1 25 11 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/0ecde711a8033b6299d6ab710cbb085e.jpg?Expires=1789603200&Signature=RsFIEqTLn1t6mJF1IzaKEcwGxi3kNxaKyIMsHdPcR6uRYhhH0kIpAjNp9STOS9k0wxd9o6IriO1dTrhzMYgzW0kz3UUIuLHzNR7JkzC0nQljtjBVOx9ztNNpnOY6SbjQBy83Eumz2uBrlt3MHBTvVqPeYr1FzQyfxx%7Ek0dUAGKQD2O-sJ6nqoeIzYvoWDrLaS4wMXvnS6FsuqnowJbblla7NUpe0dCyG2CUr66RdjX6ov98mMvQhN5IZSrgUIDWK08Ubl4ExATY2NgkcArexBLQDDY3x1EdaMID46r4YcG3wfiIy3dGLtrrcASVTsUpiXXnhbtiXt4PRT3rINnG0ow__&Key-Pair-Id=K6UGZS9ZTDSZM 0e2af39f580b859350e1deaf5acddffa https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/cdafa8c1932d033d4c979d243a0bc4a0.jpg?Expires=1789603200&Signature=BMup3W7NNIXFbav5nrZngwKMpPwwO6wM%7Eh2TTsEvCR6Bn9-DP-uTprGbxmmtAzODPq16pJuZnrGfVXsM6ucCf0%7EPJQzsG67H9n%7EJI0K7tn-hKv47cRdEgmqI8h3VW-7thw%7EqNM9Xj5rJpc3FtJl3jmKJwI%7EaznrMkEl6ysQwoMiP4fEIGBZpyRL8n5tpXohR-%7E6vxqfe%7EKS4Zwrdke7wbWdyJaYjtI72KsE8CDuM18M4U6Qz3DX%7Et2WCrJuirQP%7ExO4GVnE0PYBtKuKIgmmOzXsQyoWUgCeIhG315K8JfeJNSUVk7qMYnKQCyDxSbx8zbv1T6z2YRPi6KswhYANO5g__&Key-Pair-Id=K6UGZS9ZTDSZM cbfe62f10dbedba4ed3ca098835f8bbe https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/5f7a58f8d40de3dffec2025907e9f176.jpg?Expires=1789603200&Signature=J8J239%7E4HFIfYls6GflERhJcZAbZlJT8mZ0psU7FCThJ%7Egsvk8fdccyNSO8aPFX4CZfz-p3lXbJjHU918ob0N8Gwo5Hry26hxFzibRhFN8J-85t1BhgSkM2FQYKx6gk7R5-g5uiLfECSICxgH8D807VixsOVxuH2JB8Ld5GgHWPaO7mUj-XCMF5Nb43xFAAP5unwGPFTciZGVEYk3pAjTrfzgiIQb0hK-4X1HwMKcyClfvuZXIqlr1li-3su-I1wFIc-ySW80%7Ef4C92Tb6sAmX--HHOeZa56mQbBGzX6FhC4HlXe0IY0eKTGUOLM8qZqe1vNHXZIhxKdeFVzNV71Zg__&Key-Pair-Id=K6UGZS9ZTDSZM 3f8da0ea69407caaaad3f6835cea9071 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 Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper 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 Parole Colletive, 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. 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. 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 sovversivi. 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. 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) Il Carroccio, or Arturo Giovannitti’s literary but also politically leftist Vita, Vincenzo Vacirca’s Il Solco, Ernesto Vallentini’s socialist Zarathustra, or Enrico Arrigoni’s anarchist-individualist Eresia, all of which are reflected in the collection. The generically (and gently) leftist and anti-clerical La Follia di New York 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. Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of La Follia 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 La Follia. 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. 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 Alberi e casolari [Trees and Barns]. New York: Edizione in esilio, 1943. Description An account of the resource Ezio Taddei (b. Livorno, 1895; d. Rome, 1956) was involved in Italian politics at an early age: at thirteen he was arrested for involvement in a demonstration connected with a nurses’ strike in a Roman hospital. When released from prison, he found the doors of his home closed to him, and began life as a vagabond. He was sentenced in February 1922, along with 32 other anarchists, by the Court of Assizzes in Genoa for conspiracy to destroy several private and public buildings. Overall Taddei spent 18 years in Italian jails, first for his anti-bourgeois activities and later for his anti-fascist activities; these experiences animated and fueled much of his writing. War and imprisonment fostered his desire for social justice, reinforced by his reading, especially 19th-century Russian realist novels. The Russian radical Mikhail Bakunin, who arrived in Italy in 1864 and believed in immediate armed revolution, attracted intellectuals like Taddei; he and anarchist Errico Malatesta recur as models for the fictional alter egos under which Taddei wrote. It goes without saying that publication of this work in Italy in 1943 would have been impossible. The cover illustration, while not signed (unless it's in the lower right corner that is chipped), is probably that of Costantino Nivola, based on the similarity in style to that of the interior drawings by that artist in Taddei's Parole Collettive. Printed by Cocce