DRAFT: This module has unpublished changes.

Simone Brioni (BA, Bologna, 2005; MA, Trento, 2008; PhD, Warwick, 2013)

Associate Professor

Department of English, Stony Brook University

Office 1099 - Humanities Building




Research Interest

Postcolonial Theory

Migration Studies

Film Studies and Filmmaking

Cultural Studies


Fellowships, Grants and Awards

2017 Faculty of Arts, Humanities, and Social Sciences Research and Interdisciplinary Initiatives Fund, Stony Brook University. Research Grant (Co-PI).
2015 Faculty of Arts, Humanities, and Social Sciences Research and Interdisciplinary Initiatives Fund, Stony Brook University. Research Grant (PI).
2014 Faculty of Arts, Humanities, and Social Sciences Research and Interdisciplinary Initiatives Fund, Stony Brook University. Research Grant (PI).
2013 – 2014 Institute for Modern Languages Research Visiting Fellow, University of London. Visiting Fellowship.
2013 Warwick Arts Faculty Impact Award (Shortlisted)
2011 – 2012 Institute for Advanced Studies Early Career Fellowship, University of Warwick. Research Fellowship.
2012 (June-July) Work Experience Bursary, University of Warwick.
2010 – 2011 Institute for Advanced Teaching and Learning Collaboration Fund, University of Warwick. Teaching and Conference Fund.
2010 – 2011 Humanities Research Centre Postgraduate Scholars Programme 2010, University of Warwick. Conference award.
2010 Humanities Research Fund, University of Warwick. Travel grant.
2009 – 2012 Warwick Italian Department, PhD Bursary. Research Award.


Memberships (selection)

Research Profile

Simone Brioni is Assistant Professor in the Department of English at Stony Brook University. Using postcolonial theory, his work analyses the literary and cinematographic representation of migrations and Italian colonialism. His articles have been published in edited volumes and peer-reviewed journals including Altreitalie, Cinergie, Écritures, Incontri. Rivista europei di studi italiani, Italian Studies, Science Fiction Studies, Studi Culturali, and The Journal of Italian Cinema and Media Studies. He also edited the bilingual volumes (Italian and English) Somalitalia. Quattro vie per Mogadiscio (Kimerafilm, 2012) and Aulò! Aulò! Aulò! Poesie di nostalgia, d’esilio e d’amore (Kimerafilm, 2012) by Ribka Sibhatu, which respectively contain the documentaries Aulò. Roma postcoloniale and La quarta via. Mogadiscio Italia, for which he was co-director and co-author. His most recent publications include the monograph The Somali Within: Language, Race and Belonging in ‘Minor’ Italian Literature (Cambridge: Legenda 2015).


[IT] Simone Brioni è Assistant Professor all’Università Statale di New York, Stony Brook. Si occupa della rappresentazione letteraria e cinematografica delle migrazioni e del colonialismo in Italia nella prospettiva degli studi culturali, degli studi sulla traduzione e della teoria postcoloniale. E’ stato Institute of Advanced Studies Early Career Fellow – University of Warwick, e Visting Fellow all’Institute of Modern Languages Research – University of London. Le sue pubblicazioni includono la curatela dei volumi Somalitalia. Quattro vie per Mogadiscio (Kimerafilm, 2012) e Aulò! Aulò! Aulò! Poesie di nostalgia, d’esilio e d’amore (Kimerafilm, 2012) di Ribka Sibhatu, che contengono rispettivamente i documentari Aulò. Roma postcoloniale e La quarta via. Mogadiscio Italia, di cui è coregista e coautore. La monografia The Somali Within: Questions of Race, Gender and  Belonging in ‘Minor’ Italian Literature è stata pubblicata nel 2015 da Legenda.



