Stefano Boselli
Stefano "Stebos" Boselli is a Las Vegas- and New York-based theatre scholar and stage director who enjoys combining theory with practice. At the University of Nevada - Las Vegas he is Assistant Professor of Theatre History and Dramaturgy in the Theatre Department and Resident Dramaturg for the Nevada Conservatory Theatre. He also serves as Theatre and Performance Editor for PSA, the journal of the Pirandello Society of America.
In his monograph Actor-Network Dramaturgies: The Argentines of Paris (Palgrave Macmillan 2023), he illustrates how the study of theatre history can be significantly enriched through the lens of actor-network and assemblage theories, focusing on a group of Argentine artists who moved to France and dominated the Parisian scene between the 1980s and 90s.
He is also co-editor with Sarah Lucie of Revealing Posthuman Encounters in Performance, a 2-volume collection in contract with Routledge.
His book chapters are published or forthcoming in the volumes The Routledge Companion to Theatre-Fiction (ed. Graham Wolfe), The Routledge Companion to Absurdist Literature (ed. Michael Bennett) and Pirandello in Context (ed. Patricia Gaborik). His articles have been published in Queer Studies in Media and Popular Culture, MLN (Modern Language Notes), PSA Pirandello Society Annual, Quaderni d’Italianistica, Polymath, Italica, L’anello che non tiene, Testo a fronte, TSJ Translation: A Translation Studies Journal, and Journal of Italian Translation.
He received a PhD in Theatre and Performance from the Graduate Center, City University of New York, a PhD in Italian with specialization in Theatre and Drama from the University of Wisconsin–Madison, an MFA in Stage Directing from the School of Dramatic Art “Paolo Grassi” in Milan, Italy, and a laurea (BA/MA) in English Literature and Translation for the Stage from the Catholic University also in Milan.
Between 2014 and 2022 he taught theatre and literature courses in and around New York at Baruch, Marymount Manhattan, York, Wagner, Brooklyn, and Hunter College, in addition to Drew and Centenary University. Previously, as Assistant Professor of Italian at Gettysburg College, he taught courses in Italian theatre, First Year Seminars on commedia, and directed a mainstage production of one of Carlo Goldoni’s comedies. Before moving to the States, he taught Translation for the Theatre at the University of Cassino.
Address: https://stebos.net/contact/
In his monograph Actor-Network Dramaturgies: The Argentines of Paris (Palgrave Macmillan 2023), he illustrates how the study of theatre history can be significantly enriched through the lens of actor-network and assemblage theories, focusing on a group of Argentine artists who moved to France and dominated the Parisian scene between the 1980s and 90s.
He is also co-editor with Sarah Lucie of Revealing Posthuman Encounters in Performance, a 2-volume collection in contract with Routledge.
His book chapters are published or forthcoming in the volumes The Routledge Companion to Theatre-Fiction (ed. Graham Wolfe), The Routledge Companion to Absurdist Literature (ed. Michael Bennett) and Pirandello in Context (ed. Patricia Gaborik). His articles have been published in Queer Studies in Media and Popular Culture, MLN (Modern Language Notes), PSA Pirandello Society Annual, Quaderni d’Italianistica, Polymath, Italica, L’anello che non tiene, Testo a fronte, TSJ Translation: A Translation Studies Journal, and Journal of Italian Translation.
He received a PhD in Theatre and Performance from the Graduate Center, City University of New York, a PhD in Italian with specialization in Theatre and Drama from the University of Wisconsin–Madison, an MFA in Stage Directing from the School of Dramatic Art “Paolo Grassi” in Milan, Italy, and a laurea (BA/MA) in English Literature and Translation for the Stage from the Catholic University also in Milan.
Between 2014 and 2022 he taught theatre and literature courses in and around New York at Baruch, Marymount Manhattan, York, Wagner, Brooklyn, and Hunter College, in addition to Drew and Centenary University. Previously, as Assistant Professor of Italian at Gettysburg College, he taught courses in Italian theatre, First Year Seminars on commedia, and directed a mainstage production of one of Carlo Goldoni’s comedies. Before moving to the States, he taught Translation for the Theatre at the University of Cassino.
