1
25
551
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2d5d3ab0dce67c20944f24ef19776e06
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>La produzione: Le sue basi-I suoi mezzi, Le sue funzioni, I suoi scopi.</em> Newark: L'Adunata dei Refrattari, 1942.</strong>
Creator
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Gold O'Bay
Publisher
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L'Adunata dei Refrattari
Date
A point or period of time associated with an event in the lifecycle of the resource
1942
Format
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20x14cm; 32 p.
Language
A language of the resource
Italian
Description
An account of the resource
<p>Gold O’Bay was one of several pseudonyms used by Tintino Rasi (b. Genoa, 1893; d. Philadelphia, 1963). <br /><br />Rasi was an anarchist at an early age in Genoa, where he was under constant surveillance by the police for his political activities. In 1921, along with Renzo Novatore, whose work is also in the Collection, he edited the anarcho-individualist and futurist journal <em>Vertice</em>. During the 1930s, he wrote for <em>L’Adunata </em><em>dei Refrattari </em>in Newark. in 1938, he settled in Philadelphia, and collaborated with Virgilio Gozzoli in New York in anti-fascist activities.</p>
<p>These are the first three journals in a series covering social issues. The first pamphlet introduces itself as the first series of journals or notebooks, <em>quad- erni</em>, as “<em>Quaderni sui problemi sociali</em>” (Notebook of Social issues), and states that each will address a separate social issue of “our time.” each volume promotes the Galleanisti anarchist newspaper, <em>L’Adunata </em><em>dei Refrattari, </em>on the rear cover.</p>
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d85fbe71d7d4acba5d66d7b13a429860
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Le basi della societa e del diritto. </em>Newark: <span>L'Adunata dei Refrattari, 1940. </span></strong>
Creator
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Gold O'Bay
Publisher
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L'Adunata dei Regfrattari
Date
A point or period of time associated with an event in the lifecycle of the resource
1940
Format
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20x14cm; 28 p.
Language
A language of the resource
Italian
Description
An account of the resource
<p>Gold O’Bay was one of several pseudonyms used by Tintino Rasi (b. Genoa, 1893; d. Philadelphia, 1963). <br /><br />Rasi was an anarchist at an early age in Genoa, where he was under constant surveillance by the police for his political activities. In 1921, along with Renzo Novatore, whose work is also in the Collection, he edited the anarcho-individualist and futurist journal <em>Vertice</em>. During the 1930s, he wrote for <em>L’Adunata </em><em>dei Refrattari </em>in Newark. in 1938, he settled in Philadelphia, and collaborated with Virgilio Gozzoli in New York in anti-fascist activities.</p>
<p>These are the first three journals in a series covering social issues. The first pamphlet introduces itself as the first series of journals or notebooks, i.e., <em>quaderni</em>, as “<em>Quaderni sui problemi sociali</em>” (Notebook of Social issues), and states that each will address a separate social issue of “our time.” each volume promotes the Galleanisti anarchist newspaper, <em>L’Adunata </em><em>dei Refrattari, </em>on the rear cover.</p>
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a0e1459db7e8a4f2181fbfc33b7f1c90
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em><span>La grande rivoluzione in marcia. </span></em><span>Newark: L'Adunata dei Refrattari, 1940.</span></strong>
Creator
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Gold O'Bay
Publisher
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L'Adunata dei Refrattari
Date
A point or period of time associated with an event in the lifecycle of the resource
1940
Format
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20x14cm; 28 p.
Language
A language of the resource
Italian
Description
An account of the resource
<p>Gold O’Bay was one of several pseudonyms used by Tintino Rasi (b. Genoa, 1893; d. Philadelphia, 1963). <br /><br />Rasi was an anarchist at an early age in Genoa, where he was under constant surveillance by the police for his political activities. In 1921, along with Renzo Novatore, whose work is also in the Collection, he edited the anarcho-individualist and futurist journal <em>Vertice</em>. During the 1930s, he wrote for <em>L’Adunata </em><em>dei Refrattari </em>in Newark. in 1938, he settled in Philadelphia, and collaborated with Virgilio Gozzoli in New York in anti-fascist activities.</p>
<p>These are the first three journals in a series covering social issues. The first pamphlet introduces itself as the first series of journals or notebooks, <em>quad- erni</em>, as “<em>Quaderni sui problemi sociali</em>” (Notebook of Social issues), and states that each will address a separate social issue of “our time.” each volume promotes the Galleanisti anarchist newspaper, <em>L’Adunata </em><em>dei Refrattari, </em>on the rear cover.</p>
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7011000ce614fb7db79f9ae048743e4b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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<em><strong><span>Sacrificio: Dramma in Tre Atti.</span></strong> </em>[Facsimile.] <strong><span>New York: [n.p.], 1919.</span></strong>
Creator
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Salvatore Abbamonte
Date
A point or period of time associated with an event in the lifecycle of the resource
1919
Format
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24.5x15.5cm; 48 p.
Language
A language of the resource
Italian
Description
An account of the resource
About Abbamonte, we know that he wrote plays and short stories, and he wrote often for the Siscas' <em>La Follia</em> (around 1940). <br /><br />In his <em>Attori e filodrammatici della vecchia Colonia Italiana di New York</em>, published in <em>La Follia</em> of March 13, 1940, he discussed Armando Cennerazzo, featured in the Collection, the actor and author of theater, poetry, songs and Neapolitan caricatures, who collaborated with Francesco Ricciardi, performing duets and Neapolitan songs.<br /><br />This play of Abbamonte's is about a young man who sacrifices himself for the honor of his sister. The play itself is preceded by an introduction or preface of L. Del Secolo that notes Abbamonte's fascination with D'Annunzio, Carducci and other greats of Italian literature but tells us little about him.<br /><br />Durante states that this work was printed by the Bagnasco Press but there is no evidence in the facsimile in the Collection of that printer.
Publisher
An entity responsible for making the resource available
[Bagnasco Press
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9311330106370363d1174186b159f7e5
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c10436cd808d42829014012013640279
Dublin Core
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Title
A name given to the resource
<strong><em><span>All' Anarchia: si arrivera' passando per lo Stato Socialista? </span></em></strong><strong>Barre, VT: <span>Tipografia della Cronaca Sovversiva</span><span>, 1905.</span></strong>
Publisher
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Tipografia della Cronaca Sovversiva
Date
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1905
Format
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20x10.5cm; 13p.
Language
A language of the resource
Italian
Description
An account of the resource
This work, no author noted, is Opusolo No. 4 of the publisher's Biblioteca del Circolo di Sociali.<br /><br />This anarchist publication argues against the "very stupid" reasoning that socialists use against anarchists that they use in general: that there have always been rich and poor, owners and slaves, and it will always be thus. <br /><br />This 14-page pamphlet argues that the Socialist State does not provide a solution to the problems of capitalism.
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f9338dd752f59d09ed129e2411f04181
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bce857b7f0662d17489811533c11b8b1
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eaf536799fb29df7fb3bbf23277c3caa
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong><span>La Figlia dell'Anarchico: Dramma Sociale in Tre Atti. </span></strong></em><strong><span>Jessup, PA: Gruppo Autonomo, 1928.</span></strong>
Creator
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Nena Becchetti
Publisher
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Gruppo Autonomo
Date
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1928
Format
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20x14cm; 32 p.
Language
A language of the resource
Italian
Description
An account of the resource
Becchetti was one of several women radicals who wrote plays to reflect their political views, including that of the emancipation of women. These plays were often at the center of leisure activities of radicals (replacing religiously themed events) celebrated in Marcella Bencivenna's <em>Italian Immigrant Radical Culture</em> and Jennifer Guglielmo's <em>Living the Revolution</em>. Becchetti was a worker in Jessup, PA, where this work was published.<br /><br />This play centers on eight immigrant women - four mothers (including a contessa and baronessa) and their daughters - staging the pain and poverty under which they, and so many other immigrants, lived, but which also "shouted with the spirit of hope." <br /><br />The preface by the Gruppo Autonomo, while celebrating the play for its realism, also notes that in publishing the work, the Gruppo is "not pretending to present a masterpiece of art and literature." This is consistent with radical theater's avowedly didactic purposes, a more powerful way for workers to grasp the conflict with capitalism than by being lectured to.
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8141602c32ee4afdb06f0c590c544ba1
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e7c9091e443034c2300ddb2bc8376459
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Histories, philosophy, biographies, directories, almanacs, annuals, religious, educational, and travel literature</em>
Subject
The topic of the resource
These largely non-political works reflect a broad pallette of non-fiction reflections on the history of Italians in the U.S., travel literature, biographies (like that of the Peanut King, Obici), or the religious, like Sister, later Mother, and final Saint Cabrini.
Description
An account of the resource
In these non-fiction works, Italians reflected upon themselves and their American experiences. Representing the non-<em>sovversivi</em> type of immigrant, who were more interested in becoming American and “making it” in America than in stoking class warfare and remaking society, They began to place themselves in the context of contemporary American society and the history in America. <br /><br />The release in 1921 of Alfredo Bosi’s <em>Cinquant’anni di vita italiana in America</em>, the first history of Italians in the United States, represented a watershed - the first 50 years of Italians in America - and allegedly arose from a conversation between journalist Bosi and King Vittorio Emanuele of Italy in 1901, in which the king expressed curiosity about the Italian colony in America. <br /><br />Luigi Roversi’s biography of Palma di Cesnola proudly places that Italian within the august homes of white Anglo-Saxon Protestant America, into which di Cesnola had married, and where he ruled as the first director of the Metropolitan Museum of Art. <br /><br />More than the first half of Flamma’s “biography” of the greatest mayor New York City had ever seen, Fiorello LaGuardia, has little to do with La Guardia, unfortunately, but the work did reflect his obvious pride that after electing mayors in 29 other cities, Italians “finally” elected (in 1933) a mayor of Italian heritage to the country’s most important city. <br /><br />The directories discussed here, from New York to San Francisco, provide a particularly rich source of information about the different businesses and professions Italians had in virtually every state of the union, from as early as the 1880s (in San Francisco) to the first few decades of the 20th Century (primarily in New York).
