1
25
20
-
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0adff773a19ce6bfc0566d90fcbaa55c
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/.
Description
An account of the resource
<p><span style="font-weight:400;">This is the front page of the May Day 1923 issue (and a photo of the second of the two volumes, the one with all 1924 issues) of </span><i><span style="font-weight:400;">Il Proletario</span></i><span style="font-weight:400;">, the I.W.W. newspaper edited at various times by authors whose works fill the collection, including Carlo Tresca, Mario De Ciampis, Arturo Giovannitti, Angelo Faggi, Giuseppe Cannata and Edmondo Rossoni. <br /><br />The striking cover illustration, captioned “The heads of the monstrous snakes finally fall, shattered,” shows a muscular, bare-breasted woman about to strike, with an axe, a many-headed snake that threatens the children standing behind her, an image that reflects the symbolic importance of May Day among Italian radicals in the New World with the rare use of red (or of any color) ink. <br /><br />Like the masthead design, it is signed “391,” which was the name of the French Dada-ist and Surrealist artist Francis Picabia’s magazine published at times in Paris and New York until 1924, and whose design colors were also black, red and white.</span></p>
<p><span style="font-weight:400;">The potential connection with this French artist is further suggested by a famous article by then-editor Rossoni in </span><i><span style="font-weight:400;">Il Proletario</span></i><span style="font-weight:400;"> entitled “Liberty and Blood,” in which he wrote, “Liberty is not just a pretty woman. . . . Rather, she is a strong woman with strong breasts and a rough voice, with fire in her eyes . . .” This passage in the Francophile Rossoni’s article was based on a 19th-century French poem by Auguste Barbier, which lauded a symbolic Woman Liberty.</span></p>
<p><span style="font-weight:400;">The motto of the paper, evident on this page, is “Educazione – organizzazione – emancipazione. Conquistando la fabbrica, conquisteremo il mondo [Education – organization – emancipation. Subduing the factory, we will conquer the world]. The “Hour for Action” lead story is by Mario De Ciampis. <br /><br />Relatively early on, May Day turned into a more joyous celebration as well, with food, drink </span><span style="font-weight:400;">and dancing, in addition to poetry readings and dramatic performances, such as Pietro Gori’s </span><i><span style="font-weight:400;">Primo Maggio </span></i><span style="font-weight:400;">(May Day). <br /><br />The verso of this front page contains a poem by Virgilia D’Andrea entitled “Primo Maggio.” <br /><br />De Ciampis was a long-time editor of</span><i><span style="font-weight:400;"> Il Proletario, </span></i><span style="font-weight:400;">leading historian of the Federazione Socialista Italiana, and a close associate of Carlo Tresca. Ironically, there was no May </span><span style="font-weight:400;">Day issue the following year, 1924, because the newspaper was in the middle of moving its base of operations from Chicago to Brooklyn, where it remained. The collection has the full run of 1923–1924 issues.</span></p>
<p><span style="font-weight:400;">Marcella Bencivenna's <em>Italian Immigrant Radical Culture: the Idealism of the </em>Sovversivi<em> in the U.S. 1890-1940</em> does an excellent job of describing May Day. May Day had its origins as early as 1886, when unions and anarchist groups in Chicago led a series of demonstrations and protests demanding an eight-hour day, resulting in the Haymarket massacre on May 4 of that year, in which several demonstrators and policemen were killed by a bomb thrown at the police. Five anarchists were subsequently executed for their participation, though no evidence linked them to the bombing. France declared May 1 as the international holiday of workers of the world in 1890. <br /><br />Traditional May Day celebrations remained alive among immigrants and the working class even after President Grover Cleveland in 1887 supported the Knights of Labor’s recommendation that workers’ day be celebrated in September as Labor Day, to disconnect the labor movement from early May Day celebrations, which included strikes, mass protests and demonstrations, often ending in violence and police confrontations.</span></p>
Dublin Core
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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
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Title
A name given to the resource
<em><strong>Il Proletario </strong></em>[The Worker]<em>. </em><strong>Chicago: Industrial Workers of the World, 1923-1924.</strong>
Description
An account of the resource
The I.W.W. Italian language newspaper, <em>Il Proletario</em>, has a glorious and lengthy history of many decades and almost unique importance in the Italian American non-anarchist left. <br /><br />It was started by Italian socialists in 1896 in Pittburgh, and soon moved to Paterson, NJ, and was directed, edited or published at various times and in various other locations - Chicago, New York, Boston, Brooklyn - by Camillo Cianfara, Giacinto Menotti Serrati, Carlo Tresca, Mario De Ciampis, Arturo Giovannitti, Angelo Faggi, Giuseppe Cannata, Arturo Caroti and Edmondo Rossoni, virtually all of whom are important authors in the collection. <br /><br />Durante provides a detailed and entertaining (though dizzying) discussion of the travails, moves, internal battles, and alliances made and alliances broken (between the I.W.W. and the Federazione Socialista Italiana, for example, but not only) in the newspaper during its half-century of existence from 1896 to 1947. Marcella Bencivenna, as well, discusses this newspaper at some length in <em>Italian Immigrant Radical Culture</em>.<br /><br />As can be seen in the photo of the May Day issue reproduced here, the masthead is signed “391,” which seems curious until one realizes that this was the name of the French Dada-ist and Surrealist artist Francis Picabia’s magazine published at times in Paris and New York until 1924, and whose design colors were also black, red and white. <br /><br />The potential connection with this important French artist is further suggested by a famous article by then-editor Rossoni in <em>Il Proletario</em> entitled “liberty and blood,” in which he wrote, “liberty is not just a pretty woman rather, she is a strong woman with strong breasts and a rough voice, with fire in her eyes.” This passage in the Francophile Rossoni’s article was based on a 19th-century French poem by Auguste Barbier, which lauded a symbolic Woman liberty. <br /><br />The motto of the paper, evident on this page, is “Educazione – organizzazione – emancipazione. Conquistando la fabbrica, conquisteremo il mondo [Education – organization – emancipation. Subduing the factory, we will conquer the world]."<br /><br />Collection includes:<br /><br /><a href="https://italianamericanimprints.omeka.net/items/show/524"><em>Il Proletario</em>, Anno 27 - 1923</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/525"><em>Il Proletario, </em>Anno 28 - 1924</a>
Creator
An entity primarily responsible for making the resource
Mario De Ciampis
Publisher
An entity responsible for making the resource available
Industrial Workers of the World
Date
A point or period of time associated with an event in the lifecycle of the resource
1923-1924
Language
A language of the resource
Italian
1921-1930
Brooklyn
Chicago
I.W.W.