Address: https://stebos.net/contact/
less
InterestsView All (37)
Uploads
Books by Stefano Boselli
With this dual collection of essays for performance studies scholars and practitioners, we aim to engage posthumanist thought to expand readers’ awareness, refocus their perspective, and reveal a broad spectrum of often silent non-human actors that remain unseen even as they interact with human performers. Performance studies have indeed included props, objects, and technology in their purview, but often with a historical or semiotic/symbolic approach that neglects the vibrant non-human agencies involved at several levels of scale.
Certain projects such as New Media Dramaturgy (2017) or ecological theatre studies have pointed to the imperative to de-center the human in contemporary theatre. However, our project takes stock of the methodological shifts necessary in theatre and performance to highlight non-human agency across historical and contemporary examples, and apply this thinking across the field moving forward. We bring a deep engagement with contemporary theories, as well as a dramaturgical understanding of theatre and performance that goes beyond the staged production to connect with the larger rhizomatic networks of actors involved.
With this dual collection of essays for performance studies scholars and practitioners, we aim to engage posthumanist thought to expand readers’ awareness, refocus their perspective, and reveal a broad spectrum of often silent non-human actors that remain unseen even as they interact with human performers. Performance studies have indeed included props, objects, and technology in their purview, but often with a historical or semiotic/symbolic approach that neglects the vibrant non-human agencies involved at several levels of scale.
Certain projects such as New Media Dramaturgy (2017) or ecological theatre studies have pointed to the imperative to de-center the human in contemporary theatre. However, our project takes stock of the methodological shifts necessary in theatre and performance to highlight non-human agency across historical and contemporary examples, and apply this thinking across the field moving forward. We bring a deep engagement with contemporary theories, as well as a dramaturgical understanding of theatre and performance that goes beyond the staged production to connect with the larger rhizomatic networks of actors involved.
Articles & Chapters by Stefano Boselli
In the West, self-inflicted starvation became a form of entertainment more distinctly in the late nineteenth century, when living skeletons and hunger artists were shown at circuses, fairs, and amusement parks, and produced income for themselves and their impresarios. Franz Kafka’s short story “Ein Hungerkünstler” (“A Hunger Artist,” 1922) looked back at the history of the profession, identifying the main components of the spectacle of hunger. Polish playwright Tadeusz Różewicz turned the short story into a play, Odejście głodomora (The Hunger Artist Departs, 1977), exploring the potential for dialogic interactions at the textual level and developing side-characters only implied by Kafka. By contrast, the contemporary NYC-based company Sinking Ship created A Hunger Artist (2017), an adaptation that expanded the short story’s theatricality around a single performer who plays multiple characters with the aid of all the resources of theatre, from puppets to audience members “enrolled” in the show.
Panels Organized by Stefano Boselli
We invite participants to consider the following questions in relation to the conference theme:
• How can a posthuman perspective highlight the complexity of collaborations or interferences between human and non-human agents involved in the creation and sustaining of hope?
• Historically, what imagined performances or practices hoped for in the past are possible now thanks to the availability of new technologies and other non-human collaborators, or remain as yet utopian and unrealized?
• What are the material networks that construct the affective response of hope, in and outside of the performance space?
• How do performances or play texts point to hope for a peaceful cohabitation with and reciprocal improvement of human and non-human entities, at all levels of intelligence, from nature to AI-driven robots or other technologies?
• What are other possible sides to hope, such as hope for the end of unwanted and destructive assemblages with agents like viruses or pollution?
• Certain posthuman thought focuses on being after or without the human, where the human becomes obsolete. What is hope, without the presence of humans?
• What new configurations of assemblages between humans and non-humans do you hope to manifest?
Continuing the generative meeting of the 2022 working group, we invite scholars interested in reframing current theatre studies methodologies to attend to a broader spectrum of non-human actors and the crucial ways they exert agency in the performance event. We invite participants to think broadly about a variety of agents such as everyday and performing objects, robots, machines, technology, algorithms, media, natural phenomena, hyperobjects, microbes, assemblages, ensembles, institutions, capital, historical events, religion, ideology, audiences, or affect.
We hope to provide a forum for discussing works-in-progress, posthumanist theoretical frameworks, and methodologies such as Actor-Network Theory, Assemblage Theory, New Materialism, Feminist New Materialism, Object Oriented Ontology, Flat Ontologies, Ecology, Dramaturgy.