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em><span>Dalla Conca d'Oro al "Golden Gate": studii e impressioni di viaggi in</span></em> America </strong>[From the Golden Valley to the "Golden Gate": studies and impressions of travels in America]<strong>. </strong><strong>New York: <span>Canorma Press, 1928. </span></strong>
Creator
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Gaspare Nicotri
Publisher
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Canorma Press
Date
A point or period of time associated with an event in the lifecycle of the resource
1928
Format
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20x14cm; 128 p.
Language
A language of the resource
Italian
Description
An account of the resource
As noted in the entry for Nicotri's work on the history of revolution and revolt in Sicily, of Gaspare Nicotri, the <em>New York Times</em> obituary of October 14, 1955, notes that he was an "Italian lawyer, educator and sociologist" who died at age 81. <br /><br />While a student in Rome, he formed a volunteer battalion of students who fought on the side of the Greeks during their war of independence from Turkey. <br /><br />Before the advent of Mussolini, Nicotri was one of Sicily's leading criminal lawyers. <br /><br />In 1924 he was elected to the Italian Chamber of Deputies as a Socialist. Two years later he came to the U.S. as a political refugee.<br /><br />Of this work: a handsome photo frontispiece shows Luther Burbank and the author in a partial embrace. <br /><br />Nicotri dedicated the work to his family who has suffered much, he says, for his "immutable faith in a better Humanity."<br /><br />At the outset, Nicotri decries the "Nordic nonsense," to use Columbia University anthropologist Franz Boas's formulation, to debunk the so-called inferiority of Southern Italians.<br /><br />Among the places he visits in the U.S. described in the work are California (especially a number of towns in Marin County, where he meets Burbank), Chicago, Detroit, Buffalo, Philadelphia and Boston, in addition of course to New York. He also discusses the reception of his "great proposal" for capitalism to reduce poverty and inequality in the world.
Canorma
memoir
New York
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85eafdf7630eee8939f2c9174ff3ccbf
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Political subversives II: Anarchists (all types), socialists, syndicalists, communists, anti-clericals</em>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>Errico Malatesta: Bibliografia. </strong></em><strong>Napoli: <span>Edizioni RI, 1951. </span></strong>
Creator
An entity primarily responsible for making the resource
Ugo Fedeli
Publisher
An entity responsible for making the resource available
Edizione RI Napoli (title page); Edizioni C.R.I.A. Sezione B.A.E. Paris (cover).
Date
A point or period of time associated with an event in the lifecycle of the resource
1951
Format
The file format, physical medium, or dimensions of the resource
23x16.5cm; 48 p.
Language
A language of the resource
Italian
Description
An account of the resource
Ugo Fedeli was one of Frank Brand's (Errico Arrigoni) comrades in a factory in Milan whom Arrigoni identifies as an anarchist-communist. He was a frequent contributor to Arrigoni's anarchist periodical, <em>Eresia.<br /><br /></em>Fedeli also wrote a biography of Giuseppe Ciancabilla, a copy of which is in the Collection.<em><br /><br /></em>This work is one of the rare bibliographies of a major anarchist figure, given that the orderliness of a bibliography (almost by definition) is not something an anarchist might naturally be attracted to. For example, despite his equally if not greater output, I do not know of a bibliography of the great Luigi Galleani, or of Armando Borghi, although the Collection includes most of the major works of each of these greater than life-size figures of the anarchist movement.<br /><br />There is conflicting publication or printing information: while the cover notes Paris as the place of printing or publication, the title page indicates Naples - more likely as the place of publication - both in the year of 1951. This is virtually the same conflicting information as for another work in the Collection, <em>Casa Savoia</em>, which was published in East Boston, Massachusetts, but printed in Paris, although in this case by "Imprimerie Commerciale de la Tribune Républicaine, Saint-Étienne," as reflected on the recto of the rear free endpaper is the colophon.
Errico Malatesta
-
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10eb0832af6715d395beacafc28e2d2b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em><span>Guide to the United States for the Immigrant Italian: A Nearly Literal Translation of the Italian Version. </span></em></strong><span><strong>New York: Connecticut Daughters of the American Revolution and Doubleday, Page & Company, 1911.</strong></span>
Creator
An entity primarily responsible for making the resource
John Foster Carr
Publisher
An entity responsible for making the resource available
Connecticut Daughters of the American Revolution and Doubleday, Page & Company
Date
A point or period of time associated with an event in the lifecycle of the resource
1911
Format
The file format, physical medium, or dimensions of the resource
19x13cm; 71 p.
Language
A language of the resource
English
Description
An account of the resource
<p>Like the Italian original, this work was “published under the Auspices of the Connecticut Daughters of the American Revolution.” The frontispiece shows President William Howard Taft. Map of the U.S., also in this edition, is laid down in rear cover. The title page also indicates that the work is “a nearly literal translation of the Italian version.”</p>
<p>Carr, who spoke and wrote Italian fluently, is said to have translated his own Italian-language original into English. Evidently, even those Italian immigrants who had learned a sufficient amount of English to read a guide to the country they were adopting, temporarily or more likely permanently, still needed to be advised “don’t get excited during discussions” and to “try not to gesticulate too much.”</p>
<p> </p>
-
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17a21681ab9fad3c73222ac3d02c0097
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Periodicals: newspapers and magazines
Description
An account of the resource
The collection is rich in hard to find magazines and/or newspapers like Ernesto Valentini's <em>Zarathustra</em>, Vincenzo Vacirca's <em>Il Solco </em>and <em>La Strada</em>, Aldino Felicani's <em>La Controcorrente</em>, <em>Il Proletario</em>, Enrico Arrigoni's <em>Eresia</em>, Carlo Tresca's <em>Il Martello</em> and <em>Guardia Rossa</em>, Antonino Capraro's <em>Alba Nuova</em>, Arturo Giovannitti's <em>Vita</em>, Agostino De Biasi's <em>Il Carroccio, </em>T. Lucidi's <em>Il Messaggero della Salute</em>, Guido Podrecca's and Gabriele Galantara's <em>L'Asino</em> (this last mostly published in Rome) and others.<br /><br />As Francesco Durante rightly observed in <em>Italoamericana</em>, understanding the contribution of journalism among Italian Americans - almost solely in Italian at the outset - to the community life, as well as to the culture of the immigrant community, is central to understanding that community. <br /><br />Virtually all of the writers whose book-length works we see and celebrate in the collection, whether political or not, began their writing careers with newspaper or magazine writing. Some even immigrated to the U.S. precisely to do just that, but those were exceptional.<br /><br />The politics of the magazines and newspapers ran the gamut from left to right, and some - e.g., <em>Il Messaggero della Salute</em> - were not really political in that sense at all. The separation often observed between the political and the literary sections of the magazines is surprising and deserves examination all by itself: one can find the stories of Clara Vacirca, married to and sharing the political leanings of the socialist Vincenzo Vacirca, published in the right-wing <em>Il Carroccio</em>, and less overtly political writers like Salvatore Benanti and Federico Mennella often contributed literary pieces to leftist periodicals like <em>La Follia di New York. </em>For example, Mennella wrote the dialect column for <em>La Follia </em>for some time. The catholic nature of the magazines in the literary culture of the Italians reflected one of its strengths.<br /><br />Whatever the mixture of news from Italy and from America, whether "news events," or political or cultural commentary, short stories or poems, whether from Italians still in Italy or immigrants in the U.S. or translated from German, French. English or Russian - all of which were quite prevalent - or elaborations of philosophies of living, sometimes imported but sometimes "home-grown" in the U.S., the magazines and newspapers provide a rich insight into this world. <br /><br />Beyond the articles themselves were, in many cases, letters to the editors and lists of new subscribers (and the cities and towns they lived in), both of which enlarge our understanding of what parts of the immigrant community were reached and affected by the printed word. <br /><br />This, too, is a subject that deserves close examination, and has been discussed recently, for example, in a fine essay by historian Adam Quinn discussing whether the <em>Cronaca Sovversiva</em> of the anti-organizational anarchist Luigi Galleani was a "seditious rag" or a community newspaper - or both. Quinn clearly concludes that it was both. The same can be said for <em>Il Martello</em>, <em>La Follia di New York</em>, <em>Il Carroccio</em> and many of the other political magazines - they were part of the "glue" that held together the Italian community quite beyond their immediate political messages.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>Controcorrente</strong></em>.<strong> Boston, 1959-1965.</strong>
Description
An account of the resource
<em>Controcorrente, </em>Vol. XVI, No. 2 - Sept./Oct. 1959 <br /><em>Controcorrente, </em>Vol. XVI, No. 3 - Nov./Dec. 1959 <br /><em>Controcorrente, </em>Vol. 18, No. 1 - July/August 1961<br /><em>Controcorrente, </em>Vol. 18, No. 6 - May/June 1962<br /><em>Controcorrente, </em>Vol. 19, No. 4 - January/February 1963<br /><em>Controcorrente, </em>Vol. 19, No. 5 - March/April 1963<br /><em>Controcorrente, </em>Vol. 20, No. 1 - July/August 1963<br /><em>Controcorrente, </em>Vol. 21, No. 1 - July/August 1964<br /><em>Controcorrente, </em>Vol. 21, No. 3 - Spring 1965<br /><em>Controcorrente, </em>Vol. 21, No. 4 - Summer 1965<br /><br />Among the "friends of the magazine," a 1939 encomium by Carlo Tresca from the pages of "Il Mertello" graces the verso of the cover of the Summer 1965 issue, just before a list of subscribers. That issue contains articles by E. Rssi, Davide Jona, Aldino Felicani, James Wechsler, Mario Favro, G. Pederini, as well as by "Pietro" Kropotkin and Marat.<br /><br />The last few pages of the 1965 issues reproduce letters sent to the magazine by readers.