Il Proletario
newspaper press
socialist
-
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e090e95b999994e3d36a256047dd2978
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>Umanità Nova: periodico libertario, </strong></em><strong>Anno II, No. 10. Brooklyn, 1 Maggio [May] 1925.</strong>
Relation
A related resource
<a href="https://italianamericanimprints.omeka.net/items/show/461"><em>Umanità Nova</em>, Anno II, No. 5 - 7 Febbraio [February] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/462"><em>Umanità Nova</em>, Anno II, No. 7 - 21 Febbraio [February] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/463"><em>Umanità Nova</em>, Anno II, No. 8 - 7 Marzo [March] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/464"><em>Umanità Nova</em>, Anno II, No. 9 - 28 Marzo [March] 1925</a><br /><br /><a href="Umanit%C3%A0%20Nova,%20Anno%202,%20No.%208%20-%207%20Marzo%20%5BMarch%5D%201925%20Umanit%C3%A0%20Nova" title="https://italianamericanimprints.omeka.net/items/show/460"><em>Umanità Nova</em> [main entry]</a><a href="https://italianamericanimprints.omeka.net/items/show/464"><em></em></a><br /><a href="https://italianamericanimprints.omeka.net/items/show/465"></a>
Language
A language of the resource
Italian
Date
A point or period of time associated with an event in the lifecycle of the resource
18 Maggio [May] 1925
Description
An account of the resource
See main entry (for all five issues) for a description of this "libertarian" anarchist newspaper, shut down by the fascists in Milan in 1922, when edited from Rome by Malatesta, according to Enrico Arrigoni, as quoted in Avrich, and then reborn in Brooklyn, somewhat like <em>L'Asino</em>, q.v.<br /><br />Note that the banner and top headline of this May Day issue, uniquely, was published in red ink. In the Collection's two-year run of <em>Il Proletario</em>, similarly, the banner and the extraordinary cover illustration of the May Day 1923 issue was printed in red ink, q.v.
1921-1930
anarchist
Brooklyn
newspaper press
periodical
-
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3ec6d2482dc12dfdf2b506c876486744
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>Umanità Nova: periodico libertario, </strong></em><strong>Anno II, No. 9. Brooklyn, 28 Marzo [March] 1925.</strong>
Language
A language of the resource
Italian
Relation
A related resource
<a href="https://italianamericanimprints.omeka.net/items/show/461"><em>Umanità Nova</em>, Anno II, No. 5 - 7 Febbraio [February] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/462"><em>Umanità Nova</em>, Anno II, No. 7 - 21 Febbraio [February] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/463"><em>Umanità Nova</em>, Anno II, No. 8 - 7 Marzo [March] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/465"><em>Umanità Nova</em>, Anno II, No. 10 -1 Maggio [May] 1925</a><br /><br /><a href="Umanit%C3%A0%20Nova,%20Anno%202,%20No.%208%20-%207%20Marzo%20%5BMarch%5D%201925%20Umanit%C3%A0%20Nova" title="https://italianamericanimprints.omeka.net/items/show/460"><em>Umanità Nova</em> [main entry]</a>
Description
An account of the resource
See main entry for a description of this anarchist and libertarian journal, first published in Milan, though Errico Malatesta edited it from Rome, according to Enrico Arrigoni, from an interview by Paul Avrich, and then, when the fascists shut it down in 1922, published in Brooklyn.
1921-1930
anarchist
Brooklyn
-
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a08e581d54673a8e7899fccdd46fd12d
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>Umanità Nova: periodico libertario, </strong></em><strong>Anno II, No. 7. Brooklyn, 21 Febbraio [February] 1925.</strong>
Relation
A related resource
<a href="https://italianamericanimprints.omeka.net/items/show/461"><em>Umanità Nova</em>, Anno 2, No. 5 - 7 Febbraio [February] 1925</a><a href="https://italianamericanimprints.omeka.net/items/show/462"></a><br /><a href="https://italianamericanimprints.omeka.net/items/show/463"><em>Umanità Nova</em>, Anno 2, No. 8 - 7 Marzo [March] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/464"><em>Umanità Nova</em>, Anno 2, No. 9 - 28 Marzo [March] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/465"><em>Umanità Nova</em>, Anno 2, No. 10 -1 Maggio [May] 1925</a><br /><br /><a href="https://italianamericanimprints.omeka.net/items/show/460"><em>Umanità Nova</em> [main entry]</a>
Date
A point or period of time associated with an event in the lifecycle of the resource
21 Febbraio [February] 1925
Language
A language of the resource
Italian
Description
An account of the resource
See description and history of this newspaper in the general entry for February - May 1925.