We ask participants to submit abstracts of their research. We will then place participants in small groups organized around themes in order to share drafts of works-in-progress for feedback prior to the working group meeting. In addition, before we meet, each participant will prepare an introduction to one other paper in their subgroup in order to facilitate conversation. When we gather, we will allow these introductions to forge connections and aim for an organic discussion with group members and observers. We will conclude by articulating a series of questions and gathering resources that can drive our investigations forward.
With this dual collection of essays for performance studies scholars and practitioners, we aim to engage posthumanist thought to expand readers’ awareness, refocus their perspective, and reveal a broad spectrum of often silent non-human actors that remain unseen even as they interact with human performers. Performance studies have indeed included props, objects, and technology in their purview, but often with a historical or semiotic/symbolic approach that neglects the vibrant non-human agencies involved at several levels of scale.
Certain projects such as New Media Dramaturgy (2017) or ecological theatre studies have pointed to the imperative to de-center the human in contemporary theatre. However, our project takes stock of the methodological shifts necessary in theatre and performance to highlight non-human agency across historical and contemporary examples, and apply this thinking across the field moving forward. We bring a deep engagement with contemporary theories, as well as a dramaturgical understanding of theatre and performance that goes beyond the staged production to connect with the larger rhizomatic networks of actors involved.
With this dual collection of essays for performance studies scholars and practitioners, we aim to engage posthumanist thought to expand readers’ awareness, refocus their perspective, and reveal a broad spectrum of often silent non-human actors that remain unseen even as they interact with human performers. Performance studies have indeed included props, objects, and technology in their purview, but often with a historical or semiotic/symbolic approach that neglects the vibrant non-human agencies involved at several levels of scale.
Certain projects such as New Media Dramaturgy (2017) or ecological theatre studies have pointed to the imperative to de-center the human in contemporary theatre. However, our project takes stock of the methodological shifts necessary in theatre and performance to highlight non-human agency across historical and contemporary examples, and apply this thinking across the field moving forward. We bring a deep engagement with contemporary theories, as well as a dramaturgical understanding of theatre and performance that goes beyond the staged production to connect with the larger rhizomatic networks of actors involved.
In the West, self-inflicted starvation became a form of entertainment more distinctly in the late nineteenth century, when living skeletons and hunger artists were shown at circuses, fairs, and amusement parks, and produced income for themselves and their impresarios. Franz Kafka’s short story “Ein Hungerkünstler” (“A Hunger Artist,” 1922) looked back at the history of the profession, identifying the main components of the spectacle of hunger. Polish playwright Tadeusz Różewicz turned the short story into a play, Odejście głodomora (The Hunger Artist Departs, 1977), exploring the potential for dialogic interactions at the textual level and developing side-characters only implied by Kafka. By contrast, the contemporary NYC-based company Sinking Ship created A Hunger Artist (2017), an adaptation that expanded the short story’s theatricality around a single performer who plays multiple characters with the aid of all the resources of theatre, from puppets to audience members “enrolled” in the show.
We invite participants to consider the following questions in relation to the conference theme:
• How can a posthuman perspective highlight the complexity of collaborations or interferences between human and non-human agents involved in the creation and sustaining of hope?
• Historically, what imagined performances or practices hoped for in the past are possible now thanks to the availability of new technologies and other non-human collaborators, or remain as yet utopian and unrealized?
• What are the material networks that construct the affective response of hope, in and outside of the performance space?
• How do performances or play texts point to hope for a peaceful cohabitation with and reciprocal improvement of human and non-human entities, at all levels of intelligence, from nature to AI-driven robots or other technologies?
• What are other possible sides to hope, such as hope for the end of unwanted and destructive assemblages with agents like viruses or pollution?
• Certain posthuman thought focuses on being after or without the human, where the human becomes obsolete. What is hope, without the presence of humans?
• What new configurations of assemblages between humans and non-humans do you hope to manifest?
Continuing the generative meeting of the 2022 working group, we invite scholars interested in reframing current theatre studies methodologies to attend to a broader spectrum of non-human actors and the crucial ways they exert agency in the performance event. We invite participants to think broadly about a variety of agents such as everyday and performing objects, robots, machines, technology, algorithms, media, natural phenomena, hyperobjects, microbes, assemblages, ensembles, institutions, capital, historical events, religion, ideology, audiences, or affect.