Format
The file format, physical medium, or dimensions of the resource
23x15.5cm
Language
A language of the resource
Italian
Publisher
An entity responsible for making the resource available
Aldo Felicani (since the magazine's founding by him in 1938)
magazine
periodical
-
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258b383d4d902c67ddd2dd2b67e69411
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Periodicals: newspapers and magazines
Description
An account of the resource
The collection is rich in hard to find magazines and/or newspapers like Ernesto Valentini's <em>Zarathustra</em>, Vincenzo Vacirca's <em>Il Solco </em>and <em>La Strada</em>, Aldino Felicani's <em>La Controcorrente</em>, <em>Il Proletario</em>, Enrico Arrigoni's <em>Eresia</em>, Carlo Tresca's <em>Il Martello</em> and <em>Guardia Rossa</em>, Antonino Capraro's <em>Alba Nuova</em>, Arturo Giovannitti's <em>Vita</em>, Agostino De Biasi's <em>Il Carroccio, </em>T. Lucidi's <em>Il Messaggero della Salute</em>, Guido Podrecca's and Gabriele Galantara's <em>L'Asino</em> (this last mostly published in Rome) and others.<br /><br />As Francesco Durante rightly observed in <em>Italoamericana</em>, understanding the contribution of journalism among Italian Americans - almost solely in Italian at the outset - to the community life, as well as to the culture of the immigrant community, is central to understanding that community. <br /><br />Virtually all of the writers whose book-length works we see and celebrate in the collection, whether political or not, began their writing careers with newspaper or magazine writing. Some even immigrated to the U.S. precisely to do just that, but those were exceptional.<br /><br />The politics of the magazines and newspapers ran the gamut from left to right, and some - e.g., <em>Il Messaggero della Salute</em> - were not really political in that sense at all. The separation often observed between the political and the literary sections of the magazines is surprising and deserves examination all by itself: one can find the stories of Clara Vacirca, married to and sharing the political leanings of the socialist Vincenzo Vacirca, published in the right-wing <em>Il Carroccio</em>, and less overtly political writers like Salvatore Benanti and Federico Mennella often contributed literary pieces to leftist periodicals like <em>La Follia di New York. </em>For example, Mennella wrote the dialect column for <em>La Follia </em>for some time. The catholic nature of the magazines in the literary culture of the Italians reflected one of its strengths.<br /><br />Whatever the mixture of news from Italy and from America, whether "news events," or political or cultural commentary, short stories or poems, whether from Italians still in Italy or immigrants in the U.S. or translated from German, French. English or Russian - all of which were quite prevalent - or elaborations of philosophies of living, sometimes imported but sometimes "home-grown" in the U.S., the magazines and newspapers provide a rich insight into this world. <br /><br />Beyond the articles themselves were, in many cases, letters to the editors and lists of new subscribers (and the cities and towns they lived in), both of which enlarge our understanding of what parts of the immigrant community were reached and affected by the printed word. <br /><br />This, too, is a subject that deserves close examination, and has been discussed recently, for example, in a fine essay by historian Adam Quinn discussing whether the <em>Cronaca Sovversiva</em> of the anti-organizational anarchist Luigi Galleani was a "seditious rag" or a community newspaper - or both. Quinn clearly concludes that it was both. The same can be said for <em>Il Martello</em>, <em>La Follia di New York</em>, <em>Il Carroccio</em> and many of the other political magazines - they were part of the "glue" that held together the Italian community quite beyond their immediate political messages.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>Nazioni Unite</strong></em><strong> [The United Nations Weekly of the "Mazzini Society"]. New York, 1942-1943.</strong>
Description
An account of the resource
The collection includes:<br /><br /><em>Nazioni Unite</em>, Anno I, N. 1 - 5 Marzo [March] 1942<br /><em>Nazioni Unite</em>, Anno I, N. 2 - 12 Marzo [March] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 3 - 19 Marzo [March] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 4 - 26 Marzo [March] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 5 - 2 Aprile [April] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 6 - 9 Aprile [April] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 7 - 16 Aprile [April] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 8 - 23 Aprile [April] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 9 - 30 Aprile [April] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 12 - 21 Maggio [May] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 13 - 28 Maggio [May] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 14 - 4 Giugno [June] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 15 - 11 Giugno [June] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 16 - 18 Giugno [June] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 17 - 25 Giugno [June] 1952<br /><em>Nazioni Unite</em>, Anno I, No. 18 - 2 Luglio [July] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 19 - 9 Luglio [July] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 20 - 16 Luglio [July] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 22 - 30 Luglio [July] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 23 - 6 Agosto [August] 1942<br /><em>Nazioni Unite</em>, Anno I, No. 28 - 10 Settembre [September] 1942<br /><em>Nazioni Unite</em>, Anno II, Numero 1 - 7 Gennaio [January] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 2 - 14 Gennaio [January] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 3 - 21 Gennaio [January] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 4 - 28 Gennaio [January] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 5 - 4 Febbraio [February] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 6 - 11 Febbraio [February] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 8 - 25 Febbraio [February] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 9 - 4 Marzo [March] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 10 - 11 Marzo [March] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 11 - 18 Marzo [March] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 12 - 25 Marzo [March] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 13 - 1 Aprile [April] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 14 - 8 Aprile [April] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 15 - 15 Aprile [April] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 16 - 22 Aprile [April] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 17 - 29 Aprile [April] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 19 - 20 Maggio [May] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 20 - 3 Giugno [June] 1943<br /><em>Nazioni Unite</em>, Anno II, Numero 21 - 17 Giugno [June] 1943<br /><br />This weekly newspaper, in large format, running only four pages, was publsihed by the Mazzini Society.
Format
The file format, physical medium, or dimensions of the resource
57.5x44cm
Language
A language of the resource
Italian
newspaper press
periodical
Salvemini
-
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5d96903ae8fb05e74b668a5eae5d694d
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f7f383d317a7f3daf3a9c4fcdce516b4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Periodicals: newspapers and magazines
Description
An account of the resource
The collection is rich in hard to find magazines and/or newspapers like Ernesto Valentini's <em>Zarathustra</em>, Vincenzo Vacirca's <em>Il Solco </em>and <em>La Strada</em>, Aldino Felicani's <em>La Controcorrente</em>, <em>Il Proletario</em>, Enrico Arrigoni's <em>Eresia</em>, Carlo Tresca's <em>Il Martello</em> and <em>Guardia Rossa</em>, Antonino Capraro's <em>Alba Nuova</em>, Arturo Giovannitti's <em>Vita</em>, Agostino De Biasi's <em>Il Carroccio, </em>T. Lucidi's <em>Il Messaggero della Salute</em>, Guido Podrecca's and Gabriele Galantara's <em>L'Asino</em> (this last mostly published in Rome) and others.<br /><br />As Francesco Durante rightly observed in <em>Italoamericana</em>, understanding the contribution of journalism among Italian Americans - almost solely in Italian at the outset - to the community life, as well as to the culture of the immigrant community, is central to understanding that community. <br /><br />Virtually all of the writers whose book-length works we see and celebrate in the collection, whether political or not, began their writing careers with newspaper or magazine writing. Some even immigrated to the U.S. precisely to do just that, but those were exceptional.<br /><br />The politics of the magazines and newspapers ran the gamut from left to right, and some - e.g., <em>Il Messaggero della Salute</em> - were not really political in that sense at all. The separation often observed between the political and the literary sections of the magazines is surprising and deserves examination all by itself: one can find the stories of Clara Vacirca, married to and sharing the political leanings of the socialist Vincenzo Vacirca, published in the right-wing <em>Il Carroccio</em>, and less overtly political writers like Salvatore Benanti and Federico Mennella often contributed literary pieces to leftist periodicals like <em>La Follia di New York. </em>For example, Mennella wrote the dialect column for <em>La Follia </em>for some time. The catholic nature of the magazines in the literary culture of the Italians reflected one of its strengths.<br /><br />Whatever the mixture of news from Italy and from America, whether "news events," or political or cultural commentary, short stories or poems, whether from Italians still in Italy or immigrants in the U.S. or translated from German, French. English or Russian - all of which were quite prevalent - or elaborations of philosophies of living, sometimes imported but sometimes "home-grown" in the U.S., the magazines and newspapers provide a rich insight into this world. <br /><br />Beyond the articles themselves were, in many cases, letters to the editors and lists of new subscribers (and the cities and towns they lived in), both of which enlarge our understanding of what parts of the immigrant community were reached and affected by the printed word. <br /><br />This, too, is a subject that deserves close examination, and has been discussed recently, for example, in a fine essay by historian Adam Quinn discussing whether the <em>Cronaca Sovversiva</em> of the anti-organizational anarchist Luigi Galleani was a "seditious rag" or a community newspaper - or both. Quinn clearly concludes that it was both. The same can be said for <em>Il Martello</em>, <em>La Follia di New York</em>, <em>Il Carroccio</em> and many of the other political magazines - they were part of the "glue" that held together the Italian community quite beyond their immediate political messages.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>La Legione. </strong></em><strong>New York, 1942-1943.</strong>
Description
An account of the resource
The collection includes:<br /><em><br />La Legione</em>, Vol. I, No. 4 -December 2, 1942 <br /><em>La Legione</em>, Vol. I, No. 5 - December 17, 1942<br /><em>La Legione</em>, Vol. II, No. 1 - January 1, 1943<br /><em>La Legione</em>, Vol. II, No. 2 - January 18, 1943<br /><em>La Legione</em>, Vol. II, No. 3 - February 1, 1943<br /><em>La Legione</em>, Vol. II, No. 4 - February 13, 1943<br /><em>La Legione</em>, Vol. II, No. 5 - March 1, 1943<br /><em>La Legione</em>, Vol. II, No. 6 - March 13, 1943<br /><em>La Legione</em>, Vol. II, No. 7 - April 1, 1943<br /><em>La Legione</em>, Vol. II, No. 8 - April 17, 1943<br /><em>La Legione</em>, Vol. II, No. 9 - May 1, 1943<br /><em>La Legione</em>, Vol. II, No. 11 - June 1, 1943<br /><em>La Legione</em>, Vol. II, No. 12 - June 16, 1943<br /><em>L'Italia Libera </em>[La Legione] Vol. II, No. 16 - August 16, 1943<br /><em>L'Italia Libera </em>[La Legione] Vol. II, No. 24 - December 16, 1943<br /><br />This antifascist newspaper was published semi-monthly in New York, Randolfo Pacciardi, editor. Mazzini is celebrated throughout, as is Gaetano Salvemini, one of the most articulate and thoughtful Italian intellectuals and anti-fascists, an historian at Harvard in those years.