1921-1930
anarchist
Brooklyn
-
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5852868c4a3f425954f6834af6ebc6e0
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>Umanità Nova: periodico libertario, </strong></em><strong>Anno II, No. 5. Brooklyn, 7 Febbraio [February] 1925.</strong>
Relation
A related resource
<a href="https://italianamericanimprints.omeka.net/items/show/462"><em>Umanità Nova</em>, Anno II, No. 7 - 21 Febbraio [February] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/463"><em>Umanità Nova</em>, Anno II, No. 8 - 7 Marzo [March] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/464"><em>Umanità Nova</em>, Anno II, No. 9 - 28 Marzo [March] 1925</a><br /><a href="https://italianamericanimprints.omeka.net/items/show/465"><em>Umanità Nova</em>, Anno II, No. 10 -1 Maggio [May] 1925</a><br /><br /><a href="https://italianamericanimprints.omeka.net/items/show/460"><em>Umanità Nova</em> [main entry]</a>
Language
A language of the resource
Italian
Date
A point or period of time associated with an event in the lifecycle of the resource
7 Febbraio [February] 1925
Description
An account of the resource
See description and history of this newspaper in the general entry for February - May 1925.
1921-1930
anarchist
Brooklyn
-
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a20302416e9cc0f6128dd6a85cb4485b
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83f172abdac3bd146bebf13c91f9c252
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c7bf8a758775d4f2be0a2738c8004b15
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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>Mischia sociale (da . . . alla Cooper Union)</strong></em> [Social Brawl (from . . . at Cooper Union)]. <strong>Brooklyn: Edizioni sociali, [1930].</strong>
Description
An account of the resource
An excerpt from this work is published in Durante. On April 6, 1930, in a public debate at Cooper Union in New York, Borghi participated in the debate on the theme "I problemi della rivoluzione italiana dopo l'abbattimento del fascismo" (the problems of the Italian revolution after the over throw of fascism). His antagonist was Vincenzo Vacirca, whose books and magazines are well represented in the Collection. Vacirca was, like Borghi, freed on bail. <br /><br />This copy is inscribed to Dr. Nicola Brunori, "amico e compagno [friend and companion]." Ezio Taddei had dedicated his 1943 work, <em>Alberi e casolari</em>, q.v., to Brunori, a beloved figure. This is the same Doctor Nicola Brunori who is the subject of <em>Brunori's Fortune</em>, excerpted in Durante in the entry on Valentini as part of that writer's <em>Il ricatto</em>, q.v. <em>Zarathustra</em>. After the debate, Borghi narrowly escaped arrest, an incident which he discusses in the final chapter of this book. <br /><br />The work ends with a statement from Immigrant Inspector John Kaba, reproduced in both Italian and English, discussing the warrant for Borghi's arrest and Kaba's opinion and wish that, without a passport, revoked because he was an anarchist, Borghi should be deported to Italy. Borghi is well represented in the Collection.
Creator
An entity primarily responsible for making the resource
Armando Borghi
Publisher
An entity responsible for making the resource available
Edizioni sociali
Date
A point or period of time associated with an event in the lifecycle of the resource
[1930]
Format
The file format, physical medium, or dimensions of the resource
18.5 x 13cm; 246 p.
Language
A language of the resource
Italian
1921-1930
anti-fascist
Brooklyn
debate
Durante
inscribed
Signed copy
Vincenzo Vacirca
-
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68aa0737edcbb2b72757ddb402a214a8
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>
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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>Il processo muto di Sacramento, Cal.</em> <em>The Silent Trial of Sacramento, Cal.</em> Brooklyn: Ed. a cura del Libreria del Lavoratori Industriali del Mondo, [1919].</strong>
Creator
An entity primarily responsible for making the resource
Jacopo Tori
Giuseppe Cannata (preface)
Publisher
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Ed. a cura del Libreria del Lavoratori Industriali del Mondo
Date
A point or period of time associated with an event in the lifecycle of the resource
[1919]
Format
The file format, physical medium, or dimensions of the resource
18.5 x 13cm; 23 p.
