u2019s cover version of The Winter\u2019s Tale<\/em>“, in Shakespeare & Money<\/em> (proceedings of the international conference held in Pisa in October 2016), ed. by Carla Dente and John Drakakis (Pisa: Pisa University Press, 2018), pp. 179-200.<\/p>\n

“Drama on the Move:\u00a0Intermedial dialogue in Caryl Churchill\u2019s Love and Information<\/em>“, Textus<\/em> 2\/2018 (Culture): “Performing Narratives Across Media”, ed. by C.M. Laudando and M. Minier, pp. 117-129.<\/p>\n

“Shakespeare in Sarajevo: Theatrical and Cinematic Encounters with the Balkans War”, Critical Survey,<\/em>\u00a0<\/em>special issue on “Shakespeare and War”, ed. by Patrick Gray, 30:1 (Spring 2018),\u00a0<\/em>pp. 26-44.<\/p>\n

“Please, Continue (Hamlet)<\/em>: Shakespeare on the Move”, in Journeys Through Changing Landscapes: Literature, Language, Culture and their Transnational Dislocations<\/em>, ed. by Carla Dente and Francesca Fedi (Pisa: Pisa University Press, 2017), pp. 389-409.<\/p>\n

“Encountering Shakespeare with Tim Crouch”, Altre Modernit\u00e0<\/em>, Special Issue: “Will Forever Young! Shakespeare & Contemporary Culture”, 11\/2017, pp. 22-35.<\/p>\n

“Amore e informazioni (2012)” saggio introduttivo a\u00a0Love and Information, <\/em>in\u00a0Caryl Churchill. Teatro IV<\/em>, a cura di Paola Bono, Editoria & Spettacolo (2017).<\/p>\n

\u201cTales of terror: The Pillowman<\/em> and the violence of the virtual\u201d, in Fables of the Law: Fairy Tales in a Legal Context,<\/em> ed. by Daniela Carpi and Marett Leiboff (Series: Law and Literature 13) (Berlin: De Gruyter, 2016).<\/p>\n

\u201cQuestioni di pancia: La belly fable<\/em> nel Coriolano<\/em> secondo Brecht, Grass e Osborne\u201d, in ExpoShakespeare: il Sommo Gourmet, il cibo e i cannibali<\/em>, a cura di Paolo Caponi, Mariacristina Cavecchi, Margaret Rose (Milano: di\/segni, 2016).<\/p>\n

“Cucine da incubo. Irlanda, cibo, identit\u00e0 in The Beauty Queen of Leenane<\/em>“, Stratagemmi \/ Prospettive teatrali<\/em> 31 (2015).<\/p>\n

\u201cWar in words: The Tricycle Theatre\u2019s re-voicing of the Bloody Sunday Inquiry\u201d, P\u00f3lemos. Journal of Law, Literature and Culture<\/em> 9:2 (Aug. 2015).<\/p>\n

“Spreading the Contagion: The Rhetoric of Disease during the Restoration Stage Controversy”, in Offstage and Onstage: Liminal Forms of Theatre and Their Enactments in Early Modern English Drama to the Licensing Act (1737)<\/em>, ed. by Carla Dente and Jesus Tronch (Pisa: ETS, 2015).<\/p>\n

“‘In hunger for bread, not in thirst for revenge’: Belly, bellum and rebellion in Coriolanus<\/em> and The Hunger Games<\/em> trilogy”, Altre Modernit\u00e0<\/em> 13 (2015).<\/p>\n

“War Images \/ War of Images: Looking at Contemporary Conflict through Shakespeare”, Stratagemmi \/ Prospettive teatrali<\/em> 24\/25 (December 2012 – March 2013).<\/p>\n

\u201cBetrayal Italian Style\u201d, JAIS \u2013 Journal of Anglo-Italian Studies<\/em> 12 (2013).<\/p>\n

\u201c\u00abThis is Not a War\u00bb: le neoguerre nel teatro di Caryl Churchill\u201d, in Caryl Churchill. Un teatro necessario<\/em>, a cura di M. Cavecchi e M. Rose (Firenze: Ed.it, 2012).<\/p>\n