Format
The file format, physical medium, or dimensions of the resource
60x42cm
Language
A language of the resource
Italian
Publisher
An entity responsible for making the resource available
Italian People's Union (New York), Randolfo Pacciardi (editor)
-
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298e1ecaaf3a62cd12bc9f72bbe06192
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Periodicals: newspapers and magazines
Description
An account of the resource
The collection is rich in hard to find magazines and/or newspapers like Ernesto Valentini's <em>Zarathustra</em>, Vincenzo Vacirca's <em>Il Solco </em>and <em>La Strada</em>, Aldino Felicani's <em>La Controcorrente</em>, <em>Il Proletario</em>, Enrico Arrigoni's <em>Eresia</em>, Carlo Tresca's <em>Il Martello</em> and <em>Guardia Rossa</em>, Antonino Capraro's <em>Alba Nuova</em>, Arturo Giovannitti's <em>Vita</em>, Agostino De Biasi's <em>Il Carroccio, </em>T. Lucidi's <em>Il Messaggero della Salute</em>, Guido Podrecca's and Gabriele Galantara's <em>L'Asino</em> (this last mostly published in Rome) and others.<br /><br />As Francesco Durante rightly observed in <em>Italoamericana</em>, understanding the contribution of journalism among Italian Americans - almost solely in Italian at the outset - to the community life, as well as to the culture of the immigrant community, is central to understanding that community. <br /><br />Virtually all of the writers whose book-length works we see and celebrate in the collection, whether political or not, began their writing careers with newspaper or magazine writing. Some even immigrated to the U.S. precisely to do just that, but those were exceptional.<br /><br />The politics of the magazines and newspapers ran the gamut from left to right, and some - e.g., <em>Il Messaggero della Salute</em> - were not really political in that sense at all. The separation often observed between the political and the literary sections of the magazines is surprising and deserves examination all by itself: one can find the stories of Clara Vacirca, married to and sharing the political leanings of the socialist Vincenzo Vacirca, published in the right-wing <em>Il Carroccio</em>, and less overtly political writers like Salvatore Benanti and Federico Mennella often contributed literary pieces to leftist periodicals like <em>La Follia di New York. </em>For example, Mennella wrote the dialect column for <em>La Follia </em>for some time. The catholic nature of the magazines in the literary culture of the Italians reflected one of its strengths.<br /><br />Whatever the mixture of news from Italy and from America, whether "news events," or political or cultural commentary, short stories or poems, whether from Italians still in Italy or immigrants in the U.S. or translated from German, French. English or Russian - all of which were quite prevalent - or elaborations of philosophies of living, sometimes imported but sometimes "home-grown" in the U.S., the magazines and newspapers provide a rich insight into this world. <br /><br />Beyond the articles themselves were, in many cases, letters to the editors and lists of new subscribers (and the cities and towns they lived in), both of which enlarge our understanding of what parts of the immigrant community were reached and affected by the printed word. <br /><br />This, too, is a subject that deserves close examination, and has been discussed recently, for example, in a fine essay by historian Adam Quinn discussing whether the <em>Cronaca Sovversiva</em> of the anti-organizational anarchist Luigi Galleani was a "seditious rag" or a community newspaper - or both. Quinn clearly concludes that it was both. The same can be said for <em>Il Martello</em>, <em>La Follia di New York</em>, <em>Il Carroccio</em> and many of the other political magazines - they were part of the "glue" that held together the Italian community quite beyond their immediate political messages.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>Divagando.</strong></em><strong> New York, 1943-1950.</strong>
Description
An account of the resource
<span><em>Divagando</em> was a stylish monthly magazine, nearly all of whose articles were in Italian, begun in 1942-1943. Each issue contained a mix of essays, poetry, short stories, and columns. <br /><br />The Collection currently includes issues from 1943 to 1951:<br /><br /><em>Divagando</em>, Vol. 1, No. 17 - 2 giugno [June] 1943<br /><em>Divagando</em>, Vol. 1, No. 18 - 9 giugno [June] 1943<br /><em>Divagando</em>, Vol. 1, No. 20 - 23 giugno [June] 1943<br /><em>Divagando</em>, Vol. 1, No. 21 - 30 giugno [June] 1943<br /><em>Divagando</em>, Vol. 2, No. 27 - 11 agosto [August] 1943<br /><em>Divagando</em>, Vol. 2, No. 28 - 18 agosto [August] 1943<br /><em>Divagando</em>, Vol. 2, No. 29 - 19 agosto [August] 1943<br /><em>Divagando</em>, Vol. 2, No. 39 - 3 novembre [November] 1943<br /><em>Divagando</em>, Vol. 2, No. 40 - 10 novembre [November] 1943<br /><em>Divagando</em>, Vol. 2, No. 41 - 17 novembre [November] 1943<br /><em>Divagando</em>, Vol. 2, No. 42 - 24 novembre [November] 1943<br /><em>Divagando</em>, Vol. 5, No. 126 - 14 febbraio [February] 1945<br /><em>Divagando,</em> Vol. 5, No. 128 - 18 luglio [July] 1945<br /><em>Divagando</em>, Vol. 6, No. 147 - 28 novembre 1945<br /><em>Divagando</em>, Vol. 7, No. 162 - 13 marzo [March] 1946</span><br /><em>Divagando,</em> Vol. 8, No. 201 - 11 dicembre [December] 1946<br /><span><em>Divagando</em>, Vol. 8, No. 204 - 1 gennaio [January] 1947<br /><em>Divagando</em>, Vol. 8, No. 205 - 8 gennaio [January] 1947<br /><em>Divagando</em>, Vol. 8, No. 207 - 22 gennaio [January] 1947<br /><em>Divagando</em>, Vol. 8, No. 208 - 29 gennaio [January] 1947</span><br /><em>Divagando</em>, Vol. 9, No. 223 - 14 maggio [May] 1947<br /><em>Divagando</em>, Vol. 9, No. 224 - 21 maggio [May] 1947<br /><em>Divagando</em>, Vol. 9, No. 226 - 4 giugno [June] 1947<br /><em>Divagando</em>, Vol. 9, No. 227 - 11 giugno [June] 1947<br /><em>Divagando</em>, Vol. 9, No. 228 - 18 giugno [June] 1947<br /><em>Divagando</em>, Vol. 9, No. 229 - 25 giugno [June] 1947<br /><em>Divagando</em>, Vol. 9, No. 231 - 9 luglio [July] 1947<br /><em>Divagando</em>, Vol. 10, No. 244 - 8 ottobre [October] 1947<br /><em>Divagando</em>, Vol. 10, No. 246 - 22 ottobre [October] 1947<br /><em>Divagando,</em> Vol. 13, No. 336 - 13 luglio [July] 1949<br /><em>Divagando</em>, Vol. 14, No. 346 - 21 settembre [September] 1949<br /><em>Divagando</em>, Vol. 14, No. 352 - 2 novembre [November] 1949<br /><em>Divagando</em>, Vol. 14, No. 358 - 14 dicembre [December] 1949<br /><em>Divagando</em>, Vol. 14, No. 359 - 21 dicembre [December] 1949<br /><em>Divagando</em>, Vol. 15, No. 377 - 26 aprile [April] 1950<br /><em>Divagando</em>, Vol. 15, No. 405 - 8 novembre [November] 1950<br /><em>Divagando</em>, Vol. 15, No. 411 - 20 dicembre [December] 1950<br /><em>Divagando</em>, Vol. 17, No. 418 - 7 febbraio [February] 1951<br /><em>Divagando</em>, Vol. 17, No. 419 - 14 febbraio [February] 1951<br /><em>Divagando</em>, Vol. 17, No. 420 - 21 febbraio [February] 1951<br /><em>Divagando</em>, Vol. 17, No. 421 - 28 febbraio [February] 1951<br /><em>Divagando</em>, Vol. 18, No. 443 - 1 agosto [August] 1951<br /><em>Divagando</em>, Vol. 18, No. 444 - 8 agosto [August] 1951<br /><em>Divagando</em>, Vol. 18, No. 445 - 15 agosto [August] 1951<br /><em>Divagando</em>, Vol. 18, No. 446 - 22 agosto [August] 1951<br /><em>Divagando</em>, Vol. 18, No. 447 - 29 agosto [August] 1951<br /><br />In 1945, its third year of publication, it was published by Casa Luotto; its editor then was Andre Luotto, with Frank Liotta as Art Director. Franco Lalli, q.v., became Associate Editor in 1947. Later (among these issues), in 1949, it was published by Divagando Corporation.<br /><br />Italian writers known to us from other items in the Collection include Pietro Novasio, Franco Lalli, and Elisa Odabella. That there were no prominent Italian-language writers is a reflection that their time had passed in this post- World War II period, the immigrant generations having passed by this point for the most part. Most issues also contained translations into Italian of English-language or French-language writers, such as O. Henry and de Maupassant. <br /><br />The lack of prominent writers does not mean that the articles were not interesting. One of the most interesting sources of information about Antonio de Martino, the prominent long-time publisher of the Italian Book Company, which published many of the books in the Collection, came from an essay in <em>Divagando</em>. There were also profiles of interesting Italian-Americans, not necessarily <em>prominenti</em>, such as restauranter Eugenio Minasso, whose Cafe Torino and Casa Minasso were quietly classy Torinese restaurants that first brought northern Italian cuisine to New York - and made no pretensions that it was French cuisine, as had been the case before him - in the thirties and forties, restaurants frequented by celebrities like Leonard Bernstein.
Format
The file format, physical medium, or dimensions of the resource
30x23cm
Language
A language of the resource
Italian
English
magazine
periodical
-
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c2b55ef9418c2a75bafef840df495835
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Sangue Siciliano: gran romanzo storico dell'epoca della dominazione Borbonica</em></strong>
Creator
An entity primarily responsible for making the resource
Guido Bassi
Description
An account of the resource
The Collection's edition is the Italian imprint, containing almost 40 of 110 numbers. But Durante lists a 1910 imprint by the American Premium Book Co. of Passaic, New Jersey, noting that it was issued in "about a hundred installments. The same publisher," also according to Durante, issued novels on the adventures of Buffalo Bill and Nick Carter.<br /><br />That an American Italian audience would be interested in the era of the Bourbonic domination may seem strange, but Italian immigrants loved (and American Italian publishers often imported) great historical narratives of this sort, whether they would be considered as "romances" or as "novels."<br /><br />Moreover, classic "brigandaggio" (bandit) culture, especially in Calabria and Sicily, glorified the Borbonic period as potentially <em>le</em><em>ss</em> oppressive than what followed in the early years of unification, when heavy taxes and control from Northern Italy as well as a central Catholic Church seemed worse for Southern peasants than in the "old days."<br /><br />I find no copies of the American edition in any library in the U.S., and no copy of either the Italian or U.S. imprint in any Italian libraries. Yet copies of various of the numbers - not a complete set, so far - can be found for sale in Italy from dealers and on eBay.