Language
A language of the resource
Italian
Description
An account of the resource
This "silent" trial was part of a "frame-up," as author Jacopo Tori says. Before the "famous bombing" of July 1916, the Chamber of Commerce of San Francisco had collected a million dollars to fight organized labor in California. General strikes took place in San Francisco and environs. A bomb exploded under the house of the governor of California in Sacramento. But it neither killed nor even injured anyone, according to Tori.<br /><br />The trial for the accused in the bombing involved 43 I.W.W. activists who were condemned to prison sentences of one to ten years and responded with an unrepentant silence (and refusing counsel) in the face of a judge whose bias was obvious from the beginning. Maurice Bresler is apparently the name of the artist who did the cover portrait of one of the jailed men.<br /><br />Three of those who received sentences of ten years were Tori himself, Petro De Bernardi and Vincenzo Santilli, obviously all Italians, as the preface signed "G.C." - Giuseppe Cannata - explains in presenting "these unforgettable pages of teaching us about conscience and dignity of the working class."<br /><br />Before the sentences, on the day on which the grand jury rendered the indictments, the Wobblies had staged a prison revolt, protesting they deserved better treatment. writes Tori:<br /><br />"Some suggested they sing: 'Allright, fellows, let's have a song.' And one voice after the other sang 'Hold the Fort, for we are coming.' Almost every day the chorus sang the proletarian songs. Some of the preferred ones were 'Workers of the World, Awaken'; 'Rebel Girl'; 'The White Slave' and 'Scissorbill' - all by Joe Hill - as well as 'Dump the Boss off Your Back,' 'We are Coming Home Farmer John,' and others. Whenever the mood arose, it was time for 'Rang-tang! Rang-tang! Zin-tang! Zin-zuh-bah! Who in hell you think we are! . . Wobblies-wobblies-rah!-rah!-rah! Rough-tough-we never take a bluff - Of free speech, we never get enough. Who! - We Wobblies!!!"
1911-1920
anarcho-syndicalist
Brooklyn
Giuseppe Cannata
I.W.W.
Il Proletario
-
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314db28f4d7809ba000876e06a620679
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eff147249510232c6c8669fa6c2dd19a
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>Solidarity: published on the occasion of G.D. Procopio's 60th birthday.</em> Brooklyn: Shoe Service Union of US of A., AFL-CIO, 1950.</strong>
Description
An account of the resource
The papers of the honoree of the event on the occasion of his 60th birthday, long-time labor leader Giuseppe D. Procopio, are at the Immigration History Research Center at the University of Minnesota.
Creator
An entity primarily responsible for making the resource
G.D. Procopio, ed.
Date
A point or period of time associated with an event in the lifecycle of the resource
1950
Format
The file format, physical medium, or dimensions of the resource
26.5 x 20cm; 64 p.
Language
A language of the resource
English
Italian
1951-1960
AFL-CIO
Alberto Cupelli
Brooklyn
Francesco Greco
Italian and English
Joseph Tusiani
memorial program
Onorio Ruotolo
-
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dfe78bd08287c183fcd298a4e7f7c5a2
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b5de4821801783cedaac603f3a3f0e9e
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>
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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>L'I.W.W.: la sua storia, struttura e metodi</strong> </em>[The I.W.W.: its History, Structure and Methods]. <strong>Brooklyn: Libreria Ed. Del Lavoratori Industriali del Mondo, [c. 1919].</strong>
Description
An account of the resource
Like <em>Che cosa è l’I.W.W.?,</em> this work and<em> L'I.W.W. nella teoria e nella pratica</em> of Justus Ebert three years later, in Chicago, q.v., are translations from English-language originals, intended to reach an Italian-language-only audience of workers who could help swell the ranks of the Wobblies.<br /><br />Vincent St. John, like Bill Haywood and Frank Little, was trained in the hard school of the Western Federation of Miners, a kind of model labor union that was prominent in that era in the late 19th and early 20th centuries. A metal miner by trade, St. John joined the Western Federation in 1894, and soon became an influential voice in its councils. He remained a member of the board of the that union until 1907.
Creator
An entity primarily responsible for making the resource
Vincent St. John
Publisher
An entity responsible for making the resource available
Libreria Ed. Del Lavoratori Industriali del Mondo
Date
A point or period of time associated with an event in the lifecycle of the resource
[c. 1919]
Format
The file format, physical medium, or dimensions of the resource
19 x 13cm; 39 p.
Language
A language of the resource
Italian
1911-1920
Brooklyn
English original
I.W.W.
Lavoratori Industriali del Mondo
syndicalist
-
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3703461099dde3b1debb4b9776525146
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7fd4780b35f208e6ced3c67df266e197
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.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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>Lu sonnu di Monsignuri X: poimettu in lingua siciliana</em></strong> [The Sonnets of Monsignor X: Short Poem in Sicilian]. <strong>Brooklyn: Tip. Ital. del Rinascimento, 1912.</strong>
Description
An account of the resource
Dedicated to Riccardo Cordiferro. Pucciu (b. Italy, 1876; d. New York, 1927), or Puccio, was a sculptor and carver, with a studio in Brooklyn, as well as an accomplished dialect poet who began to publish verses in the literary and political magazine, <em>La Follia di New York</em> in 1906. <br /><br />This work is dedicated to Riccardo Cordiferro, the long-time editor of <em>La Follia.</em> After several trips to Italy on a sculpting project, Pucciu was back in New York by 1922. <br /><br />Pucciu was something of a tragic figure: treated in a hospital on Wards Island, he fell into a depression and attempted suicide by jumping into the East River. Rescued, he died two days later of pneumonia.
Creator
An entity primarily responsible for making the resource
Callichiu Pucciu
Publisher
An entity responsible for making the resource available
Tip. Ital. del Rinascimento
Date
A point or period of time associated with an event in the lifecycle of the resource
1912
Format
The file format, physical medium, or dimensions of the resource
20 x 13cm; 37 p.