Press, this work is dedicated to Nicola Brunori, a colorful and acclaimed Bronx physician who was tried and convicted in 1913 for extortion and served three-and-one-half years in prison. Ernesto Valentini tells Brunori's story - believing in Brunori's innocence - in Il ricatto, which was serialized in Valentini's Zarathustra, q.v. Brunori appears again as the person to whom Armando Borghi inscribed the collection's copy of Mischia sociale. This copy is inscribed by Taddei to "Paolina Krewer, nei giorni del Dniepper", dated N.Y., 20 September 1943. The Dniepper river in Ukraine was the scene in that year of one of the major campaigns and battles of World War II on the Eastern Front. It involved almost 4,000,000 troops stretched over a 1,400 kilometer front. The Red Army of Stalin ultimately recovered the eastern bank of the river from German forces. Taddei receives extended biographical treatment from Durante as well as Marazzi, as well as excerpts in each. Creator An entity primarily responsible for making the resource Ezio Taddei Publisher An entity responsible for making the resource available Edizione in esilio Date A point or period of time associated with an event in the lifecycle of the resource 1943 Format The file format, physical medium, or dimensions of the resource 21 x 14cm; 142 p. Language A language of the resource Italian 1941-1950 Cocce Costantino Nivola Durante Ezio Taddei fiction inscribed New York Nicola Brunori https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/108bdce7bf6376f2fc145ac12c0dc7e4.jpg?Expires=1789603200&Signature=QELwm0GwLbY3x5ktrfkgewb7ZRVsuLRssAmN6yxwJC5GDPPKQrhtNG%7E65MRnWd9%7EVgFm0z1WX63%7ESZlJ-cVGUeZY1mJAfXC-GyPfvfKGcWX4J20ceFxiEBw5Q%7E5xxoSTsu1pFbw%7EQIvH9hIUMJ0uurS3JKrZdbMc8Rm2dh1QCx2xg%7EvJXAqr0TfH%7EQ%7EaET0u37Eyw8lcUffoB0HK39db6GkML3fjLjCKTWAjRCB0DFqUswxvd5-S3uBtHCG9Y1z6CGL8LNQKokR71xIiX%7EHJIPcUnGPJK2%7EOi4Yqs9wVyhpwR3%7EZy-XbUMGdTliSE3rLMdaii-UcUfD584qHeenb2Q__&Key-Pair-Id=K6UGZS9ZTDSZM 07cdb91713e9c06e27eeb22c0be166a3 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/6b8b2ac602c3b89c0156c13b4e40293f.jpg?Expires=1789603200&Signature=uvDq8DCDKj4ghfexK0-gLeqJPUZFnh3qrt1Xg5B%7EBfZtPiyG-loNUvHGtrQuAZD538EIovmaLQRxQ0VDNq7COd3mg2vgaQ-uKVcybFgZWUk0eE4S8-PUoF8QuL-mwIbn7f7pFY8EkDsEtQOZCJmOE6SGwfr1%7ExpEZ3ZDDuD1O-Br18a4THHTS-YQYy1DVhzCSSBz7VBB0EO4kZEKPDn9GshHJI8zA%7E0ObP2vzMdGArSEm6VWJfmoYwnJZvji3pDM6TtbQueXWwMzMtho8PZUnm3i27oTZcEzAEWhP34PcyOj0FMka6XrYr9kMYmgjFBeOJrIWa%7E%7EIjygyxg5monU4A__&Key-Pair-Id=K6UGZS9ZTDSZM 93cebf3a1da31f952b3cb921da804000 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/2ea7abca60fd05358eb1b22897090b40.jpg?Expires=1789603200&Signature=XOCNGWXsVErASOrRDLi4kbAVYfRINUIiuxrhJh0BmhCik06kc2LU-euHgBoea%7EKOTQQK7Wc%7ELAPjcfms%7Ez6HG1yBfzzyKyBd36mcYsTtZN9a4UxU6OH45dq7JW6-DWfNXfTSuU3JPqjFp5Y00OGLbR6wBEr3-waVaqw-ZQv0UCYzPWiZGagCqoQGtwITku2l4HqyR5QQhmCR7pB4GBBrKIvv3T9q71nBpSdgicf828GzE2%7E1XJSQh557U1dxZzXq-jBtYeecD5cdLsXPpEiZj7qqz4xNuy%7EUbyYEJuzTY9je57xMxCUgj1wGy0DyzQ3ppgqRF2Pdt6n5TYIVGvkBEQ__&Key-Pair-Id=K6UGZS9ZTDSZM fa988c7fa2ebabc18994e4ed806a6ede 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 Histories, philosophy, biographies, directories, bibliographies, almanacs, catalogues, annuals, religious, educational, and travel literature 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-sovversivi 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. The release in 1921 of Alfredo Bosi’s Cinquant’anni di vita italiana in America, 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. 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. 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. 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). 