Publisher
An entity responsible for making the resource available
Casa ed. Americana
Date
A point or period of time associated with an event in the lifecycle of the resource
1910
Format
The file format, physical medium, or dimensions of the resource
22x14cm
Language
A language of the resource
Italian
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>Lu novu tuppi tuppi</strong> </em>[Facsimile]. <strong>New York: Casa Editrice Biblioteca Siciliana (presso la "Follia"), [1919].</strong>
Creator
An entity primarily responsible for making the resource
Giovanni De Rosalia
Publisher
An entity responsible for making the resource available
Casa Editrice Biblioteca Siciliana (presso la "Follia")
Description
An account of the resource
One of the "scherzi poetici" of De Rosalia, this is a short work in verse in 8-line stanzas (A,A,A,A,A,A,B,B; C,C,C,C,C,C,C,C;B,B,B,B,B,B,A,A, etc.), featuring a dialogue between two people, styled as "Cuntrastu tra Titiddu e Rusulia", a "contrast" or "difference" between a lady, Titiddu, and presumably the author himself. <br /><br />The dialogue in Sicilian dialect is playful, with discussion of marriage and the "bedda" (Itaglish for "bed"). There follows from this four short poems, also in Siclian dialect.<br /><br />Durante contains a good biographical discussion of De Rosalia, and an excerpt from one of the Nofrio comic sketches or masques (Nofrio on the telephone) for which De Rosalia was most famous in Italian vaudeville in New York. <br /><br />Born in Palermo in 1864, De Rosalia died in New York in 1935. He broke onto the New York comic scene in 1903, shortly after his arrival, and owned a number of dramatic companies while at the same time teaching in New York City public schools and teaching English to Italians. He began his performing career doing classical roles, but soon found out that while much applauded in such roles, he could make more money creating a comic persona, like but not entirely the same as the master of the genre, Farfariello (Eduardo Migliaccio). <br /><br />In Durante's estimation, "De Rosalia demonstrates a profound understanding of the life that flowed before his eyes on the streets of Little Italy, the same understanding displayed in his theatrical represetations."<br /><br />De Rosalia was said to have left an impressive discography of his Nofrio sketches with Victor Records (Durante), but at least in my own 1920 catalogue of that company, I do not find him listed under either De Rosalia or Nofrio.
Language
A language of the resource
Sicilian dialect
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Liggitivilli: sti quattru versi. </em>New York: Nicoletti Bros. Press Co., [1911].</strong>
Creator
An entity primarily responsible for making the resource
Giovanni De Rosalia
Description
An account of the resource
Similar to <em>Lu novu Tuppi Tuppi</em>, this work is in verse in Sicilian dialect. Unlike the other work, this is comprised of 15 separate short poems on various subjects, not a facially comic dialogue or monologue to an audience, as such but seemingly more subtly in mock seriousness. (The subtitle "Sti quattru versi" could be dialect for "14 poems".) The dedicatory opening poem either states he hopes to avoid offending anyone or expresses the certainty that it has done so.<br /><br />One of the poems notes Palermo 1910 as presumably its date and place of writing, a few with New York 1911, but most are without indication of where they were composed. If the dating of one in Palermo in 1910 is accurate, it must have been composed on a trip back to his hometown, since he arrived in New York in or about 1903.<br /><br />For De Rosalia's biography, see the entry for <em>Lu novu Tuppi Tuppi</em>.
Publisher
An entity responsible for making the resource available
New York: Nicoletti Bros. Press Co., [1911].
dialect
New York
Nicoletti
poetry
Sicilian
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c8f28a8a3d648cb384e9e126efec94c2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Histories, philosophy, biographies, directories, almanacs, annuals, religious, educational, and travel literature</em>
Subject
The topic of the resource
These largely non-political works reflect a broad pallette of non-fiction reflections on the history of Italians in the U.S., travel literature, biographies (like that of the Peanut King, Obici), or the religious, like Sister, later Mother, and final Saint Cabrini.
Description
An account of the resource
In these non-fiction works, Italians reflected upon themselves and their American experiences. Representing the non-<em>sovversivi</em> type of immigrant, who were more interested in becoming American and “making it” in America than in stoking class warfare and remaking society, They began to place themselves in the context of contemporary American society and the history in America. <br /><br />The release in 1921 of Alfredo Bosi’s <em>Cinquant’anni di vita italiana in America</em>, the first history of Italians in the United States, represented a watershed - the first 50 years of Italians in America - and allegedly arose from a conversation between journalist Bosi and King Vittorio Emanuele of Italy in 1901, in which the king expressed curiosity about the Italian colony in America. <br /><br />Luigi Roversi’s biography of Palma di Cesnola proudly places that Italian within the august homes of white Anglo-Saxon Protestant America, into which di Cesnola had married, and where he ruled as the first director of the Metropolitan Museum of Art. <br /><br />More than the first half of Flamma’s “biography” of the greatest mayor New York City had ever seen, Fiorello LaGuardia, has little to do with La Guardia, unfortunately, but the work did reflect his obvious pride that after electing mayors in 29 other cities, Italians “finally” elected (in 1933) a mayor of Italian heritage to the country’s most important city. <br /><br />The directories discussed here, from New York to San Francisco, provide a particularly rich source of information about the different businesses and professions Italians had in virtually every state of the union, from as early as the 1880s (in San Francisco) to the first few decades of the 20th Century (primarily in New York).
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Anni d'America. </em>Lecce: Prem. Tipo-Litografia Prof. Vincenzo Masciullo, 1922.</strong>
Creator
An entity primarily responsible for making the resource
Bellalma F<span>orzato-Spezia</span>
Format
The file format, physical medium, or dimensions of the resource
24x17cm; 329 p.
Description
An account of the resource
Forzato-Spezia, a formidable orator and thinker, used an Italian publisher for this account of her years in America, drawn from articles she had published in newspapers in America. She noted in the dedicatory note to "Eros, mio figlio [Eros, my son]" that America animated her heart and drew upon her liveliest and most profound feelings.<br /><br />Consistent with the fact that this work drew from the author's American Italian newspaper articles, praise for this collection of Forzato-Spezia's work reflected the U.S.-based readership: the preliminaries (i.e., before the text itself), note publication of <em>Calendula</em>, a monthly literary magazine directed by her, of which the "Risveglio di Rochester [New York]" wrote a glowing tribute on 21 September 1912. With similar praise: "Il Fuoco" of New York (on <em>Il vate etneo</em>); "La Follia" of New York; "Arte e Diletto" of New York, and "L'Italia Nostra," also of New York. Praise from the distinguished Italian poet Mario Rapisardi, see <em>Il vate etneo</em>, was, however, the first such encomium published in this work before those from U.S. Italians.<br /><br />Born in Modena in 1877, Forzato-Spezia emigrated with her husband to the U.S. in 1891, and settled in West Hoboken, NJ. <br /><br />She opened a bookstore there renowned for its large selection of booklets of socialist propaganda and social novels. By 1907, she had joined the Federazione Socialista Italiana, and her name became associated with that of important revolutionary socialists and syndicalists, such as Edmondo Rossoni, Giacinto Menotti Serrati, Camillo Cianfarra and others. <br /><br />Forzato-Spezia gave dozens of lectures (e.g., <em>Il vate etneo</em>, q.v.) to socialist and anarchist gatherings. She regularly wrote articles and poems for radical publications, emphasizing education and knowledge as a precondition of revolutionary organizing.<br /><br />See Marcella Bencivenni's excellent<em> Italian Immigrant Radical Culture</em>, from which my description is largely drawn.
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cf4443ab0477cbf6217e3c8744994f90
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Dublin Core
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Title
A name given to the resource
<em><strong>Nostalgici pensieri. </strong></em><strong>[n.p.]: [Cincinnati], [n.d.].</strong>
Creator
An entity primarily responsible for making the resource
Frank Novelli
Format
The file format, physical medium, or dimensions of the resource
18x11cm; 25 p.
Description
An account of the resource
Dedicated by author Novelli to his "consort" Iolanda. This copy is inscribed by Novelli to his friend, Theodore Gantz. The bookseller who sold me this work (or a prior owner) noted that Novelli is from Cincinnati, and lived from 1904-1990. As the work is self-published, it seems a reasonable guess that the work Cincinnati should be, in brackets, the presumed locus of publication.<br /><br />This amateur poetry, in Italian (but the first one translated as well), is treacly, or as the title notes "nostalgic" verses, some in praise of his apparent Italian hometown of Fuscaldo, a town and comune (municipality) in the province of Cosenza in Calabria. <br /><br />Novelli is not one of the relatively small number of poets appearing in <em>Poeti Calabresi in America</em> of Pasquale Spataro.
Subject
The topic of the resource
poetry
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e0bc260d6237fcbb9e933cb30a38cb97
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Histories, philosophy, biographies, directories, almanacs, annuals, religious, educational, and travel literature</em>
Subject
The topic of the resource
These largely non-political works reflect a broad pallette of non-fiction reflections on the history of Italians in the U.S., travel literature, biographies (like that of the Peanut King, Obici), or the religious, like Sister, later Mother, and final Saint Cabrini.
Description
An account of the resource
In these non-fiction works, Italians reflected upon themselves and their American experiences. Representing the non-<em>sovversivi</em> type of immigrant, who were more interested in becoming American and “making it” in America than in stoking class warfare and remaking society, They began to place themselves in the context of contemporary American society and the history in America. <br /><br />The release in 1921 of Alfredo Bosi’s <em>Cinquant’anni di vita italiana in America</em>, the first history of Italians in the United States, represented a watershed - the first 50 years of Italians in America - and allegedly arose from a conversation between journalist Bosi and King Vittorio Emanuele of Italy in 1901, in which the king expressed curiosity about the Italian colony in America. <br /><br />Luigi Roversi’s biography of Palma di Cesnola proudly places that Italian within the august homes of white Anglo-Saxon Protestant America, into which di Cesnola had married, and where he ruled as the first director of the Metropolitan Museum of Art. <br /><br />More than the first half of Flamma’s “biography” of the greatest mayor New York City had ever seen, Fiorello LaGuardia, has little to do with La Guardia, unfortunately, but the work did reflect his obvious pride that after electing mayors in 29 other cities, Italians “finally” elected (in 1933) a mayor of Italian heritage to the country’s most important city. <br /><br />The directories discussed here, from New York to San Francisco, provide a particularly rich source of information about the different businesses and professions Italians had in virtually every state of the union, from as early as the 1880s (in San Francisco) to the first few decades of the 20th Century (primarily in New York).