We hope to provide a forum for discussing works-in-progress, posthumanist theoretical frameworks, and methodologies such as Actor-Network Theory, Assemblage Theory, New Materialism, Feminist New Materialism, Object Oriented Ontology, Flat Ontologies, Ecology, Dramaturgy.
We ask participants to submit abstracts of their research. We will then place participants in small groups organized around themes in order to share drafts of works-in-progress for feedback prior to the working group meeting. In addition, before we meet, each participant will prepare an introduction to one other paper in their subgroup in order to facilitate conversation. When we gather, we will allow these introductions to forge connections and aim for an organic discussion with group members and observers. We will conclude by articulating a series of questions and gathering resources that can drive our investigations forward.
“Pirandello and Satire. The Imaginary Journey of Charles Kenneth Scott Moncrieff with Four Authors without a Character”
Stefano Giannini – Syracuse University
“Pirandellian Post-Truth: Humor and Resistance”
Laura Lucci – Queen’s University, Kingston, Ontario
“Suicide Adolescents in Pirandello’s Short Stories”
Nicole Paronzini – The Graduate Center, The City University of New York
“Pirandello: Life and Form Revisited”
Filippa Modesto – Brooklyn College, The City University of New York
Respondent: John DiGaetani, Hofstra University
“Pirandello Translates Pirandello”
Giuseppe Faustini – Skidmore College
“Petrarch and Pirandello: The Sense of an Ending”
Jane Tylus – New York University
“The Metamorphoses of The Jar”
Andrea Baldi – Rutgers University
“Vital Images: Metaphors and Visual Thought in Luigi Pirandello’s Works”
Lisa Sarti – BMCC, The City University of New York, Fellow at Harvard University, Fall 2017
Respondent: Jana O’Keefe Bazzoni – Baruch College, The City University of New York
“Pirandello’s Modern Times”
Giuseppe Gazzola – Stony Brook University
“Jorge Lavelli and Pirandello: A Year with Six Characters between France and Argentina”
Stefano Boselli – City College, The City University of New York
“A Stage Onstage: The Meta-Theatricality of Balconies in Pirandello and Genet”
Becky Gould – Columbia Teachers College
“Luigi Pirandello as Maese Pedro in his Theatre of Puppets: A Pirandellian Reading
of Miguel de Cervantes’s Episode of Maese Pedro”
Maria (Mara) Theodoritsi – University of Ottawa
Respondent: Susan Tenneriello – Baruch College, The City University of New York
Chair: Stefano Boselli
Secretary: Daniele Fioretti
Panel A
1. Giusy Di Filippo
‘Signore, fuor di scena io non so fingere’: le commedianti riabilitate nel teatro goldoniano
2. Stefano Boselli
From Stage to Page: Wordplay in Achille Campanile's Tragedie in due battute.
3. Chiara De Santi
Identities in Transition via Handball in Uberto Pasolini’s Machan
4. Erika Conti
“Me lo dici, babbo, che gioco è?”: Dynamic Equivalence and Creative Mistranslations in Roberto Benigni’s La vita è bella
PANEL B
5. Christina Petraglia
What a Wicked Game You Play: A Battle of Ego(s) in Arrigo Boito’s “L’alfier nero”
6. Daniele Fioretti
Labyrinths made of Words: Italo Calvino’s Il castello dei destini incrociati and Edoardo Sanguineti’s Il giuoco dell’oca.
