Lo spazio nei romanzi e racconti polizieschi di Andrea Camilleri. Doctoral dissertation, Masarykova Univerzita, Filozofická fakulta, 2012. Diversity, Otherness, and Pluralism in Italian Literature, Cinema, Language, and Pedagogy. “The Self as the Other in Andrea Camilleri’s Detective Fiction”. Textes et contextes de l’immigration / Textes und contexte der Migration. Le definizioni dell’alterità nei romanzi polizieschi di Andrea Camilleri”. “Migranti ed immigrati: i nuovi stereotipi linguistici. New Brunswick : Rutgers University-Graduate School, 2010. Denouncement, engagement and dialect: the Sicilian mystery novels of Leonardo Sciascia and Andrea Camilleri. Linguæ & Rivista di lingue e culture moderne 12.1 (2013): 27-34. “La sicilianità di Camilleri: un surplus di identità”. The exceptional transnational success of Camilleri’s cycle on Montalbano, coupled with the author’s familiarity with the television medium, paved the way to a television adaptation that by 2019 had been running for 13 seasons, and is today widely recognized as the most important transnational phenomenon of Italian television of all times. Camilleri’s transcultural dialogue with the history of the European crime genre is quite obvious in the choice of his hero’s own name, a homage to the master of Iberian/Catalan detective fiction, Manuel Vázquez Montálban.
In this role he served as a supervisor of a couple of detective television series, including a most memorable adaptation of Simenon’s Maigret novels, with Gino Cervi in the leading role. Most notably, during the 1960s, he had served as executive producer at the Italian public broadcasting service (RAI). In 1994, when Andrea Camilleri (who was then 69) published the first instalment of what was to become the most popular product of Italian seriality across the world, he was an experienced writer and television producer, with a particularly significant experience in the adaptation of crime fiction.
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