Language
A language of the resource
Italian
1911-1920
Brooklyn
dialect
Durante
La Follia di New York
poetry
Riccardo Cordiferro
Sicilian
Tipografia Italiana del Renascimento
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47d2fd24545854104aa5ce9a9ee98098
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e1e052c583d8dc3d61386bad4c455b54
Dublin Core
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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.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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>Polvere di stelle: liriche </em></strong>[Stardust: lyrical poems]. <strong>Brooklyn: Dimola Printing Co., 1952.</strong>
Creator
An entity primarily responsible for making the resource
Maria Jaconis
Publisher
An entity responsible for making the resource available
Dimola Printing Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
1952
Format
The file format, physical medium, or dimensions of the resource
21 x 13.5cm; 71 p.
Language
A language of the resource
Italian
Description
An account of the resource
Maria Jaconis, author of this self-published work, was born in Aprigliano (CS) in 1931 and died in Cosenza in Calabria on March 16, 2023.<br /><br />In between, she lived in the United States, first in Accord, New York and then in the Bronx, from 1947 until 1964. Some of the poems in this, her only published book length work, were written when she was a teenager and had moved recently with her mom and sister to the U.S. to join her dad, who had immigrated years earlier. <br /><br />The author worked as a bilingual secretary for the Manhattan office of the Banco di Roma. Maria and her husband, Gaetano Cosentini, were married in 1957, and in 1964, they returned to Italy. Though she lived in Italy for more than a half century after she left America, she declared that New York was her favorite city.<br /><br />Some of the poems in this collection were published in the 1950s in New York in a bi-lingual monthly magazine called "Italamerican," which as of December 1953, celebrated 18 years of continuous publication. (There are no issues of this magazine in the Collection yet.) One of the columns, "Scrittori italiani d'America" in Italian was written by Ario Flamma (q.v. in the Collection), including in the September 1953 issue a Flamma piece about Federico Mennella (q.v. in the Collection).<br /><br />The author also wrote lyrics to at least one song.<br /><br />Thanks to the author's daughter, Angela Miskell, who generously supplied me with all of the above biographical information.<br /><br />Query whether Jaconis is one of the <em>Poeti Calabresi in America</em> of Pasquale Spataro.
1951-1960
Brooklyn
Dimola Printing
poetry
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d795bbd109a4be3a9d1b5d6460647de8
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d1007f454a43b3383ef45f907c65c6ba
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>
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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>Rivoluzione e controrivoluzione</em> </strong>[Revolution and Counter-Revolution: Manifesto of the militants and the Reunited Anarchist Groups of North America].<strong> Brooklyn: Comitato dei Gruppi Riuniti Galilei Club, 1944.</strong>
Description
An account of the resource
The Galilei Club was another chosen name for an anarchist group, reflecting the independence of its namesake (whose last name the group used, rather than the more familiar first name, Galileo), as well as his battles with the religious authorities. <br /><br />This pamphlet covers many topics, with chapters on the Vatican, Spain, fascism, the Fifth Column, bourgeois government and the social war. The cover features a graphic black and white woodcut on a light blue background of two hands in the clouds. One fights off another clawed hand (presumably the devil’s or some force of evil) holding a sharp, bloody dagger.
Creator
An entity primarily responsible for making the resource
Gruppi Anarchici Riuniti del Nordamerica
Publisher
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Comitato dei Gruppi Riuniti Galilei Club
Date
A point or period of time associated with an event in the lifecycle of the resource
1944
Format
The file format, physical medium, or dimensions of the resource
17 x 12cm; 93 p.
Language
A language of the resource
Italian
1941-1950
anarchist
anti-clerical
anti-fascist
Brooklyn
-
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a034e00ae3ec75bbe013d064ed2fb1a7
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f836dda6baa7bd31d89db8ca2a2a9f79
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e5312aa7effd3976c368b158d2bade7a
Dublin Core
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Title
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<em>Political subversives IV: Arturo Giovannitti, Carlo Tresca, and their circles</em>
Description
An account of the resource
Arturo Giovannitti immigrated to Montreal at the age of 17, where he became a Protestant pastor. He then moved to Pennsylvania, preaching mostly to miners. He later left the church to join the labor movement after becoming interested in socialist ideas. Participating in the great Bread and Roses strike in Lawrence, Massachusetts in 1912, Giovannitti was accused falsely of the homicide of striker Anna Lo Pizzo, and arrested, along with Joseph Ettor and Joseph Caruso. Speaking in his defense while on trial in Salem, he delivered a legendary apologia in English that was subsequently published in both English and Italian under the title “The Walker,” further establishing his charismatic leadership. <br /><br />After 1920, Giovannitti was among the organizers of the committee for the defense of Sacco and Vanzetti, a major leader of the anti-fascist movement, thus of the Anti-Fascist Alliance of North America (AFANA), and a member of the committee formed to push for the investigation of the assassination of his friend Carlo Tresca. A complex intellectual figure, equally comfortable in both English and Italian, Giovannitti is the rare Italian American writer who, despite the extraordinary reception accorded him within American literary culture, never abandoned the Italian community. His English-language poems were often translated into Italian as well as into Sicilian. Only his Italian-language publications are included here, including especially <em>Quando canta il gallo</em> and several issues of a gorgeous literary-political magazine, <em>Vita</em>, published beginning in 1915, a few issues of which became part of the collection only recently (2021). <br /><br />Carlo Tresca was the radical left’s most complex, fascinating character, a powerful thinker, charismatic orator and rabble rouser, ladies’ man and a warm friend who never forgot the human dimension of people whatever their politics. By the time fascism began to take serious root in Italy, Italian American radicals for the most part put aside their factionalism to join in the fight against totalitarianism. Along with Giovannitti, Tresca was one of the founding members of AFANA. <br /><br />However, Tresca’s popularity earned him a lifetime of enmity from Luigi Galleani and his followers. Tresca’s political views evolved over time from a belief in the need for a revolution to destroy the private ownership of property basic to capitalism, to grass-roots union organizing in 1905, when he became its leading Italian proponent and practitioner, to being an anarchist who nevertheless believes in organized unions or syndicates (anarcho-syndicalism) by 1913. His longest-lived newspaper was <em>Il Martello</em> [The Hammer], constantly in financial and political difficulties – for many years of its publication, he had to submit advance translations into English for the Post Office and Justice Department of each issue – and a significant book-publishing venture of the same name – Casa editrice “Il Martello.” In addition to several years of issues of <em>Il Martello</em>, and a couple of works authored by Tresca himself, the collection includes numerous publications of works by others under the Casa editrice "Il Martello" imprint.