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 Commenti di scrittori italiani sul "Nuovo Ordine Universale": 13 lettere al presidente degli Stati Uniti in due opscoli di un interprete del popolo, coordinato e tradotto in inglese da Rodolfo Pucelli [Comments of Italian Writers on the "New Universal Order": 13 letters to the President of the United States of America in two pamphlets by an interpreter of the people, coordinated and translated into English by Rodolfo Pucelli]. New York: Coccè Press, 1950. Description An account of the resource This bilingual work - first 32 pages in English, the same repeated in Italian on pages 33-64 - follows upon Pucelli's English translation of the noted pamphlet by August Lovece, the so-called Interpreter of the People, in which were published letters to the U.S. President to reveal to him Lovece's idea about "universal peace and the welfare that would ensue if we could construct a World Capital, where all embassies of the United Nations would have their general headquarters." Rodolfo Pucelli was a poet who made regular contributions to Il Carroccio, among other publications. He was born in 1885 in Aquileia, in Venezia Giulia. From 1914-1918, he was a finance official in Trieste, according to Ario Flamma. He graduated from the University of Firenze in 1924, and came to the U.S. in 1928. Pucelli's preface notes that we are in a cold war with Soviet Russia, and that the national boundaries drawn at the end of World War II were done "in a hurry," and "are not rightful." This third pamphlet contains letters by others in response to Lovece's prior two pamphlets. Creator An entity primarily responsible for making the resource Rodolfo Pucelli Publisher An entity responsible for making the resource available Coccè Press 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 24 x 15.5cm; 64 p. Language A language of the resource Italian English 1941-1950 bilingual Cocce Italian and English New York political science Rodolfo Pucelli https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/5690d240ec9d2013a6857ac4e3807d82.jpg?Expires=1789603200&Signature=XSw3SduBa51L9PQiwLQlzifnVVSG%7E68LYLj92kGn-CbD%7E7YwYEVQHpdft3cVm8G1AwLOUUpJyiQWlEN89-n6tYtm6et1PhLeXj1Vr2y1Y2Fgj1N9xXBcSpgXGRQbm8LNUmRInN2I3HIgd3FtjXpEVk-cCQLt6YnFlLjbiK4dASUWLiy1fTTQ1nb6cYIfW8H3U3yO4qVF6lgOXa-3ADbmAb61bQswruWvt6KYkT5F4BZScMuiCYDMX2%7EIsFXJa0-2t5Cg0zzXSd2GC2iYu8l6nUvnHJ9GcnMslXq2297L1d1wJFBVq2pDSRQc-iOVq8PMqriW4PttabjjILHG2awq1Q__&Key-Pair-Id=K6UGZS9ZTDSZM 4f17e41fd034274d2b5af50e0d132bdd https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/14894777ee8f43cb9053301977920004.jpg?Expires=1789603200&Signature=mG2hJbXnpsaaiSgzoZYXKQomanswJ0nRz43RctubeBDdgFmk%7EXBegb%7EnuPSgL55OfcFtsZzvFLXYS5uSGNMLZtoE%7EJ2ktZdnXk9fxEu%7EpuwKl3rNy8I7GvzLGF2UcLiP9lJChU342IWemC-I3pi85dFLzOmUrSsd3bpA1rtnBy8wAe8z-Op3Ep2YRt20WeaGkMee0tua9fHuPXO9bFx9n8wUtXqm%7EVtbEnJaBIIdzru0zd1KZnkKrEOtzxaLNxKP7n8Aw%7EGf4XCRzdW0wUq2BgtcQF%7EoPuxcj4tntMeXRMFwOhV2WmTerGpKB4offcADnL4kI13VO23-n8cnqTwVYA__&Key-Pair-Id=K6UGZS9ZTDSZM 2524c42a970a0f76b53afb58c43ebd3d 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 Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper 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 Parole Colletive, 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. 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. 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 sovversivi. 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. 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) Il Carroccio, or Arturo Giovannitti’s literary but also politically leftist Vita, Vincenzo Vacirca’s Il Solco, Ernesto Vallentini’s socialist Zarathustra, or Enrico Arrigoni’s anarchist-individualist Eresia, all of which are reflected in the collection. The generically (and gently) leftist and anti-clerical La Follia di New York 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. Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of La Follia 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 La Follia. 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. 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 Rapsodia napoletana [Neapolitan Rhapsody]. New York: Cocce Press, 1944. Description An account of the resource Rapsodia napoletana is an epic story of the history of Naples from its founding as a Greek colony, composed of 105 sonnets written in the Neapolitan dialect. It includes a preface by Agostino de Biasi, publisher of Il Carroccio during most of its run. Besides this accomplished work, Mennella (b. Naples, 1894; d. New York, 1954), a businessman and trade official living in New York, wrote the dialect page in Cordiferro’s La Follia for years, and published at least two other poetic works in New York, Le canzoni