\u201cCecit\u00e0 e storytelling nel teatro irlandese contemporaneo: il caso Molly Sweeney<\/em>\u201d, in Hammered Gold and Gold Enamelling: saggi in onore di Anthony L. Johnson<\/em>, a cura di S. Beccone, C. Dell’Aversano, C. Serani (Roma: Aracne, 2011).<\/p>\n

\u201c\u2018A horror so deep only ritual can contain it\u2019: The art of dying in the theatre of Sarah Kane\u201d, Altre Modernit\u00e0<\/em> 4 (2010).<\/p>\n

\u201cThe ‘Translation Turn’ in Contemporary War Plays: Tony Kushner’s Homebody\/Kabul<\/em>\u201d, in One of Us. Studi inglesi e conradiani offerti a Mario Curreli<\/em>, a cura di F. Ciompi (Pisa: ETS, 2009).<\/p>\n

\u201cRiscritture dei classici nella drammaturgia inglese contemporanea\u201d, in Il lessico della classicit\u00e0 nella letteratura europea moderna, Vol. I: La letteratura drammatica, Tomo II: La commedia<\/em>, a cura di A. Aloni, F. Bertini, M. Treu, Roma, Treccani, 2009.<\/p>\n

“Il lungo Rinascimento: la new wave teatrale inglese”, Il portolano<\/em> 15:56-57 (2009).<\/p>\n

\u201cRe-locating Shakespeare: Cultural negotiations in Italian Dubbed Versions of Romeo and Juliet<\/em>\u201d, in Performing National Identity: Anglo-Italian Cultural Transactions<\/em>, ed. M. Pfister and R. Hertel (Amsterdam: Rodopi, 2008).<\/p>\n

\u201c\u2018The very age and body of the time\u2019: Diachronic Translation in Federico Tiezzi\u2019s Hamlet<\/em>\u201d, in Crossing Time and Space: Shakespeare translations in present-day Europe<\/em>, ed. by C. Dente and S. Soncini (Pisa: Plus\/Pisa University Press, 2008).<\/p>\n

\u201cIl morbo teatrale nella letteratura polemica della Collier Controversy. Diagnosi, prognosi, terapia, profilassi\u201d, in La guerra dei teatri. Le controversie sul teatro in Europa dal secolo XVI alla fine dell\u2019Ancien R\u00e9gime<\/em>, a cura di D. Pallotti e P. Pugliatti (Pisa: ETS, 2008).<\/p>\n

\u201cConflitto, rappresentazione e percezione: Endgame<\/em> e la Guerra Fredda\u201d, in Tra le lingue, tra i linguaggi. Cent\u2019anni di Samuel Beckett<\/em>, a cura di M. Cavecchi e C. Patey (Milano: Cisalpino, 2007).<\/p>\n

\u201cIntersemiotic Complexities: Translating the Word of Drama\u201d, in Lexical Complexity: Theoretical Assessment and Translational Perspectives<\/em>, ed. by M. Bertuccelli Papi, G. Cappelli, and S. Masi (Pisa: Plus, 2007).<\/p>\n

“New Order, New Borders: Post-Cold War Europe on the British Stage”, in Myths of Europe<\/em>, ed. by R. Littlejohns and S. Soncini (Amsterdam: Rodopi, 2007).<\/p>\n

\u201cIntertextuality, Collaboration and Gender: The Whisperers<\/em>, or, \u2018Frances Sheridan\u2019s A Trip to Bath<\/em> as completed by Elizabeth Kuti\u2019\u201d, in Collaboration in the Arts from the Middle Ages to the Present<\/em>, ed. S. Wood and S. Bigliazzi, Aldershot: Ashgate, 2006.<\/p>\n

“L\u2019offensiva contro il teatro dopo la Restaurazione”, in\u00a0La scena contestata. Antologia da un campo di battaglia transnazionale<\/em>, a cura di R. Zacchi (Napoli: Liguori, 2006).<\/p>\n