7. Jennafer Alexander
“Replacing a Lost Center: Love, Knowledge and Play in Italo Calvino’s Cosmicomics”
8. Tania Convertini
Play with literature in L2: Stefano Benni’s Stranalandia
1. Teatralizzazione di un romanzo: i costumi di scena degli Indifferenti di Moravia
Chiara De Santi, SUNY Fredonia
2. Pasolini e lo strappo nella coscienza dello spettatore
Fulvio Orsitto, California State Univerisity-Chico
3. Lina Wertmüller regista-burattinaia
Federico Pacchioni, University of Connecticut-Storrs
Session B
4. Manzoni’s Count of Carmagnola and Kleist’s Prince of Homburg: History between Fiction and Factuality
Maria Giulia Carone, University of Wisconsin-Madison
5. Teatro e teatralità nella poesia del primo Palazzeschi
Daniele Fioretti, University of Wisconsin Madison
6. Mario Luzi’s Plays: A Plurality of Voices
Ernesto Livorni, University of Wisconsin-Madison
Session C
7. Distinctive Nature of Masques of Commedia dell’Arte in their Relationship with Food in 18th Century
Paola Monte, Royal Holloway, University of London
8. Arlecchino is Lying: Deconstructing Goldoni’s II bugiardo
Stefano Boselli, Gettysburg College
9. The Spectator in Dario Fo’s Performances: From the Foyer to the Post-Performance Debates
Marco Valleriani, Royal Holloway, University of London
Gloria Pastorino, “Can Performance Save Meaning? Trying to ‘Stick to the Original’ in Fo, Pirandello, Costa, Mayorga”
Stefano Boselli, “The Multiple Realities of the One-Act Play in Translation: Pirandello’s The Man with the Flower in His Mouth”
Viola Miglio (respondent)
1. Valeria Petrocchi (Universita per Stranieri di Perugia), Atys: una piccola rivista
d'avanguardia nel panorama cosmopolita dell'ltalia ai primi del Novecento
2. Stefano Adami (Independent scholar), La cosa prima. Traduzione di libretti d'opera e
problemi di rappresentazione
3. llaria Serra (Florida Atlantic University), Adaptation in Italian Cinema
1. Stefano Boselli (Gettysburg College), The lntertextual Double-Bill: An Example on
Verismo School
2. William Leparulo (Florida State University), If comico-grottesco del teatro di Raffaele
Viviani
3. Cristina Perissinotto (University of Ottawa), Binario illegale: if treno net teatro di Marco
Paolini
Chair: Simone Dubrovic, Kenyon College
Secretary: Stefano Boselli, Gettysburg College
Session A
2:15 -3:45 p.m. (Wabash Cannonball)
l. The peripeties of Francesca da Rimini: D'Annuzio and Masnata from Decadentism to Futurism
Stefano Boselli, Gettysburg College
2. Neorealismo e Decadentismo nella narrativa e nel cinema di Pier Paolo Pasolini
Daniele Fioretti, University of Wisconsin-Madison
3.ll Trionfo della morte: la collaborazione tra Gabriele d'Annunzio e il pittore Francesco Paolo Michetti
Lodovica Guidarelli, Colby College
4. The Science of (Con)Science and the Tomorrow of Moral Poets and Mammoth Unrest
Travis Landry KenYon College
The first case illustrates how performance history needs to look beyond the boundaries of the single production to convey the full story in terms of assemblages. In March 1970, in Paris, Argentine playwright Copi’s controversial Eva Perón directed by Alfredo Rodríguez Arias and Michael McClure’s The Sermons of Jean Harlow & the Curses of Billy the Kid directed by Antoine Bourseiller could be attended at two separate venues, the Théâtre de l’Épée de Bois and the Théâtre de Poche-Montparnasse respectively, about 25 minutes on foot from each other. The two shows, however, were co-functioning because they shared a performer, Jean-Claude Drouot, who first acted in the earlier show, quickly changed, and then briskly walked over to the other theatre to perform there. Such perfectly timed machine became evident only once it broke down, when a group of right-wing hooligans brutally attacked Copi’s play for political reasons. As a consequence, Drouot – caught up in the mayhem – could not reach the other theatre during the later time slot, and that show was cancelled.
In the second example, I look at the behind-the-scenes maneuvers of the producers for Copi’s Cachafaz, staged in 1993 at the Théâtre de la Colline under the artistic direction of Jorge Lavelli. Again staged by Arias, this queer-themed show involving anthropophagy gathered two producing entities apart from the host theatre: Arias’s TSE group and the Théâtre de l’Atelier, whose director, Frédéric Franck, hoped for returns from a potential French tour. The producers had initially converged on the assumption that TSE’s star Facundo Bo would play the lead. However, when Bo had to withdraw due to Alzheimer’s early complications – a hostile non-human actor that incapacitated him – and Arias found a less well-known substitute, Franck canceled the tour. Because TSE’s losses would be much larger, the group lobbied to retain the touring dates. What followed was a series of heated exchanges in person and in written communications – which I unearthed from the French National Archives – that brought to the surface ideological, political, and aesthetic differences that had originally been glossed over. If in this case the producers’ collaboration was declared on the playbills, their heterogeneous motives were only revealed once Alzheimer’s put a wrench in the show’s original assemblage.