de l’ora (1945) and Napule d’aiere (1944), both in the collection. The author's grandson and namesake is a longtime fellow member of the Grolier Club who I met at the time of the exhibition of my collection at the Grolier Club, in 2012. Martino Marazzi's Voices of Italian America: a History of Early italian American Literature with a Critical Anthology (Madison, 2004) contains an excerpt from this work in translation. Creator An entity primarily responsible for making the resource Federico Mannella Publisher An entity responsible for making the resource available Cocce Press 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 22.5 x 15cm; 142 p. Language A language of the resource Italian 1941-1950 Cocce dialect Neapolitan New York poetry https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/a37bc1d8d67462fc1107237fe1f801e3.jpg?Expires=1789603200&Signature=bpol3RaK-fNjtd1TB7ubboFS8yOi1Vd4hr3CiAZweLgzjvgOZqZtsiZg8EYsbxzZZ2czoq2cWfJ67kioxE%7ENB3aEpUbl8GHmPJGG9Vwxu0BPLkS9x%7ElQ%7EUjgj6lUnK0z7wiFi9GtWWlbkBIjHBDaXiLMbESpm3ScuWNxOBOBASvJLgby1sr50-w6UFfD1syVla9lKnxfTCj77A--r0lhG63sbGweWSl1knW2c9jwRnHIUjS8sGIFRXg-75w71jwvxwvX%7EZ5MeNqgoiKatYVHADefiQVM4FMTGEAO09jcG9ABiWw1tMgIG6NL4Hd2zsyyWNmvFmoIVNpJQsXpeybylw__&Key-Pair-Id=K6UGZS9ZTDSZM 8ef21b750c0be3a12c588452bdf438ec https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/f8bbcd7a320e007f84d833196767c347.jpg?Expires=1789603200&Signature=ocpWKWu9dkpRtTUVWCd4g0rA3KvQGxXmpFwVZHSwOHgzqGjF0SfjMok4i%7E80CwT1hqrqijSyY9o3hCg3KtvqwQUTYhVt6ZBHnWQh3-J84lXzrZ6YAbe%7EehVL4Aur8ewl0Tj7SHF-2E0%7EhyAyGOQqzIPfxDVJm7VK0TBPJ1luCTGlQtyzKFFfrX1ot5Dx9p%7E9dGKYtkg1KWcXQ8SyqKeNr9nN16HKqMLwn46Q8THibnoaK-TfnkyuSVk8CFay8joMIrvG7fS2uBSEWSuqOI5lzkY%7EDKgxLG3lnoSU5-MFb2m2-xEi3-V088hwYgegxEGSR5Z6w8Rwo8eln-jTrOQWyg__&Key-Pair-Id=K6UGZS9ZTDSZM d3b33bab57980d67b0820c3bf6d359e7 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 Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper 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 Parole Colletive, 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. 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. 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 sovversivi. 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. 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) Il Carroccio, or Arturo Giovannitti’s literary but also politically leftist Vita, Vincenzo Vacirca’s Il Solco, Ernesto Vallentini’s socialist Zarathustra, or Enrico Arrigoni’s anarchist-individualist Eresia, all of which are reflected in the collection. The generically (and gently) leftist and anti-clerical La Follia di New York 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. Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of La Follia 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 La Follia. 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. 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 Napule d'Aiere [Naples of Yesteryear]. New York: Cocce Press, 1944. Creator An entity primarily responsible for making the resource Federico Mennella Publisher An entity responsible for making the resource available Cocce Press 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 23 x 16cm; 64 p. Language A language of the resource Italian Description An account of the resource On who Federico Mennella was, see discussion under Rapsodia Napoletana. This dialect poem is in the same vein as that work. 1941-1950 Cocce dialect Neapolitan New York poetry https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/df748b6ef06993a64653a9c12b759b1f.jpg?Expires=1789603200&Signature=eQ0rgn4W8KaByfSxs3HaWsaBcjU88zMpO79Jxb3%7EK4MXlX28-Kr-%7EwOh0QW9FS62y0rD1wZcmBlYxXhygH2BJUxxSNj30mWcMZdzBCqyRBn7oypGeUwX2MOHmskI1NcS5CTpLdob5L-c4qFcub6%7Er2KDorqWIxr8UUmEETOyL6SaVNM60JB6spuOrI-%7ET7OoGEW6Uj1V%7Eao1Y5%7ESiYejnOeelhllTNcW7EoOL4rL1UprpUQ2C8lz0SEk-yoWPIk3UVv8z6gVVQrmWXcRnKT9RDtp0ZVFkP290IdDyVuK98nKXGjsyB29%7EbwgwU-NxDQD3g1z787NcH6hAnHaYacuPA__&Key-Pair-Id=K6UGZS9ZTDSZM c479228353a55c95e39c5fd41d55ce99 