“The very age and body of the time\u2019: L\u2019Amleto<\/em> di Federico Tiezzi e i problemi della traduzione diacronica”, Anglistica Pisana<\/em> 3:1 (2006).<\/p>\n

\u201cShakespeare va alla guerra. Conflitti contemporanei in alcune rivisitazioni sceniche del canone\u201d, in The Complete Consort. Saggi di Anglistica in onore di Francesco Gozzi<\/em>, a cura di R. Ferrari e L. Giovannelli, Pisa: PLUS, 2005.<\/p>\n

\u201cShakespeare e il suo doppio\u201d, in Shakespeare & Scespir<\/em>, a cura di M. Cavecchi e P. Caponi, Milano: CUEM, 2005.<\/p>\n

\u201c\u2018A Job for the Go-between\u2019: Dramatizing Translation in Brian Friel and David Edgar\u201d, in Drama Translation and Theatre Practice<\/em>, ed. By S. Coelsch-Foisner and H. Klein (Frankfurt am Main: Peter Lang, 2004).<\/p>\n

“Stage Wars: The Representation of Conflict in Contemporary British Theatre”, in\u00a0Conflict Zones: Actions Languages Mediations. <\/em>Proceedings from the One-day Symposium Mediare il conflitto: azioni rappresentazioni linguaggi, Pisa, 15 May 2003,<\/em> a cura di C. Dente e S. Soncini, Pisa: ETS, 2004.<\/p>\n

\u201cShakespeare and its dubble: Cultural negotiations in Italian audio-visual transfers of Henry V<\/em>\u201d, Textus \u2013 English Studies in Italy<\/em>, a cura di A. Serpieri and K. Elam, Vol XV, n. 1 (\u201cOn Literary Translation\u201d), gennaio-giugno 2002.<\/p>\n

\u201c\u2018The Main End is to Turn the Penny\u2019: Economy and politics in contemporary rewritings of Restoration drama\u201d, in The Economy Principle in English: Linguistic, Literary, and Cultural Perspectives. <\/em>Proceedings of the XIX Conference of the Associazione Italiana di Anglistica (Milan, 21-23 October 1999)<\/em>, a cura di G. Iamartino, M. Bignami, C. Pagetti, Milano: Unicopli, 2002.<\/p>\n

\u201cTony Harrison\u201d (with Stephen J. Nicholson), in Dictionary of Literary Biography, Vol. 245: British and Irish Dramatists Since World War II, Third Series<\/em>, ed. by J. Bull, Detroit, San Francisco, London, Boston, Woodbridge: The Gale Group, 2001.<\/p>\n

\u201cMetateatro e postmoderno\u201d, in Critica del Novecento<\/em>, a cura di M. Bacigalupo e L. Giavotto, Genova: Quaderni del Dipartimento di Lingue e Letterature Straniere dell\u2019Universit\u00e0 di Genova (2001).<\/p>\n

\u201cLiz Lochhead\u2019s revisionist mythmaking\u201d, in A Theatre that Matters: Twentieth-century Scottish drama and theatre. <\/em>A collection of critical essays and interviews<\/em>, a cura di V. Poggi and M. Rose, Milano: Unicopli, 2000.<\/p>\n

\u201cThe Dickens Playground: \u00abHard Times\u00bb by Stephen Jeffreys and the Stage Versions of the 1980s\u201d, in Dickens: The Craft of Fiction and the Challenges of Reading <\/em>(Proceedings of the Milan Symposium, Gargnano \u2013 September 1998), a cura di R. Bonadei, C. De Stasio, C. Pagetti, A. Vescovi, Milano: Unicopli, 2000.<\/p>\n

\u201cRe-writing the Greeks: The Metatheatre of Tony Harrison and Timberlake Wertenbaker\u201d, in Millennium Responses: (Dis-)Placing Classical Greek Theatre,<\/em> ed. S. Patsalidis and E. Sakellaridou, Thessaloniki: University Studio Press, 1999.<\/p>\n