Novelists have long been attracted to theatre. If some also wrote plays, others approached theatre through their fiction, making actors, directors, playwrights, and stages the protagonists of their narrative works. One of the roles of theatre-fiction is to illuminate not just a backstage dimension that may chronologically overlap with the creative process but also a broader historical awareness that embraces the multitude of agents, from living beings to material entities, that contribute to what is shown in front of the audience.
This paper examines El comediante Fonseca (Fonseca, the Actor, 1924) by Spanish author Vicente Blasco Ibañez (1867–1928) and El rufián moldavo (The Moldavian Pimp, 1984) by Argentine filmmaker and writer Edgardo Cozarinsky (b. 1939) as examples of theatre-fiction that, unrestrained by the immediacy of a staged performance, expands its chronotopic scope to encompass whole lives and diverse locales, jumping freely between the present and the past, while evoking a variety of places on both sides of the Atlantic spanning from the city of Buenos Aires to the Argentine provinces, from the tropical forest of Venezuela to the steppes of Eastern Europe.
This approach stems from my upcoming book’s notion of “actor-network dramaturgy,” which articulates an expanded notion of agency in the context of Actor-Network Theory, establishing the uninterrupted continuity of the aesthetic with history at large. Because the network is a continuum of associations between “actors,” it makes no sense to distinguish artistic action from action per se. Thus, if “people know what they do; they frequently know why they do what they do; but what they don’t know is what what they do does” (Foucault), actions chronologically preceding or parallel to the aesthetic ones can still be seen as pushing towards a theatre production, even without full awareness of their consequences.
This method invites researchers to develop a more comprehensive actor-network dramaturgical vision by including longer genealogies of humans, things, and events; more numerous types of actors, human and non-human; and both friendly and adversarial actors, successes and failures, as sources of exciting historical accounts.
Jean Genet (1910–1986) found recognition by shocking conventional French society. In this paper I analyze his three plays that more pointedly critiqued “the society of the spectacle” (Guy Debord), the degradation of authentic social connections in favor of relations between their images.
In The Balcony (1955), the brothel of the title appears as a high-scale establishment dedicated to enacting perverse scenarios by regular men who seek the thrill of absolute power. Stage manager of this “house of illusions” is Madame Irma, who surveils its 38 studios. However, because her clients’ reenactments are nothing but simulacra of power, fundamentally blunting any desire to act in the real world, the bordello acts as one of the status quo’s institutions, against which a popular revolution is brewing. In the end, the rebels fail because, even after the real Royal Palace is blown up, a confrontation of allegories is displayed from the brothel’s balcony, with Irma and her clients silently embodying the archetypes of power just destroyed and yet desired by the masses as guarantors of order. When Irma dismisses the audience in the same way as her clients, hinting at a new rebellion the next day, she implicates the voyeuristic spectators as acquiescent to the mechanisms of power through spectacle.
With The Pope (1955), Genet applies his analysis to the highest position in the Catholic Church. In this playful and irreverent short piece, a photographer has made an appointment to capture the Pontiff’s ideal image for worldwide distribution, but this highly self-conscious Pope regrets gradually shedding all his “interior density” to finally become an empty vessel reduced to a “definitive image.” Indeed, he enters in the expected “long white robe […] a tall papal miter and a cross on his chest” but does so gliding on roller skates, while his behind remains naked because never officially visible.
Finally, combining his scathing assessment of white colonialism and the discourse on power achieved through simulacra, The Screens (1961) offers a sprawling, polyphonic epic that obliquely alludes to the Algerian war of independence (1954–1962), in which both sides rely on simulacra. On the one hand, the ruthless racist colonizers count on their constructed image to dominate the territory, such as wearing a fat suit to look more imposing, while the French soldiers seem more preoccupied with looking good than having better weapons; on the other hand, the insurgents – though able to win the war – simply substitute the older with their own oppressive power structures. This similar approach becomes evident once all warring characters end up in the same metaphysical “place” after death. The only way to escape this society of the spectacle is suggested by the Nettles family, when Saïd dies but does not reappear among the dead, so he will never be fixed in a hero’s image.
Overall, Genet’s work displays a gusto for defying expectations, an eagerness to contradict the assumptions of bourgeois morality, and a constant reminder of the power and fragility of simulacra in the private and political arena.
Events moderator and contact: Ana Ilievska, ailievska@uchicago.edu