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/9fd1755987880333308c1abe9513ca43.jpg?Expires=1789603200&Signature=Hk1biK5p3WUPZXPhE6RB%7Egr2QyYDQlzyY4U4LknM-p8QQkE0E92DVVWo4W6kxCMtn7JNAuYeUmRfO48xi64tzsr5do6z9xAyo5G1-k88Z7GKOk%7EBLIAeaKioEyWtP-vpzRMu4vVG%7E33W4hwP50F4w3mzoAXGdv8W3xLJQKytvx6fX9t2D0S7reCjt6VDMg9QTn94mtN9v35UeeU7-MNc7D%7ExTC-oSNbcW1v8RJRfkN1jG7VIhegIiBtvnVmcpmJyUNI1LhIxnC8B%7EeVV6RwUuzDSKCWqS-YwvSHpToNzRhzkBYFndEblIF%7EiLeG0OpEe4N-xY3UoYs5Lv1balSf%7Ecw__&Key-Pair-Id=K6UGZS9ZTDSZM 95250f670a2efd93279ede5af1bf7763 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 Political subversives III: Fascists and anti-fascists Description An account of the resource The Anti-Fascist movement embraced diverse leftists, including Carlo Tresca, as noted above. Opposition to Mussolini from the left was reflected by activities of the Anti-Fascist Alliance of North America, which formed common ground for anarchists, socialists/syndicalists and communists to temporarily set aside their differences and unite against fascist oppression. Gone, at least temporarily, were the debates about proper philosophy of the left: the goal was to unite in order to defeat fascism. As for fascism itself, its roots were in the nationalist fervor stoked by Italy’s late 19th and early 20th century imperialist ventures in Africa, which are reflected in several items in the collection. Fascism itself, with its <a href="http://en.wikipedia.org/wiki/Political_radicalism">radical</a> nationalist agenda, came to prominence in the first quarter of 20th-century Europe, originating in Italy during <a href="http://en.wikipedia.org/wiki/World_War_I">World War I</a>. Benito Mussolini founded the Fascist Party, a right-wing organization which launched a campaign of terrorism and intimidation against its leftist opponents, and forced the king in 1922 to name him the Prime Minister as a result of the fascists’ show of force in the March on Rome. In America, active fascist supporters started two magazines that vied for primacy with Mussolini as instruments of the Fascist Party in America. Agostino de Biasi’s Il Carroccio, (The Chariot) was published from 1915 until 1935 - most years of the magazine are in the collection - with a circulation of about 10,000–12,000, long-lived initially but ultimately with a circulation of only about one-third of Domenico Trombetta’s far more militant Il Grido della Stirpe (The Cry of the Race), which became the largest circulation pro-fascist periodical at about 30,000 at its height in the mid-late 1920s, dropping to about 5,000 in the late 1930s as Italian Americans soured on Mussolini. Mussolini also promoted teaching the Italian language to Italian American schoolchildren, reflected in several items in the collection. Both fascist and therefore anti-fascist activities were not confined to New York, Chicago and other big cities. By the early 1920s, Fascist Party cells in the United States were present in Buffalo, Albany, Rochester and Syracuse. Subject The topic of the resource This section of the collection reflects tensions between fascists and anti-fascists. But the anti-fascist movement in the U.S. among Italians and others had far less to fear from Mussolini than did such dissidents in Italy itself. Savage portrayals and caricatures of Mussolini and of fascism are fully reflected in the collection. 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 La crisi sociale da Cristo a Mussolini [The Social Crisis from Christ to Mussolini]. New York: Cocce Brothers, 1933. Description An account of the resource In this 24-page pamphlet, Lisanti praises fascism, though noting its differences from Christianity. Lisanti declares that fascism has substituted for Christ’s exhortation to “Love your neighbor as you love yourself,” the “political imperative of deductive reason: ‘Act so as to cooperate for the common good,’” promoting the political relation between capital and work for creating a social equilibrium, just as Christianity proclaimed the moral relation between riches and poverty in order to create social equilibrium. Lisanti seems an unlikely candidate to have become a Black Shirt or Khaki Shirt (i.e., a militant fascist) rather than the philosophical fascist as seen in a work like this one, much as Renzo Novatore was more a philosophical anarchist rather than a man of action (much less violent action). Lisanti believed fascism is “the affirmation of historical determinism,” to