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>Leonardo: Annual Magazine of the Leonardo Da Vinci Art School. </strong></em><strong>New York: Leonardo da Vinci Publishing House, MCMXXV </strong>[1925]<strong>.</strong>
Creator
An entity primarily responsible for making the resource
Onorio Ruotolo
Francesca Vinci Roman
Format
The file format, physical medium, or dimensions of the resource
33x25cm; 128 p.
Description
An account of the resource
This is the only "annual" like this for this important school for working men and women - that is, there were night (as well as day) classes for those who had other daytime jobs. Connections to writers in the Collection are many: e.g., the Collection's copy of Arturo Giovannitti's <em>Quando Canta il Gallo</em> was inscribed by Giovannitti to his good friend (and wife Lucia), Onorio Ruotolo, the sculptor and teacher at the the school. Though there were many Italian students, the school's most famous graduate was sculptor Isamu Noguchi.<br /><br />Besides advertisements that no doubt paid both for the publication of this "annual" and also the school itself, this large format volume is full of fine reproductions of drawings and paintings of many students of the school.<br /><br />Contributors in Italian whose works are to be found in the Collection include Agostino De Biasi (<em>Il Carroccio</em>), Giovannitti, Franco Lalli, Giuseppe Prezzolini, Italo Stanco, Francesca Sisca and Gianni Viafora.<br /><br />Contributors in English include Pascal D'Angelo and Robert Ferrari, as well as Sherwood Anderson, Theodore Dreiser, Helen Keller, and Al Smith.<br /><br />The school boasted, as is apparent in the later (1932) Bulletin that accompanies this item, that it was a school for applied, as well as fine arts. So in addition to drawing, painting and sculpture, the school's day and evening classes included wood-carving, cabinet making and wrought iron.<br /><br />A full-page, favorable review of this annual appears at p. 28 of the May 15, 1925 issue of Ernesto Valentini's <em>Zarathustra</em>, q.v. in the Collection. A later issue of the same magazine (February 15, 1926, q.v. in the Collection) has an intriguing article about why Onorio Ruotolo left the school.<br />
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334ccba1d59250bbc2e3e2f4a52f8904
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>Il Messaggero della Salute: rivista mensile d'igiene, di terapia fisio-psichica e di cultura eclettica </strong></em>[<span>The Messenger of Health: a monthly review of hygiene, of physico-psychiatric therapy, and of eclectic culture], <strong>Anno 9, </strong><strong></strong><strong>No. 88.</strong> <strong>Chicago: Italian Labor Publishing Co., Gennaio [January] 1927.</strong></span>
Description
An account of the resource
For a discussion of this magazine that ran for at least eleven years (1918 or 1919 - 1929), and that was utterly sui generis, neither radical, nor anti-fascist, nor fascist, nor bourgeois, see the general entry: <br /><br /><em>Il Messaggero della Salute: rivista mensile d'igiene, di terapia fisio-psichica e di cultura eclettica</em> [The Messenger of Health: a monthly review of hygiene, of physico-psychiatric therapy, and of eclectic culture]. Chicago: Italian Labor Publishing Co., Gennaio [January] 1924 (Vol. 6) - Dicembre [December] 1929 (Anno XI).
Creator
An entity primarily responsible for making the resource
T. Lucidi
Date
A point or period of time associated with an event in the lifecycle of the resource
Gennaio [January] 1927
Relation
A related resource
<span><a href="https://italianamericanimprints.omeka.net/items/show/481"><em>Il Messaggero della Salute, </em>Anno 6, <strong></strong>No. 55 - Gennaio [January] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/482"><em>Il Messaggero della Salute,</em> Anno 6, No. 57 - Marzo [March] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/483"><em>Il Messaggero della Salute, </em>Anno 6, No. 58 - Aprile [April] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/484"><em>Il Messaggero della Salute, </em>Anno 6, No. 59 - Maggio [May] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/485"><em>Il Messaggero della Salute, </em>Anno 6, No. 60 - Giugno [June] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/486"><em>Il Messaggero della Salute, </em>Anno 6, No. 61 - Luglio [July] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/487"><em>Il Messaggero della Salute,</em> Anno 6, No. 62 - Agosto [August] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/488"><em>Il Messaggero della Salute, </em>Anno 6, No. 63 - Settembre [September] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/489"><em>Il Messaggero della Salute, </em>Anno 6, No. 64 - Ottobre [October] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/490"><em>Il Messaggero della Salute, </em>Anno 6, No. 65 - Novembre [November] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/491"><em>Il Messaggero della Salute, </em>Anno 6, No. 66 - Dicembre [December] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/492"><em>Il Messaggero della Salute, </em>Anno 7, No. 67 - Gennaio-Febbraio [January-February] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/493"><em>Il Messaggero della Salute, </em>Anno 7, No. 68 - Marzo [March] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/494"><em>Il Messaggero della Salute, </em>Anno 7<em>, </em>No. 69 - Aprile [April] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/495"><em>Il Messaggero della Salute, </em>Anno 7, No. 70 - Maggio [May] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/496"><em>Il Messaggero della Salute, </em>Anno 7, No. 71 - Giugno [June] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/497"><em>Il Messaggero della Salute, </em>Anno 7, No. 72 - Luglio [July] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/498"><em>Il Messaggero della Salute, </em>Anno 7, No. 74 - Settembre [September] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/499"><em>Il Messaggero della Salute, </em>Anno 7, No. 75 - Ottobre [October] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/500"><em>Il Messaggero della Salute,</em> Anno 7, No. 76 - Novembre-Dicembre [November-December] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/501"><em>Il Messaggero della Salute, </em>Anno 8, No. 77 - Gennaio [January] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/502"><em>Il Messaggero della Salute, </em>Anno 8, No. 78 - Febbraio [February] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/503"><em>Il Messaggero della Salute, </em>Anno 8, No. 79 - Marzo [March] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/504"><em>Il Messaggero della Salute, </em>Anno 8, No. 80 - Aprile [April] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/505"><em>Il Messaggero della Salute, </em>Anno 8, No. 81 - Maggio [May] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/506"><em>Il Messaggero della Salute,</em> Anno 8, No. 82 - Giugno [June] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/507"><em>Il Messaggero della Salute, </em>Anno 8, No. 84 - Agosto [August] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/508"><em>Il Messaggero della Salute, </em>Anno 8, No. 85 - Settembre [September] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/554"><em>Il Messaggero della Salute,</em> Anno 8, No. 86 - Ottobre [October] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/509"><em>Il Messaggero della Salute, </em>Anno 8, No. 87 - Novembre-Dicembre [November-December] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/510"><em>Il Messaggero della Salute, </em>Anno 9, No. 90 - Marzo [March] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/511"><em>Il Messaggero della Salute, </em>Anno 9, No. 91 - Aprile [April] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/512"><em>Il Messaggero della Salute, </em>Anno 9, No. 92 - Maggio [May] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/513"><em>Il Messaggero della Salute, </em>Anno 9, No. 93 - Giugno [June] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/514"><em>Il Messaggero della Salute, </em>Anno 9, No. 94 - Luglio [July] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/516"><em>Il Messaggero della Salute, </em>Anno 9, No. 96 - Settembre [September] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/517"><em>Il Messaggero della Salute, </em>Anno 9, No. 98 - Novembre [November] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/518"><em>Il Messaggero della Salute, </em>Anno 9, No. 99 - Dicembre [December] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/519"><em>Il Messaggero della Salute, </em>Anno 10, No. 106 - Agosto-Settembre [August-September] 1928</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/520"><em>Il Messaggero della Salute, </em>Anno 11, No. 108 - Gennaio-Febbraio [January-February] 1929</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/521"><em>Il Messaggero della Salute, </em>Anno 11, No. 109 - Marzo-Maggio [March-May] 1929</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/522"><em>Il Messaggero della Salute, </em>Anno 11, No. 110 - Giugno-Luglio [June-July] 1929</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/523"><em>Il Messaggero della Salute, </em>Anno 11, No. 111 - Dicembre [December] 1929</a><br /></span><br /><span><a href="https://italianamericanimprints.omeka.net/items/show/480"><em>Il Messaggero della Salute </em>[main entry]</a></span>
Language
A language of the resource
Italian
1921-1930
Chicago
health
Italian Labor Publishing Co.
magazine
periodical
self-help
-
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c3ae9f46602bcaf2b64c6d2dc558730f
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cef7639fa4b2d5a1d472b15ca341f242
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>Il Messaggero della Salute: rivista mensile d'igiene, di terapia fisio-psichica e di cultura eclettica </strong></em>[The Messenger of Health: a monthly review of hygiene, of physico-psychiatric therapy, and of eclectic culture], <strong>Anno 8, No. 86. Chicago: Italian Labor Publishing Co., Ottobre [October] 1926.</strong>
Description
An account of the resource
For a discussion of this magazine that ran for at least eleven years (1918 or 1919 - 1929), and that was utterly sui generis, neither radical, nor anti-fascist, nor fascist, nor bourgeois, see the general entry:<br /><br /><em>Il Messaggero della Salute: rivista mensile d'igiene, di terapia fisio-psichica e di cultura eclettica</em> [The Messenger of Health: a monthly review of hygiene, of physico-psychiatric therapy, and of eclectic culture]. Chicago: Italian Labor Publishing Co., Gennaio [January] 1924 (Vol. 6) - Dicembre [December] 1929 (Anno XI).