\u201cQuestioning Subjectivity in Contemporary Scottish Theatre: Nation, Identity and Difference in Chris Dolan\u2019s Sabina!<\/em> (1996)\u201d, Gramma, Journal of Theory and Criticism 6<\/em> (1999).<\/p>\n

\u201cTra teatro, cinema e televisione: la \u2018scena della seduzione\u2019 in alcune regie contemporanee di Othello<\/em>\u201d, Othello, voci, echi, risonanze,<\/em> a cura di A. Anzi e P. Caponi, Milano: CUEM, 1998.<\/p>\n

\u201cThe Island as Social Experiment: A Reappraisal of Daniel Defoe\u2019s Political Discourse(s) in Robinson Crusoe<\/em> and The Farther Adventures<\/em>\u201d, Wrestling with Defoe, Approaches from a Workshop on Defoe\u2019s Prose<\/em>, a cura di M. Bignami, Bologna: Cisalpino, 1997.<\/p>\n

\u201cThe Love of the Nightingale<\/em> (1988) di Timberlake Wertenbaker: la riscrittura del mito alla ricerca di un nuovo linguaggio\u201d, ACME, Annali della Facolt\u00e0 di Lettere e Filosofia dell\u2019Universit\u00e0 degli Studi di Milano<\/em>, Vol. IL, Fasc. III (sett.-dic. 1996).<\/p>\n

Traduzioni<\/strong><\/p>\n

Guardie e ladri<\/em> (Softcops<\/em>), in Caryl Churchill. Teatro II<\/em> (La malattia nervosa di Schreber, La moglie del giudice, Splende la luce nel Buckinghamshire, Guardie e ladri)<\/em>, a cura di Paola Bono, Spoleto, Editoria & Spettacolo, 2015.<\/p>\n

Ian Rankin, Partitura finale<\/em> (Exit Music<\/em>), (Milano: Longanesi, 2009; con Isabella Zani).<\/p>\n

Marina Carr, Ariel<\/em>, a cura di Sara Soncini e Margaret Rose, Roma, Gremese, 2007.<\/p>\n

Caledonia Dreaming. La nuova drammaturgia scozzese<\/em>, a cura di M. Cavecchi, M. Rose, S. Soncini, Salerno\/Milano: Oedipus, 2001 (contiene la mia traduzione di Liz Lochhead, Mary Queen of Scots Got Her Head Chopped Off<\/em> e Chris Dolan, Sabina<\/em>).<\/p>\n","protected":false},"excerpt":{"rendered":"

Studi monografici The School for Scandal. Superfici (con S. Greenup; Milano: Mimesis, 2022). Le metamorfosi di Sarah Kane: 4.48 Psychosis sulle scene italiane (Pisa: Pisa University Press, 2020). Forms of Conflict: Contemporary Wars on the British Stage (Exeter, University of Exeter Press, 2015). Percorsi nel teatro inglese dell\u2019Ottocento e del primo Novecento (Pisa: ETS, 2012; […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-8","page","type-page","status-publish","hentry"],"acf":[],"featured_image_src":null,"yoast_head":"\nPubblicazioni - SARA FRANCESCA SONCINI<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/people.unipi.it\/sara_soncini\/pubblicazioni\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pubblicazioni - SARA FRANCESCA SONCINI\" \/>\n<meta property=\"og:description\" content=\"Studi monografici The School for Scandal. Superfici (con S. Greenup; Milano: Mimesis, 2022). Le metamorfosi di Sarah Kane: 4.48 Psychosis sulle scene italiane (Pisa: Pisa University Press, 2020). Forms of Conflict: Contemporary Wars on the British Stage (Exeter, University of Exeter Press, 2015). 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Superfici (con S. Greenup; Milano: Mimesis, 2022). Le metamorfosi di Sarah Kane: 4.48 Psychosis sulle scene italiane (Pisa: Pisa University Press, 2020). Forms of Conflict: Contemporary Wars on the British Stage (Exeter, University of Exeter Press, 2015). 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