navigate safely between the Scylla of Socialism and the Charybdis of Communism, in Lisanti’s view. In 1916, Lisanti authored a standard Italian-English dictionary published by the Società Libraria Italiana, q.v. I find no biographical information in Flamma, Durante or other sources about Lisanti. (There is a Lisanti chapel in the Bronx added to the National Register of Historic Places in 2002, but it was built in 1905 by Francesco Lisanti.) Creator An entity primarily responsible for making the resource Dott. Gaetano F. Lisanti Publisher An entity responsible for making the resource available Cocce Brothers 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 23.5 x 15.5c; 24 p. Language A language of the resource Italian 1931-1940 Cocce fascist history Mussolini New York https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/137abb5a8c42cdc3b8831ba026cc146c.jpg?Expires=1789603200&Signature=qx-8RoL-zJj7ssNthxPxp9b9lugLWhBJJjUKA3RRtqd8hG3uW9TyWmxvC2n%7EyVRhADQNGncAdVQEXb3HZ8%7EiS%7EyRIw4yrLv66N1i2t9AtX%7EzniLUhI5YIoQmP9f6KxWMUByTNKjxtUoeX4akChIOfEWaRsdad5l5E6Pmqyp0RhCj%7ETBkRYW22-G7OsH4gnsoePMMVv27i5rcqA8aU9%7EkYMVDLcs7PbZVoTFWvNsVf2fC7w4VHmEy4sCGzv1tMOjDaTHgA6Zy8RG5eU78W%7EcK0CHi7tN7AtbjDbEk7uAYNDClyVFP8Q8eCLwY%7EXbEz5n%7ED9SaZd1nwtvva611%7Ed3YPA__&Key-Pair-Id=K6UGZS9ZTDSZM 02fd6befebcb667d0afd498667387e15 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/d519f1b5021df3816eb9fce69d17a1a8.jpg?Expires=1789603200&Signature=Y%7E5FpLxbyOd73UGRnrB1cOcydpWpL2gSbOJJ0ea%7EiJLWBAgS%7EDgMHNBqjuS710eeNxiSXHT0AwB5Cr4DFsn65y%7E1SHDXI6DQd0UKw1oSJ1ECFDRd3iyz2Id3OjbMhqkyECo6VRyYfBj4RrE37BoklblwpWB-fxcImDPY49GAt4COdisk5R8r18CtKjuJhk%7EBNy-mxIddzzlDCCecXQERCFRlM56WBuFS2v6RCes0fuZhD2KhfUn1L5hesIHYL3dH7qH9lYpyI6dnPoVyzjRJGff1jTe8DN09CzkOt0Xr88Mw8UB9qJh95yAm9p6Lnj72Qv-RN9Ukf3RKPOfM9RwNgg__&Key-Pair-Id=K6UGZS9ZTDSZM 4fd1d8082120a5c9bd198dabbe65358a 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 Histories, philosophy, biographies, directories, bibliographies, almanacs, catalogues, annuals, religious, educational, and travel literature 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-sovversivi 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. The release in 1921 of Alfredo Bosi’s Cinquant’anni di vita italiana in America, 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. 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. 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. 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). 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 Italiani di America: Enciclopedia Biografica Vol. III [Italians in America: Biographical Encyclopedia Vol. III]. New York: Cocce Brothers, 1949. Description An account of the resource While this work calls itself "Volume III," it's really more a reprint of the original work from 13 years before but supplemented by additional names. Clearly, the original was successful enough that Flamma (or Cocce Press) thought it worthwhile to issue augmented versions of the first one. The University of Minnesota has a copy of Volume II. Flamma (b. Caltanissetta, Sicily, 1882; d. New York, 1961) emigrated to America in the first decade of the 20th century. During the First World War, he was a volunteer in the U.S. army. He lived in Chicago as secretary of the Italian Chamber of Commerce, and then moved to New York, where between 1922 and 1924 he was the director of the magazine Il Vaglio. “I have been in America for ten years, stubbornly following the bitter and harsh path of art. I am still surprised that I have not yet forgotten my Italian, given that the three million Italians in America speak every dialect but Italian.” Flamma claimed preeminence for having pioneered attempts to draw middle-class themes onto the popular stage of New York’s Little Italy (though he also boasted of successes on Broadway). He was one of the few Italian writers of the era who managed to get his work translated into English. While there is much on Flamma's life in Durante in his introduction to the excerpt published there, Durante notes that Flamma was not reliable on such questions. Indeed, the researches of Stefano Morello in New York reveal that, among other things: Flamma's real name was Domenico Pignato; he