Subject
The topic of the resource
Giovannitti and Tresca stand out as vibrant, charismatic individuals, not unlike Galleani and Borghi but with a broader political and non-political following and personal drama to match.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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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<strong><em>Pagine scelte </em></strong>[Selected Works]. <strong>Brooklyn Libreria dell'I.W.W., 1930.</strong>
Description
An account of the resource
This work contains Giovannitti’s speech (entitled “Davanti ai Giurati di Salem, Massachusetts” [Before the Jurors of Salem, Mass.]) in 1912 to the jurors in the trial at which he, Joseph Ettor and Joseph Caruso were accused of the murder of Anna Lo Pizzo during the Lawrence millworkers strike in 1912. The strike is an event memorialized in a famous painting of Ralph Fasanella.<br /><br />The jurors rightly believed the defense that the police were instead responsible, and the arrest of strike leaders Giovannitti and Ettor, in particular, was a pretext to make them unavailable to lead the strike that crippled the factories in Lawrence. <br /><br />The work also includes <em>L’Evoluzione del Pensiero</em> (The Evolution of Thought) of Giovanni Gianformaggio (1859–1901) and Emma Goldman’s<em> Sindacalismo: Lo spettro del capitalismo</em> (Syndicalism: The Spectre of Capitalism), with a preface by Giovannitti. <br /><br />The volume also contains some poems in Calabrian dialect.
Creator
An entity primarily responsible for making the resource
Arturo Giovannitti
Giovanni Gianformaggio
Emma Goldman
Publisher
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Libreria dell'I.W.W.
Date
A point or period of time associated with an event in the lifecycle of the resource
1930
Format
The file format, physical medium, or dimensions of the resource
17.5 x 10.5cm; 61 p.
Language
A language of the resource
Italian
1912 Lawrence strike
1921-1930
Arturo Giovannitti
Brooklyn
dialect
Durante
Emma Goldman
Gianformaggio
I.W.W.
literary
poetry
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da6597080be0b1bde88ca1118a55b49b
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56c5a4823cdd27e1741e44c2b38f19e3
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>
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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>Unionismo industriale e Sindacalismo</strong> </em>[Industrial and Trade Unions]. <strong>Brooklyn: Casa ed. Lavoratori Industriali del Mondo, 1923.</strong>
Description
An account of the resource
The title page states Giantino as the author, with no publication date; however, this pamphlet begins with an introduction by Mario De Ciampis dated 1923. Like most unionist pamphlets, this pamphlet contains the preamble of the I.W.W., and also discusses industrial and trade unionism in the U.S. and Europe. <br /><br />“Giantino” was the pen name of Alibrando Giovannetti (1875–1945). In Italy, Giovannetti was secretary of the Unione Sindacalismo Industriale’s metalworkers union. A believer in non-violence, he saw peaceful occupation of factories as a substitute for insurrection. He and Armando Borghi, several of whose works are in the Collection, led one such factory occupation in Liguria in 1920.
Creator
An entity primarily responsible for making the resource
Giantino
"G. Gianformaggio"
[Alibrando Giovannetti]
Publisher
An entity responsible for making the resource available
Casa ed. Lavoratori Industriali del Mondo
Date
A point or period of time associated with an event in the lifecycle of the resource
1923
Format
The file format, physical medium, or dimensions of the resource
17.5 x 11cm; 15 p.
Language
A language of the resource
Italian
1921-1930
Brooklyn
Giantino
I.W.W.
Mario De Ciampis
syndicalist
-
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185b78dae6c14783066d65bb02918e5d
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fc3cccb4b57fdaa444a684bc6ef8d9a9
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.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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>Ode alla Calabria </em></strong>[Ode to Calabria].<strong>Buenos Aires: Casa ed. "La Voce dei Calabresi," 1933.</strong>
Description
An account of the resource
With a translation (from Calabrese into Italian) by F. Greco, this recounts an evening soiree given in honor of Cordiferro by his friends from Acri (Cosenza) 14 December 1930 in the house of Antonio Meringolo in Brooklyn.<br /><br />See the full description of this work under the other copy. This copy, from the same publisher, the Casa editrice La Voce dei Calabresi, has the same cover design but is in a slighter larger format than the other copy, presumably reflecting a separate printing.<br /><br />See discussion of this work in the essay by Francesco Durante, "Riccardo Cordiferro: an Italian American Archetype," on this website.
