Dalila Colucci holds a Ph.D. in Modern Philological and Linguistic Disciplines from the Scuola Normale Superiore of Pisa (2016) and a Ph.D. in Romance Languages and Literatures from Harvard University (2018), where she has also been a Lauro De Bosis Postdoctoral Fellow (2019-2020). She is currently a Visiting Researcher at the University of Seville (Grupo de Investigación ILLE HUM-851: Interculturalidad. Lenguas y Literaturas Europeas).


Her research interests – which include Literature and Visual Arts; Italian Futurism and European Avant-Gardes; Michelangelo Antonioni and the Cinema of Neorealism; Italian Colonialism and Post-colonial Italian Literature; Gender Studies; Travel Literature and Reportages – lie within modern and contemporary Italian literature, with a close focus on intermediality.


In the past, her passion for hybrid, unconventional, and irregular forms of poetry has led her to work extensively on the intersections between prose and poetry in twentieth-century authors. In this context, she published a monograph on Goffredo Parise (Nessuno crede al merlo d’acqua. Le ultime poesie di Goffredo Parise, Iannone 2011) and edited the bilingual edition of his poems (Goffredo Parise. Poèmes. Cahiers de l’Hôtel de Galliffet 2016). She has also dedicated her first Ph.D. dissertation, developed under the supervision of Professors Lina Bolzoni, Carla Benedetti, Alberto Casadei, and Federica G. Pedriali, to C.E. Gadda’s osmotic contamination of literary genres ('Ogni poema è nel mondo infinito.' Un’ipotesi interpretativa per le poesie di C.E. Gadda). Her latest book, L’Eleganza è frigida e L’Empire des signes (FUP 2016), which explores the interactions of reportage, fiction, and poetry in Barthes and Parise’s unconventional chronicles of Japan, was presented at the De Bosis Colloquium in Italian Studies at Harvard University in February 2017, resulting in a video interview published on La voce di New York ( Her publications also include several essays on peer review journals (such as Italica, Forum Italicum, Gradiva, Italian Poetry Review, Italianistica, Misure Critiche, Italian Culture), a contribution to Riga’s monographic number on Goffredo Parise (36 2016), edited by M. Belpoliti and A. Cortellessa, and to the volume La realtà rappresentata. Antologia della critica sulla forma romanzo 2000-2016 (ed. R. Palumbo Mosca. Quodlibet 2019).


At the intersection of literature and visual culture, her dissertation at Harvard, supervised by Professors Francesco Erspamer and Jeffrey Schnapp and titled Poetry and Visuality in Italy from Futurism to the Neo-Avant-Garde, started to explore the intermedia encounters of modern Italian poetry with painting, typography, photography, theatre, cinema, music, and other forms of visual creativity, highlighting their ground-breaking commitment to issues of identity, gender, and mass culture. In the past two years, she has authored three lemmas on this topic for the Literary Encyclopedia (“Twentieth-century Italian Visual Poetry”; “Stelio Maria Martini”; “Arrigo Lora Totino”), taught a seminar on poetic intermediality at Harvard, published an article on “Stelio Maria Martini and the Po(i)etics of Collage” (piano b 2020), and written an essay entitled "Tullio d’Albisola’s L’anguria lirica (1934): Female Transubstantiation and a New Religion of Poetic Materiality”, soon to be published in Futurism and the Sacred, eds. Monica Jansen and Luca Somigli, spec. issue of the International Yearbook of Futurism Studies (11 2021). She has also co-organized a two-day international symposium on poetic visuality for the Italian Cultural Institute in Brussels (May 2018): Embodied Words. Concrete & Visual Poetry in Italy and Belgium in the 60s and 70s, which featured distinguished scholars from Italian, European, and American universities (


At the moment, she is working on two books emerging from her dissertation. The first one will offer an original perspective on the Futurist tin poetry book L’anguria lirica (1934), as the material pivot for a revolutionary theory of poetic intermediality. The second one will expand on this topic by offering an exhaustive mapping of the intermedia forms of Italian poetry from 1950 to 2020, alongside their impact on the twentieth-century national lyrical canon and official culture. Among her projects there is also a special issue on Neo-Futurism, co-edited with Günter Berghaus and Tim Klähn for the International Yearbook of Futurism Studies (13, 2023); and two articles, written together with Pierluigi Sacco (IULM University Milan) and currently under review, which address Italo Calvino's Invisible Cities as a conceptual canvas of urban epistemology and social participation.


She has been delivering papers and lectures at international academic conferences since 2009 and, over her years at Harvard, she has deeply engaged with curatorial and organizational activities. She has been one of the curators of the exhibit In Africa It Is Another Story: Looking Back at Italian Colonialism (Pusey Library, Harvard University, April 2014), dedicated to the exploration of the visual, political and literary imaginary of the Italian colonial adventure in Africa, through photo albums, postcards and maps from the Harvard Collections (digital exhibit at She also co-organized Time to Translate/Translation in Time, 2015 edition of Chiasmi–Harvard-Brown Graduate Conference of Italian Studies, which partnered with the 2015 special edition of the Edinburgh Gadda Prize–Early Career Scholars category and with the USA Premiere of Fabrizio Gifuni’s Lezione-spettacolo taken from his award-winning show Gadda Goes to War (sponsored by Federica G. Pedriali). Finally, between 2016 and 2017, she worked as coordinator of the video interviews series produced by the De Bosis Colloquium in Italian Studies and published on the Harvardiana column, La Voce di New York (

During her career, she held a Visiting Scholar position twice (Fall 2008, at the École Normale Supérieure in Lyon, France; 2011-2012 at Harvard University); and was awarded two Harvard fellowships: the Merit/Graduate Society Term-time Research Fellowship (Fall 2016) and the Completion Fellowship for dissertation research (2017-2018).