Hollow Men: Writing, Objects, and Public Image in Renaissance Italy

Acknowledgments

Acknowledgments It is difficult to express my thanks sufficiently to the large numbers of people who made this book possible. My most immediate debt is to the community of early modern scholars at the University of Washington, and in particular Stuart and Estelle Lingo, whose thoughtful critiques and art historical expertise were integral to shaping the project. Special thanks are also due to Donald Gilbert-Santamaría, Marshall Brown, Louisa Mackenzie, Albert Sbragia, Ben Schmidt, Geoffrey Turnovsky, and Rebecca Wilkin, who critiqued multiple drafts and offered advice and encouragement at critical moments. Ann Rosalind Jones and Walter Stephens provided extraordinarily generous and timely comments on the entire manuscript. Extensive feedback on individual chapters was contributed by Angela Matilde Capodivacca, Aileen Feng, Lisa Regan, Hannah Wojciehowski, and Brandon Jones—who also offered generous and patient aid with Latin translations. Lina Bolzoni and Sergio Zatti inspired me to do the research on Tasso and emblems that started the project, and without the initial encouragement of Timothy Hampton and Trevor Murphy, the project would have died an early death. A conversation with Giovanna Rizzarelli led to the creation of Chapter 4—research for which was generously funded by a Newberry Library fellowship. The Royalty Research Fund of the University of Washington supported extended archival research in Europe, and two grants each from Modern Language Quarterly and the Center for Western European Studies at the University of Washington allowed for investigations without which later research would have Acknowledgments x been impossible. Staff at the Biblioteca Angelica, the Biblioteca Casanatense , the British Library, the Newberry Library, the Whiteley Center at Friday Harbor, and the University of Washington Libraries were supremely helpful. For their timely and practical help I am eternally indebted to Katie Warrener, Lane Eagles, Risa Pavia, Sonia Steinberg, Erin Tindell, Jenny Allen, Megan Miller, Jessica Kamin, Brian Dionisi, and Sarala Puthuval. My writing group—Andreá Williams, Ilya Parkins , Swati Mukerjee, Lisa Dilling, and Melanie Marshall—made me finish the book, while other friends and colleagues helped in myriad ways: in Seattle, Christine Goettler, Alex Hollmann, Jennifer Keene, Sandra Kroupa, Leigh Mercer, Gina Neff, Cindy Perry, Deb Raftus; in Italy, Monica Bilotta, Peter Ciaccio, Elisa Curti, Chiara de Lena, Fulvio Ferrario, Valerie Hoagland, Cecilia Pasero, Leone Porciani, Eva Valvo; in London, Florian Mussgnug and Lloyd Perry. My parents bravely supported the move to America, and never once suggested that Italian Renaissance studies was an odd career choice. To Albert Ascoli, without whose unfailing guidance, support, and sense of humor no part of my graduate career—or the subsequent long haul that led to this book—would have been possible, I can only say grazie. There are no words with which to thank sufficiently Andrew Donovan, whose courage and sense of humor accompanied me on this long and unexpected adventure. ...