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Linda Carroll
Emeritus Professor of Italian
Newcomb 311M


Ph.D., Harvard


Linda Carroll (Ph.D. Harvard University) is a specialist on the interaction between cultural and historical forces in Renaissance Italy. She is particularly concerned by the ways in which popular creative artists and leaders in the economic and political sphere(s) engaged one another to further their goals. She is the author of Language and Dialect in Ruzante and Goldoni (Longo, 1981) and Angelo Beolco (Il Ruzante) (Twayne, 1990). She recently co-edited Sexualities, Textualities, Art and Music in Early Modern Italy. Playing with Boundaries with Melanie L. Marshall and Katherine A. McIver (Ashgate, 2014). She was translator for Venice, Cità Excelentissima: Selections from the Renaissance Diaries of Marin Sanudo (Johns Hopkins University Press, 2008) and edited and translated Angelo Beolco (Il Ruzante), La prima oratione (Modern Humanities Research Association, 2009). She has published articles in Renaissance Quarterly, Sixteenth Century Journal, MLN, Modern Language Review, Ateneo Veneto, The Psychohistory Review, the Encyclopedia of the Renaissance, and numerous other journals, conference proceedings, and reference works. Professor Carroll received the USG John Stibbs Award for Outstanding Faculty Member in 2007 and the Suzanne and Stephen Weiss Presidential Fellowship in 2008.

Forthcoming Publications

  • "Luigi Pulci and the Invention of Renaissance Irreverence," in New Studies on the Poetry of Luigi Pulci, ed. Andrea Moudarres and James Coleman (Turnhout: Brepols, forthcoming).

Recent Publications

  • Commerce, Peace and the Arts in Renaissance Venice. Ruzante and the Empire at Center Stage. London: Routledge, 2016.
  • Antonio Molino (Il Burchiella), Delightful Madrigals for Four Voices..., Newly...Composed and Brought to Light...First Book...1568, edited by Linda L. Carroll, Anthony M. Cummings, Zachary W. Jones, and Philip Weller. Rome: Istituto Italiano per la Storia della Musica, 2014.
  • "Ruzante Speaks Truth to Venetian Power: Some Hows, Whys, Whens, and Wherefores," in Speaking Truth to Power from Medieval to Modern Italy, ed. Jo Ann Cavallo and Carlo Lottieri, Annali d’Italianistica 34 (2016): 179-97.
  • "'(El) ge sa bon laorare': Female Wealth, Male Competition, Musical Festivities, and the Venetian Patriciate in Ruzante's Pavan." In Sexualities, Textualities, Art and Music in Early Modern Italy. Playing with Boundaries, ed. Melanie Marshall, Linda L. Carroll, and Katherine McIver (Burlington, VT: Ashgate, 2014), pp. 155-83.
  • "Utopia, Venice, and Ruzante's Pavan: Venetian and Paduan Connections with Thomas More." Modern Language Review, 107 (2012): 162-81.
  • "Providus vir Leonardus pictor florentinus," Ateneo Veneto CXCVIII, terza serie 10/I (2011): 31-43.