As an undergraduate Simone Brioni studied English, Spanish and French literature at the University of Bologna (BA, 2005) and at University of Leicester (Visiting Student, Erasmus Project, 2002-2003). His bachelor thesis, "Non ora - Non qui: L'eterno presente della psicosi di Traven. Alcune considerazioni su The Atrocity Exhibition di J.G. Ballard", supervised by Dr. Gino Scatasta, analyses how space and time are described in J.G. Ballard's novel The Atrocity Exhibition (1970). Drawing from Eugène Minkowski's research on the phenomenology of psychopathology (1933), this dissertation analyses the insane interaction of the main characters with the surrounding media landscape. By investigating The Atrocity Exhibition in the light of Susan Sontag's and Roland Barthes' studies on mass culture (respectively 1966 and 1957), "Non ora - Non qui" shows that the main characters of Ballard's novel are unable to interact with other human beings and that they identify with media icons. The analysis also refers to the theories of media critics such as Paul Virilio (1995), Gunther Anders (1956), and Jean Baudrillard (1986), in order to ascertain the ways in which Ballard represents the substitution of the main characters' perception of sensible reality with its virtual counterpart. Lastly, the analysis focuses on the political effects of the pathological relation between the media and its audience, and considers the ways in which Ballard describes the representation of John Fitzgerald Kennedy's killing, and Ronald Reagan's elections, which ratified the political victory of a media icon over politics.

As a postgraduate Simone Brioni studied American and Spanish literature at the University of Trento (MA, 2005), and German language at University of Kassel (Visiting Student, Leonardo Project, 2004-2005). His master thesis, "American Psycho and Fight Club: Contradictory Transgressions", supervised by Dr. Giovanna Covi, analyses the artistic commitment in mainstream American literature between the collapse of Communism in 1989 and the terrorist attacks against the United States on September 11, 2001. The analysis focuses in particular on two influential novels, Bret Easton Ellis' American Psycho (1991) and Chuck Palahniuk's Fight Club (1996), and their criticism of consumer society. Drawing on Henry Giroux's analysis of the "culture of cynicism" in the United States during the 1990s (2001), and the criticism of "American exceptionalism" in Donald Pease and Robyn Wiegman's The Future of American Studies (2002), the dissertation demonstrates that Palahniuk and Ellis do not describe alternatives to the present social, economic and political system, by confirming the status quo. Moreover, this apocalyptic representation of the present might be seen as a barometer of the anxieties of the United States, which sought to redefine itself as a nation following the collapse of its long-standing antithetical position to the Soviet Union and communism. "American Psycho and Fight Club" also draw on Herbert Marcuse's notion of "repressive tolerance" (1969), in order to criticise the graphic and explicit representation of violence as a means to criticise class inequality in a neoliberal system. Guy Debord's analysis of "spectacle society" (1967) is employed in order to criticise Palahniuk's and Ellis' spectacular accusation of consumer society, and their use of advertisement-like slogans. In conclusion, my textual analysis demonstrates that Palahniuk and Ellis address a thrilled audience, which enjoys the explicit depiction of gruesome violence for the sake of violence itself, rather than a reflective audience, which might become more aware of the uneven relationships of power in terms of class, gender and race in a neo-liberal society.

 Simone completed his doctoral thesis, under the supervision of Dr. Jennifer Burns, at Warwick's Italian department in 2012. His PhD thesis, The Somali Within: Questions of Language, Resistance and Identity in 'Minor' Italian Writings, analyses the writings by Italian authors of Somali origins from 1994 to 2012, providing an overview of the development of migrant writings in Italy from the perspective of a specific post-colonial encounter, that between Italy and its “last colony”, Somalia. The Somali Within employs Gilles Deleuze and Félix Guattariʼs notion of ʻminor literatureʼ in order to identify the three main features in these writings, namely the presence of Somali terms within the Italian text, their political engagement against race and gender discrimination, and the construction of their subjectivity as a social entity, inseparable from the lives of both others members of the Somali diaspora or immigrants to Italy.


DRAFT: This module has unpublished changes.