pretended to have been born in Rome; he was escaping a marriage made in Italy under his real name - hence, the name change; before emigrating to the U.S., he published Volfango: dramma in quattro atti in 1900 in Caltanisseta (adding his French mother's name, Audibert, after his real name of Domenico Pignato), published by Stabilimento Tipografico Ospizio provinciale di beneficenza of Umberto I, which was the printing press of a provincial charitable institution in Italy named for King Umberto I; and other interesting facts. Creator An entity primarily responsible for making the resource Ario Flamma Publisher An entity responsible for making the resource available Cocce Brothers Date A point or period of time associated with an event in the lifecycle of the resource 1949 Format The file format, physical medium, or dimensions of the resource 23.5 x 15.75cm; 370 p. Language A language of the resource Italian 1941-1950 Ario Flamma biography Cocce directory encyclopedia New York https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/a008a7905fb9a92c537992cd500d1b2a.jpg?Expires=1789603200&Signature=jhcKPkkxNEFy5QGrUy0d3bFBsj2GW5qRGMzy01FXwOZ4m4sMvoP3H3QCIMlfPEzV3m1C%7EFQv1bfRTZO7tTxqdci8cIimMvYSw2KX5nHXmkOAiuIoU6q9WpJume0z1kUzs9pZ3VTAO3vvB8UG4ycICZDzYIHcd8vRe%7EAhyJLUcvYXt%7E1yXirKe1yRJ8WslDGblDha2pi3XePnDAj2axIwdIWuCcpaD7lvV2p8j3e3sKXMDEy29LbgjSTVO2SVG7PgHjfyRFlwwBEQJMAtzaS7Rz%7E-vvoOkwGhRWFFdQjklCJSrp1qnZ5yLh6y1yd5o-tj5h0KqQ-gj1l5GGCqGKKWaA__&Key-Pair-Id=K6UGZS9ZTDSZM aaecf2d56c98401878c7e2160239e4a4 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/7ba1ca2500c43bd40aca2d259144120a.jpg?Expires=1789603200&Signature=kt6WbUOT65duNdAXD%7ElbRH8PvyfO3TfYRpRmMc%7EiKlMTZbAhbYdAdU5czxMUoYAmBc2r8Ddv4%7EHGkYSTj71gr8RdP4zm%7EQXBTQN8HOTjgzqHG8Lbw7Q%7Eks6wBE5z-D52eqKsvQeyp2CMvvSnLNgsBymkUr9bnGul6P4RcHT0WyAT1FRgcG%7ERS3t89ipXxPxVhn3c6CZ82F-9sXxw5d5M68dfW4i3zVstlv8o7ZohY8EEtvp3-jxaECQbwL63RzfI45wiO51E-esI4eiSbFE5KC-G6VF3d03XjlxEMG%7EmRRKY16lrwz9xjEz7ux3UCTR7WGPXSMQ8E2rBO8izTADNeQ__&Key-Pair-Id=K6UGZS9ZTDSZM d313d320047dfd3081287e02e0cc74b2 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 Histories, philosophy, biographies, directories, bibliographies, almanacs, catalogues, annuals, religious, educational, and travel literature 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-sovversivi 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. The release in 1921 of Alfredo Bosi’s Cinquant’anni di vita italiana in America, 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. 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. 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. 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). 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 Italiani di America: Enciclopedia Biografica [Italians in America: Biographical Encyclopedia]. New York: Cocce Brothers, 1936. Description An account of the resource Flamma (b. Cattomosetta, Sicily, 1882; d. New York, 1961) first emigrated to the United States in 1909. During the First World War, he was a volunteer with the American army. He lived in Chicago, where he worked as secretary of the Italian Chamber of Commerce, and then in New York, where between 1922 and 1924, he was the director of Il Vaglio (Screen). Flamma included biographical entries for writers and other literary types, printers (e.g., the Cocce brothers), publishers, and artists - (indeed, “pubblicista,” free-lance journalist, is perhaps the profession that appears most frequently in the work); and one can learn about musicians of the time, such as Salvatore Iodice, the composer of Giuseppe Cadicamo’s opera La Montanina. Flamma thus performed a real service for researchers on the lives of Italian Americans beyond the businessmen, lawyers and doctors who make up the bulk of entries in Giovanni Schiavo's otherwise useful Who's Who of Italian Americans, issued annually between 1935 and 1967. After its publication in 1936, this work was reissued as “Volume II” in 1941 (by S. F. Vanni) and as “Volume III” in 1949 (again by Cocce, this latter volume in the collection), with some additions and deletions. Only the University of Minnesota seems to have Vol. II. The collection also contains several volumes of Flamma's