Simone Brioni (BA, Bologna, 2005; MA, Trento, 2008; PhD, Warwick, 2013)
Department of English, Stony Brook University
Office 1099 - Humanities Building
Film Studies and Filmmaking
- Affiliate Member - Department of Africana Studies, Stony Brook University
- Associated Member – Department of Women's, Gender and Sexuality Studies, Stony Brook University
- Affiliate Member - Center for Changing Systems of Power
- Affiliate Member - Center for the Study of Inequalities, Social Justice and Policy, Stony Brook University
- Associate Member - Centre for the Study of Contemporary Women's Writing, School of Advanced Studies, University of London
Fellowships, Grants and Awards
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.
- Member of the Advisory Board of the Humanities Institute at Stony Brook University.
- Member of the Advisory Community of Zapruder World. An International Journal for the History of Social Conflict (2014-present).
- Member of the International Committee of Notos. Espaces de la création: arts, écritures, utopies (2015- present).
- Member of the editorial board of the book series 'Studi Transnazionali / Transnational Studies', Lithos Editrice, Roma (2016-present).
- Member of the editorial board of the book series Fuori Margine, Aracne Editrice, Roma (2017-present).
- Member of the Interdisciplinary Research Group on Race and Racism Network, University of Padua (2016-present).
- Member of the research group Connecting Cultures - Postcolonial Studies Theme at the University of Warwick.
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.