Creator
An entity primarily responsible for making the resource
T. Lucidi
Date
A point or period of time associated with an event in the lifecycle of the resource
Ottobre [October] 1926
Relation
A related resource
<span><a href="https://italianamericanimprints.omeka.net/items/show/481"><em>Il Messaggero della Salute, </em>Anno 6, <strong></strong>No. 55 - Gennaio [January] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/482"><em>Il Messaggero della Salute,</em> Anno 6, No. 57 - Marzo [March] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/483"><em>Il Messaggero della Salute, </em>Anno 6, No. 58 - Aprile [April] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/484"><em>Il Messaggero della Salute, </em>Anno 6, No. 59 - Maggio [May] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/485"><em>Il Messaggero della Salute, </em>Anno 6, No. 60 - Giugno [June] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/486"><em>Il Messaggero della Salute, </em>Anno 6, No. 61 - Luglio [July] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/487"><em>Il Messaggero della Salute,</em> Anno 6, No. 62 - Agosto [August] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/488"><em>Il Messaggero della Salute, </em>Anno 6, No. 63 - Settembre [September] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/489"><em>Il Messaggero della Salute, </em>Anno 6, No. 64 - Ottobre [October] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/490"><em>Il Messaggero della Salute, </em>Anno 6, No. 65 - Novembre [November] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/491"><em>Il Messaggero della Salute, </em>Anno 6, No. 66 - Dicembre [December] 1924</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/492"><em>Il Messaggero della Salute, </em>Anno 7, No. 67 - Gennaio-Febbraio [January-February] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/493"><em>Il Messaggero della Salute, </em>Anno 7, No. 68 - Marzo [March] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/494"><em>Il Messaggero della Salute, </em>Anno 7<em>, </em>No. 69 - Aprile [April] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/495"><em>Il Messaggero della Salute, </em>Anno 7, No. 70 - Maggio [May] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/496"><em>Il Messaggero della Salute, </em>Anno 7, No. 71 - Giugno [June] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/497"><em>Il Messaggero della Salute, </em>Anno 7, No. 72 - Luglio [July] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/498"><em>Il Messaggero della Salute, </em>Anno 7, No. 74 - Settembre [September] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/499"><em>Il Messaggero della Salute, </em>Anno 7, No. 75 - Ottobre [October] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/500"><em>Il Messaggero della Salute,</em> Anno 7, No. 76 - Novembre-Dicembre [November-December] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/501"><em>Il Messaggero della Salute, </em>Anno 8, No. 77 - Gennaio [January] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/502"><em>Il Messaggero della Salute, </em>Anno 8, No. 78 - Febbraio [February] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/503"><em>Il Messaggero della Salute, </em>Anno 8, No. 79 - Marzo [March] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/504"><em>Il Messaggero della Salute, </em>Anno 8, No. 80 - Aprile [April] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/505"><em>Il Messaggero della Salute, </em>Anno 8, No. 81 - Maggio [May] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/506"><em>Il Messaggero della Salute,</em> Anno 8, No. 82 - Giugno [June] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/507"><em>Il Messaggero della Salute, </em>Anno 8, No. 84 - Agosto [August] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/508"><em>Il Messaggero della Salute, </em>Anno 8, No. 85 - Settembre [September] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/509"><em>Il Messaggero della Salute, </em>Anno 8, No. 87 - Novembre-Dicembre [November-December] 1926</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/555"><em>Il Messaggero della Salute</em>, Anno 9, No. 88 - Gennaio [January] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/510"><em>Il Messaggero della Salute, </em>Anno 9, No. 90 - Marzo [March] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/511"><em>Il Messaggero della Salute, </em>Anno 9, No. 91 - Aprile [April] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/512"><em>Il Messaggero della Salute, </em>Anno 9, No. 92 - Maggio [May] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/513"><em>Il Messaggero della Salute, </em>Anno 9, No. 93 - Giugno [June] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/514"><em>Il Messaggero della Salute, </em>Anno 9, No. 94 - Luglio [July] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/516"><em>Il Messaggero della Salute, </em>Anno 9, No. 96 - Settembre [September] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/517"><em>Il Messaggero della Salute, </em>Anno 9, No. 98 - Novembre [November] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/518"><em>Il Messaggero della Salute, </em>Anno 9, No. 99 - Dicembre [December] 1927</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/519"><em>Il Messaggero della Salute, </em>Anno 10, No. 106 - Agosto-Settembre [August-September] 1928</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/520"><em>Il Messaggero della Salute, </em>Anno 11, No. 108 - Gennaio-Febbraio [January-February] 1929</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/521"><em>Il Messaggero della Salute, </em>Anno 11, No. 109 - Marzo-Maggio [March-May] 1929</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/522"><em>Il Messaggero della Salute, </em>Anno 11, No. 110 - Giugno-Luglio [June-July] 1929</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/523"><em>Il Messaggero della Salute, </em>Anno 11, No. 111 - Dicembre [December] 1929</a><br /></span><br /><span><a href="https://italianamericanimprints.omeka.net/items/show/480"><em>Il Messaggero della Salute </em>[main entry]</a></span>
Language
A language of the resource
Italian
1921-1930
Chicago
health
Italian Labor Publishing Co. magazine
magazine
periodical
self-help
-
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7ee9a7ad107fd96659f471a4cb13212b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>La Controcorrente: organo d'agitazione e di battaglia contro il fascismo /The Countercurrent: against all fascism everywhere</em></strong><strong>, Vol. 3, No. 9. Boston, January 1942.<br /></strong>
Creator
An entity primarily responsible for making the resource
Anita Paolini, Editor
Date
A point or period of time associated with an event in the lifecycle of the resource
January 1942
Language
A language of the resource
Italian
Relation
A related resource
<a href="https://italianamericanimprints.omeka.net/items/show/543"><em>La Controcorrente</em>, Vol. 2, No. 9 - September 1940</a><em><br /><a href="https://italianamericanimprints.omeka.net/items/show/544">La Controcorrente</a></em><a href="https://italianamericanimprints.omeka.net/items/show/544">, Vol. 2, No. 10 - October 1940</a><em><br /><a href="https://italianamericanimprints.omeka.net/items/show/545">La Controcorrente</a></em><a href="https://italianamericanimprints.omeka.net/items/show/545">, Vol. 2, No. 11 - November 1940</a><em><br /><a href="https://italianamericanimprints.omeka.net/items/show/546">La Controcorrente</a></em><a href="https://italianamericanimprints.omeka.net/items/show/546">, Vol. 3, No. 1 - February 1941</a><em><br /></em><a href="https://italianamericanimprints.omeka.net/items/show/548"><em>La Controcorrente</em>, Vol. 3, No. 3 - April-May 1941</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/549"><em>La Controcorrente</em>, Vol. 3, No. 4 - June-July 1941</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/550"><em>La Controcorrente</em>, Vol. 3, No. 5 - August-September 1941</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/552"><em>La Controcorrente</em>, Vol. 3, No. 10 - February 1942</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/553"><em>La Controcorrente</em>, Vol. 8, No. 2 - August 1946</a><br /><br /><a href="https://italianamericanimprints.omeka.net/items/show/479"><em>La Controcorrente</em> [main entry]</a>
1941-1950
anti-fascist
Boston
Gaetano Salvemini
magazine
periodical
-
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6210367cf37bbab12c09af4ed00392c6
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71cd86e9d490a9090020b490020033e7
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>La Controcorrente: organo d'agitazione e di battaglia contro il fascismo /The Countercurrent: against all fascism everywhere</em></strong><strong>, Vol. 3, No. 3. Boston, April-May 1941.<br /></strong>
Creator
An entity primarily responsible for making the resource
Anita Paolini, Editor
Date
A point or period of time associated with an event in the lifecycle of the resource
April-May 1941
Language
A language of the resource
Italian
Relation
A related resource
<a href="https://italianamericanimprints.omeka.net/items/show/543"><em>La Controcorrente</em>, Vol. 2, No. 9 - September 1940</a><em><br /><a href="https://italianamericanimprints.omeka.net/items/show/544">La Controcorrente</a></em><a href="https://italianamericanimprints.omeka.net/items/show/544">, Vol. 2, No. 10 - October 1940</a><em><br /><a href="https://italianamericanimprints.omeka.net/items/show/545">La Controcorrente</a></em><a href="https://italianamericanimprints.omeka.net/items/show/545">, Vol. 2, No. 11 - November 1940</a><em><br /><a href="https://italianamericanimprints.omeka.net/items/show/546">La Controcorrente</a></em><a href="https://italianamericanimprints.omeka.net/items/show/546">, Vol. 3, No. 1 - February 1941</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/549"><em>La Controcorrente</em>, Vol. 3, No. 4 - June-July 1941</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/550"><em>La Controcorrente</em>, Vol. 3, No. 5 - August-September 1941</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/551"><em>La Controcorrente</em>, Vol. 3, No. 9 - January 1942</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/552"><em>La Controcorrente</em>, Vol. 3, No. 10 - February 1942</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/553"><em>La Controcorrente</em>, Vol. 8, No. 2 - August 1946</a><br /><br /><a href="https://italianamericanimprints.omeka.net/items/show/479"><em>La Controcorrente</em> [main entry]</a>
Description
An account of the resource