Creator
An entity primarily responsible for making the resource
Riccardo Cordiferro
Publisher
An entity responsible for making the resource available
Casa ed. "La Voce dei Calabresi"
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
Format
The file format, physical medium, or dimensions of the resource
17.5 x 13.5cm; 160 p.
Language
A language of the resource
Italian
1931-1940
book reviews
Brooklyn
Buenos Aires
dialect
Durante
La Voce dei Calabresi
New York
newspaper press
poetry
reviews of work included
Riccardo Cordiferro
-
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938f250aef1f2240138624d6b5e667f1
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.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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>Ode alla Calabria </em></strong>[Ode to Calabria].<strong> Buenos Aires: Casa ed. "La Voce dei Calabresi," 1933.</strong>
Description
An account of the resource
This work, published by the book arm of the Italian-language Argentinian newspaper, <em>La Voce dei Calabresi</em>, commemorates and reflects a literary soiree held in Brooklyn in 1930 (and elsewhere, e.g., Toronto) in which the title poem was recited (and then published in the January 4, 1931 issue of <em>La Follia di New York</em>). <br /><br /><em>Ode alla Calabria</em> also contains, in addition to the poem itself in Italian as written, a translation into the Calabrian dialect by Francesco Greco, and reviews of Cordiferro’s title poem that were widely published in Italian newspapers and magazines throughout the United States. <br /><br />Given Cordiferro’s popularity among South as well as North America’s Italians, it is not surprising that this poetic work was published in Buenos Aires for the benefit of that city’s considerable Italian colony. <br /><br />The existence of such a broad U.S. Italian-language literary audience, and the promotion of common cause with the Italians of Argentina by itself makes this work interesting. Readers of the Argentinian <em>La Voce dei Calabresi</em> (The Voice of the Calabresi), which advertised itself as the “popular tri-lingual newspaper of the Calabrian collective" (presumably, Spanish, Calabrian and Italian) would have known of Cordiferro’s plays.<br /><br />See discussion of this work in the essay by Francesco Durante, "Riccardo Cordiferro: an Italian American Archetype," on this website.
Creator
An entity primarily responsible for making the resource
Riccardo Cordiferro
Publisher
An entity responsible for making the resource available
Casa ed. "La Voce dei Calabresi"
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
Format
The file format, physical medium, or dimensions of the resource
18.5 x 13.5cm; 160 p.
1931-1940
Brooklyn
Buenos Aires
dialect
Durante
Francesco Greco
La Voce dei Calabresi
New York
newspaper press
poetry
reviews of work included
Riccardo Cordiferro
-
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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>
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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 tattica sindacalista in America </em></strong>[Trade Union Tactics in America].<strong> Brooklyn: Libreria dei Laboratori Industriali del Mondo, [1921].</strong>
Description
An account of the resource
<span>Giuseppe Cannata succeeded Edmondo Rossoni in the Federazione Socialista Italiana and as editor of <em>Il Proletario</em>. He was also, along with Tresca, a founding member of AFANA, the Anti-Fascist Alliance of North America.</span><br /><br />A list of all works in the Libreria Ed. dei Lavoratori Industriali del Mondo [Bookstore of the I.W.W.] is on the rear cover.
Creator
An entity primarily responsible for making the resource
Giuseppe Cannata
Publisher
An entity responsible for making the resource available
Libreria dei Laboratori Industriali del Mondo
Date
A point or period of time associated with an event in the lifecycle of the resource
[1921]
Format
The file format, physical medium, or dimensions of the resource
16 x 10.5cm; 32 p.
Language
A language of the resource
Italian
1921-1930
Brooklyn
Federazione Socialista Italiana
Giuseppe Cannata
Libreria dell'I.W.W.
syndicalist
-
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f1b0a1af946cbf8aca30e63014b53958
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>
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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 tecnica industriale e la rivoluzione proletaria </em></strong>[Industrial Technique and the Proletarian Revolution].<strong> Brooklyn: Libreria dei Lavoratori Industriali del Mondo, 1922.</strong>
Description
An account of the resource
On the rear cover is a list of newspapers and magazines published by the I.W.W., in English, Italian and 7 other languages. <br /><br />Giuseppe Cannata succeeded Edmondo Rossoni in the Federazione Socialista Italiana and as editor of <em>Il Proletario</em>. <br /><br />The earlier of these two pamphlets contains a section on industrial development in America, the state of sociological development, the American Federation of Labor and the “brotherhoods” of railway workers, independent unions, and the I.W.W. <br /><br />Cannata was also, along with Tresca, a founding member of AFANA, the Anti-Fascist Alliance of North America.
Creator
An entity primarily responsible for making the resource
Giuseppe Cannata
Publisher
An entity responsible for making the resource available
Libreria dei Lavoratori Industriali del Mondo
Date
A point or period of time associated with an event in the lifecycle of the resource
1922
Format
The file format, physical medium, or dimensions of the resource
19 x 13cm; 23 p.
Language
A language of the resource
Italian
1921-1930
Brooklyn
Durante
Giuseppe Cannata
Libreria dell'I.W.W.
syndicalist
-
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d0cded7ff30777b8f5966d285adfff80
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c7fb65746eb879be0d6a91d57977a64a
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a7283b4e0265cb09d41a39f4a58c3f8a
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.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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>Sonata<em> elegiaca: dramma </em></strong>[Elegiac Sonata: Drama].<strong> Brooklyn: Tartamella/Soc. Tipografica Italiana, 1921.</strong>
Description
An account of the resource
Ludovico (really Michele) Caminita (b. Palermo, 1878 - d. New York 1943?) had one of the lengthiest, most varied and colorful lives of all the Italian anarchists in America, starting or writing a number of newspapers (with politics ranging from left to right) in various locales, writing in all genres, and the distinction of being one of the anarchists the Bureau of Investigation wanted to deport back to Italy in the wake of the Wall Street bombing of September 16, 1920. Durante, Marazzi, Bencivenna and Zimmer all have extensive treatments of Caminita, with excerpts of some of his work in Durante and Marazzi.<br /><br />This copy was inscribed by Caminita on August 22, 1935 to Dr. Cloyd H. Marvin, rector and president of George Washington University. <br /><br />The introductory text itself explains that the drama, first performed on May 16, 1921 at the Olympic Theatre in New York, starred the most celebrated actress in Italian American theatre, Mimì Aguglia, and was directed by Clemente Giglio.<br /><br />There's an added poignancy in the fact that at the time of its premier performance, Caminita was awaiting the decision of the American government on whether he would be deported to Italy for what it believed was his involvement in the recent Wall Street bombing, all due to Caminita's launch of another anarchist newspaper, <em>La Jacquerie</em>. From 1908 to World War I, he worked at the office of <em>Mother Earth, </em>the anarchist publication of Emma Goldman<em>. </em>See Marcella Bencivenna's <em>Italian Immigrant Radical Culture </em>at 122-124 on this play and other work of Caminita.<br /><br />Kenyon Zimmer, in his fine <em>Immigrants against the State: Yiddish and Italian Anarchism in America</em>, has an extensive discussion of Caminita that shows his development and political evolution over time.<br /><br /><em>Sonata elegiaca</em> was an instant hit, perhaps explaining why it was issued by two different publishers in the same year (the other being A. Fontanella in Paterson, New Jersey). The “Second thousand” ("Secondo migliaio") on a copy published in the same year as the play’s first production is thus probably not puffery. <br /><br />This still-early edition manages to have included, in an appendix, laudatory reviews of the play by luminaries of the Italian American literary set, including Riccardo Cordiferro, Luigi Roversi and Italo Stanco, among others, in Italian newspapers and magazines, such as <em>La Follia di New York</em> and <em>Il Progresso Italo-Americano</em>. <br /><br /><em>Sonata elegiaca</em> follows the life of a rich, married American writer, Errico Parson, who supports the cause of the workers during a strike out of an extra-marital love for a typical proletariat militant, Lillian Owen. The love triangle extends further: Parson’s jealous wife, with the help of her admirer, manufacturer Giovanni Oliver, conspires to accuse and imprison the radical Owen. Their efforts bring success, as Lillian is convicted of perpetrating a dynamiting attempt, and dies in prison.<br /><br />As for Caminita's other work, <span style="font-weight:400;">Martino Marazzi's <em>Voices of Italian America: a History of Early italian American Literature with a Critical Anthology </em>(Madison, 2004) contains an excerpt from his 1924 <em>Nell'isola delle lagrime (Ellis Island)</em> in translation. Durante also has a good biographical sketch as well as a translation of other work of Caminita's.<br /><br />The Collection has two other works by Caminita, <em>Obici: biografia</em> and <em>Che cosa è la religione?</em> </span>
Creator
An entity primarily responsible for making the resource
Ludovico M. Caminita
Publisher
An entity responsible for making the resource available
Tartamella/Soc. Tipografica Italiana
Date
A point or period of time associated with an event in the lifecycle of the resource
1921
Format
The file format, physical medium, or dimensions of the resource
17.5 x 12cm; 178 p.
Language
A language of the resource
Italian
1921-1930
anarchist
book reviews
Brooklyn
drama
Durante
Fontanella
Il Progresso Italo-Americano
Italo Stanco
La Follia di New York
Ludovico Caminita
Luigi Roversi
political
reviews of work included
Riccardo Cordiferro
Societa Tipografica Italiana
Tartamella
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04e5c4b81d366e98316bcaead116dd40
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eabe6327d7732b6d49b6453601a3dae8
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>
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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 società proletaria </em></strong>[Proletarian Society].<strong> Brooklyn: Libreria Editrice dei Lavoratori Industriali del Mondo, 1910s.</strong>
Creator
An entity primarily responsible for making the resource
Albino Braida
Publisher
An entity responsible for making the resource available
Libreria Editrice dei Lavoratori Industriali del Mondo
Date
A point or period of time associated with an event in the lifecycle of the resource
1910s
Language
A language of the resource
Italian
Description
An account of the resource
This is one of two works by Braida, and in the same period, published by the Libreria Ed. dei Lavoratori industriali del Mondo, i.e., the I.W.W, and in the Collection. The other is <em>Unionismo industriale</em>, co-authored with Giovanni Baldazzi.
1911-1920
Albino Braida
anarcho-syndicalist
Brooklyn
I.W.W.
Libreria dell'I.W.W.