Aldo (Aldino) Felicani, a typographer and anarchist who started newspapers in Cleveland and elsewhere in the U.S. and who was intimately involved in trying to save Sacco and Vanzetti (he was the treasurer of the Sacco and Vanzetti Defense Committee in 1920-23, q.v.), founded <em>La Controcorrente</em> in 1938 in Boston with Gaetano Salvemini, Ernesto Rossi and Piero Calamandrei. The collection contains 10 issues of the newspaper<em>,</em> which contained a Section One in Italian and a Section 2 in English, beginning with No. 9 of Vol. II, September 1940, when <em>La Controcorrente</em> was published monthly, evidently having begun in January 1940, and also has the October and November monthly issues for that year. <br /><br />It continued as a monthly through March (the collection has the February 1941 edition), then became bimonthly with No. 3 of Vol. III, the April-May issue. (The collection contains that issue and Nos. 4 and 5, the June-July and August-September issues.) <br /><br />It returned to monthly publication with No. 6 (October 1941); the collection has the January and February 1942 issues, Nos. 9 and 10 of Vol. III.<br /><br />The tenth issue in the collection is from August 1946, Vol. VIII - No. 2. <br /><br />Some issues were as many as 8 pages each of Italian and of English text (without illustrations), but most were 4 pages each of Italian and of English text. In all cases, Section Two (the English language version) is enveloped inside of the Section One in Italian.<br /><br />The 1940-1942 issues are all fold in the middle newspaper style. The 1946 issue is a tabloid.<br /><br /><em>La Controcorrente</em> was unique among journals of the Italian American left that I have seen. It was, plain and simple, anti-fascist, that is to say, the tone and, I suspect, the origins of the newspaper were not anarchist-become-anti-fascist (despite Felicani's early politics), socialist-become-antifascist (despite Salvemini's early politics), or communist-become-antifascist. <br /><br />Consistent with that, and perhaps reflecting the single-mindedness of the intellectual Salvemini, as noted it lacked illustrations unlike, say, <em>La Cronaca Sovversiva</em> or <em>Il Martello</em>, on the left, or <em>Il Carroccio</em>, on the right, as if to say "We mean business, and that's the business of anti-fascism, not of entertaining you or creating a cultural as well as political magazine."<br /><br />Anita Pasolini was the editor of the 1940-1942 issues; publisher Felicani was the editor by 1946, although I do not know when that change occurred. The most frequent contributor in all years was one of the founders and also the most famous writer: Gaetano Salvemini, a professor of history at Harvard at the time who had become an American citizen in 1940, some years after the Fascists revoked his Italian citizenship (in 1926) and he was dismissed from the faculty of the University of Florence. Initially a member of the Italian Socialist Party, Salvemini evolved into a kind of independent humanitarian socialism divorced to a greater or less degree from actual politics. Indeed, even his friends in the U.S. among Italian exiles years later, like Max Ascoli, declared Salvemini was "terrible" at politics.<br /><br />In exile since 1925 in France (where he collaborated with the Rossellis to form <em>Giustizia e Libertà</em>), England and finally the U.S., Salvemini was above all an ardent anti-fascist. By 1940, when <em>La Controcorrente</em> began, Salvemini had become a U.S. citizen. <br /><br />From the beginning, in 1940, <em>La Controcorrente</em> attacked Mussolini and fascism for the damage it inflicted on Italy and Italians, and declared that contrary to the criticism leveled against it, was not "Communist-inspired." (The articles in the two sections were not for the most part the same ones translated from one language to the other.)<br /><br />Indeed, in the box providing its address and other particulars, the newspaper also proclaimed its purpose as being to "present the truth concerning Fascism wherever it exists . . . We are concerned with no political or economic cause." It also notes that in the February 1941 issue that in its two years of existence, it had published in its English section articles by Hemingway, Angelica Balabanoff, George Seldes, and R.H. Markham, among others. (I found an article, as well, that Upton Sinclair was said to have offered to provide to the newspaper.) In the Italian section, the writers included, beside Salvemini, Glauco Glauci, Arturo Giovannitti and Libero Martello; and as seems to have been a practice in virtually all the leftist and other Italian magazines and newspapers in the U.S., there appears a list of recent subscribers, a list that includes at times familiar names (e.g., Virginio De Martin, the publisher of Renzo Novatore's <em>Verso la nulla creatore</em>, q.v.).<br /><em><br /></em>Besides attacking Mussolini, Henry Ford and Charles Lindbergh incited its ire; <em>La Controcorrente</em> also attacked New York's <em>Il Progresso Italo-Americano</em> - or more particularly, its publisher, Generoso Pope - for their constant praise for Mussolini and fascism, while at the same time with its articles critical of American politics and politicians. While <em>Il Progresso</em> proclaimed it was an "American" newspaper promoting American ideals, it was staffed with Italian journalists who, by diktat from Mussolini, should not have been allowed to work in non-Italian newspapers as foreign correspondents. The criticism was consistent with that of Carlo Tresca, who famously called Pope a "man of straw." <em>La Controcorrente</em> had similar criticisms of James Donnamura's <em>La Gazzetta</em> of Boston for its silence about General Franco and the events taking place in Spain.<br /><br />Of great interest is that the 1946 issue - as noted, in tabloid not middle fold style - contains 16 pages all in Italian. It contains, as in the earlier issues, an article by Salvemini, but the absence of an English language section, unlike in the earlier issues is surprising. Also, unlike the earlier issues from 1940-1942, where Felicani's name as publisher is nowhere to be found, in this 1946 issue, Felicani is listed on page 1 as both "editor and publisher." <br /><br />Of course, the most important change is that by 1946, Mussolini is gone. So the criticisms throughout this issue are of Palmiro Togliatti and current Italian electoral politics, the peace treaty conference in Paris, interference in Italian politics by the Vatican, and a sarcastic article about the "big lasagna Neanderthal from Savoy," an article trying to shed light on the crime of the assassination of Carlo Tresca, and several criticisms of <em>Il Progresso</em> and other "cafoni" (boors) in New York for their support of the Italian Labor Council. <br /><br />While still enlightening and entertaining, without Mussolini as the focus of its anti-fascist efforts, <em>La Controcorrente</em> seems by this time to have lost its way somewhat. The absence of an English language version suggests that its diehard readers in 1946 were fighting old battles of less interest to English-language readers. I would be surprised if the newspaper continued long after this issue.
1941-1950
anti-fascist
Boston
Gaetano Salvemini
magazine
periodical
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Dublin Core
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Title
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<strong>Song Sheet: <em>"A Canzona D' 'O Culera (Italia Bella)" / "Italia Sfurtunata, 'o Nubifragio 'e Casamicciola"</em>.</strong> <strong>New York: A. Matacea Music Publisher, 1910.</strong>
Description
An account of the resource
Two Italian patriotic songs, printed in blue ink on both sides of a single sheet, issued by an Italian-American publisher in New York City. Numbered Nos. 174 and No. 175, suggesting that Matacea was a fairly prolific publisher of such songsheets, but OCLC locates only one example of a single, 1911 broadside (at Brown). <br /><br />Neither Matacea (who composed the verses for one of the songs as well as publishing it) nor Meola is listed in the <em>1905 Italian American Directory</em>, q.v. However, likely the same Carlo Meola is listed in Flamma, <em>Italiani di America </em>as a freelance journalist, born in Naples in 1879 and where he became a journalist, working for <em>Il Corriere di Napoli</em>, then <em>Il Mattino di Napoli</em>. <br /><br />According to Flamma, in 1906 - four years before the publication of these songs - he moved to the U.S. following a resounding success at the Sannazzaro di Napoli with his comedy, <em>La condanna condizionale</em>. Landing in Chicago, he was director for some years of <em>Il Cittadino di Chicago</em>, as well as correspondent from Chicago of <em>Il Corriere d'America</em> of Luigi Barzini. In 1924 he founded and directed <em>La Nova Italia</em>, then returned to the U.S., this time to New York, in 1932, where he wrote for the radio.
Creator
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Verses of <em>O Culera</em> by the publisher, Arturo Matacea, on a musical theme of Mamma toia 'adda' sape.<br /><br />Verses of <em>Italia Sfortunata</em> by Carlo Meola, on the musical theme of 'A morte 'e Petrosino.
Publisher
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A. Matacea Music Publisher
Date
A point or period of time associated with an event in the lifecycle of the resource
1910
Format
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27cm x 18cm
Language
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Italian
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85aeee2174fbd2ac82fe3730e7dc27d5
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032fed672d4043bfeadc5261eadd05c9
Dublin Core
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Title
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<strong>Three World War I Patriotic (Anti-German Militarism) Italian-American Chromolithographs. New York: Italian Book Co., 1918.</strong>
Description
An account of the resource
These three chromolithographic prints or, given their location in the Princeton Poster Collection of the Smithsonian, posters, perhaps issued as a set, depict respectively the trial, execution, and burial of German militarism in the form of the Kaiser. In each, Uncle Sam stands staunchly with the civilized nations of Europe while the Kaiser gets his comeuppance. Italia, personified as a green-white-and-red-robed woman, stands prominently in the mid-ground of each composition. In the last one, the Kaiser's body is consigned to the flames of Hell, while a wild-eyed devil reaches out to greet him. <br /><br />The large (21" x 25") prints, poster-sized if not posters (they are not issued on heavy stock posterboard), in similar artistic style, were published by the Italian Book Company. (A smaller version of at least the "Uncle Sam," last of the three, was also issued in c<span>artoon on silk, also printed in color, approximately 14 1/2" square.) <br /><br /></span>The images within borders at the top and bottom contain captions in the top and bottom margins either just in Italian (the first two) or in English and Italian (the last of the three, the "Uncle Sam" print). The thematically first of the three is captioned "La condanna a morte del Kaiser [Condemnation to death of the Kaiser]" at the top, and "Il verdetto dei giurati del mondo [The verdict of juries of the world]" at the bottom. The second is captioned "La fucilazione del capo degli Unni [The execution of the chief of the Huns]" at the top, and "La morte del militarismo [The death of militarism]" at the bottom. <br /><br />The third print's or poster's captions state "Uncle Sam is ready to bury the chief of the barbarians" at the top, and the same sentiment in Italian, "Uncle Sam è pronto a seppellire il capo dei barbari" at the bottom. Only this last print bears the imprint of the Italian Book Co. <br /><br />The first two prints are signed by the same artist with the initials "R.A." at lower left, but without the imprint of IBC or otherwise. That perhaps indicates a retention of copyright in the artist in his first two paintings turned into chromolithographic prints, before ceding that right to the IBC for the thematically last one. The IBC drove hard bargains on copyright issues, discussed in my essay on this site, "Italian American Book Publishing and Bookselling<em>." </em>That might also explain why, alone of the three, the "Uncle Sam" has its caption in English as well as Italian, attempting to reach children of immigrants who became more fluent in English than in Italian.<br /><br />No artist with the initials "R.A." appears in Regina Soria's <em>American Artists of Italian Heritage, 1776-1945: A Biographical Dictionary</em> (Rutherford, NJ, 1993) or in Ario Flamma's <em>Italiani di America</em> (New York, 1936), q.v.<br /><br />The three may have celebrated the successful conclusion of the First World War, though the date simply of 1918 makes that unclear (G<span>ermany signed an armistice agreement with the Allies on </span>November 11, 1918). In bold colors, the prints or posters were presumably created to drum up U.S. patriotic sentiment within the Italian immigrant community in America, whether during the war or at its end. <br /><br />Only "La condanna a morte del Kaiser" is listed contemporaneously as for sale in the <em>Strenna Almanacco Anno 1919</em>, q.v., one of the two most expensive (at $.75) of "quadri novità [novelty pictures]" for sale.<br /><br />One institutional holding is noted in OCLC - at the University of North Carolina, where the three prints are catalogued together, providing support for the thematically linked idea (and similar artistic style) causing the presumption that they were issued as a set. Two of the individual images are, as noted earlier, in the Princeton Poster Collection at the Smithsonian Institution. No others appear to be located in either public or private collections.
Publisher
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Italian Book Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
1918
Format
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Approx. 53cm x 64cm