plays in Italian and English, q.v. Creator An entity primarily responsible for making the resource Ario Flamma Publisher An entity responsible for making the resource available Cocce Brothers Date A point or period of time associated with an event in the lifecycle of the resource 1936 Format The file format, physical medium, or dimensions of the resource 23 x 16cm; 367 p. Language A language of the resource Italian 1931-1940 Ario Flamma biography Cocce directory encyclopedia New York https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/3949d08792c84ca47243f16228eacd76.jpg?Expires=1789603200&Signature=XooG6-iomwlZBEdicOd%7EFksWPHlDi6BgCMY2y3k72186Vas0rPTLsy%7E0iOv1O7Q7J9nakQxOk6AlC%7ECj5PJJl1XkqvQ-0ts-JpQ91SIx%7EhmhW6mzz5axk3mwMgOohY-UKjkCIGXy%7Ex7TOtNALOWQdvPLJbc9Y6qxqD82xjlS9AE11VT-CVKDzNKJ9PrQidQgyyCiRJB4FsiZKyMS-bqlsZWvUNTlwJ1gvuE16pdLeH85bg7v0eXHaKg6CGx9Xxz8Lk04i0sg1zjBDZifT6FlMpgjUxsyRABfaZhXIhrWfGZQERSddHkNoMu4NrvP%7EPr6bLGwO%7Ew%7EwXCwkAmQyzvCLg__&Key-Pair-Id=K6UGZS9ZTDSZM 9124d67eb7812c7a827a707a90b6e995 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/9080b85b05e3853e1334e21b9b41fbc5.jpg?Expires=1789603200&Signature=CTOp2kl6Xj3WA-FDNZOIv5rma9fGhLS9glShMyfLtfUYF812miJWvZ9HZcz1VtfQMVtSMFvhC%7EV22P3LE5kZ%7EAZUpjzlqvAdR23ERWq9m9NuRF0vr81bTMzek0fO8cwbhzPxgtmkg0hXb4uqKAB6S8ePC5bQxQ6WhK6oVkMq2%7Eqzxs2pzS48-Qo0YpVh4w4jKGmqF4FAht6nHey1Uor28A-E78e98HPtTXEqVDrBrkus6rlkLRyslh1l0ZTry50dF6dlsRU7G5e7YkhAvdg%7EusqUq4SFQw3egVm6hphs6nov8aWqgS2Jr-pKzLwZ9HiB8Vmj%7EB5MyxSbpPfKbWy4bg__&Key-Pair-Id=K6UGZS9ZTDSZM 0242038a768e2788d2f1dd789ade3925 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 Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper 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 Parole Colletive, 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. 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. 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 sovversivi. 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. 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) Il Carroccio, or Arturo Giovannitti’s literary but also politically leftist Vita, Vincenzo Vacirca’s Il Solco, Ernesto Vallentini’s socialist Zarathustra, or Enrico Arrigoni’s anarchist-individualist Eresia, all of which are reflected in the collection. The generically (and gently) leftist and anti-clerical La Follia di New York 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. Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of La Follia 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 La Follia. 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. 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 Scugnizzo: poemetto napoletano [Street urchin: short Neapolitan poem]. New York: Coccè Press, [1924]. Description An account of the resource Inscribed to "Al poeta Armando Massa, con sincera e cordiale amici fa'a, con viva ammrazione, Riccardo Cordiferro, N.Y. 21 Giugno 1924." Creator An entity primarily responsible for making the resource Riccardo Cordiferro Publisher An entity responsible for making the resource available Coccè Press Date A point or period of time associated with an event in the lifecycle of the resource [1924] Format The file format, physical medium, or dimensions of the resource 18 x 13.5cm; 15 p. Language A language of the resource Italian 1921-1930 Cocce dialect Durante inscribed Neapolitan New York poetry Riccardo Cordiferro https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/9381476c3d0b5138d772f3f4d13b3f92.jpg?Expires=1789603200&Signature=mcy4czKqaCi5BkFiVcknB2fNRtpb5bULIN1koRyrY-Sluq9fcVL9S3Ct0dxTS29lOaxBqQpesOeIuDbj-zIOghMQvMyzrpUPeskZjumFe7gEIvLZ1XQnfPGWbX9GlZfPov6PB06VkbBZtqeL-gEnOdAjNRwJhQqt0pHu4swSH7uur8S6%7EybJb4pWyzekzzCkbXT9fOQcv7QyOh1k2yskP9KdBamiDncsOZnQ2GCOuPvbN18C6DjUpS2Lp6uDHpDjfII6WsHCM4r1rMnOfP6hawkj49ejtst8sj1k0e5-DDJXHWusHdT98tfEcUsFLH%7EILtITAHpSvWBqr%7E8-%7EH7W4g__&Key-Pair-Id=K6UGZS9ZTDSZM 4c67cbd897a9fb6f0b7eef70a187d973 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/9f3b00bffe93b083429d8409657dab38.jpg?Expires=1789603200&Signature=oVSuKe97L235wduHg8cfHH8qeHJaCyHR5NSXPZW0Tmn7ew57XuAvWVT0cUn5g7FocOnDSLgxAZsvFo%7EC8XUIaATDSnR74ExKT45KhvZ-lb0ILYjZ2ER05ic6-ZJM45YOR1YOC8OV2QCfApGyGk75YJ3Ez9n0-ZvCwNNypoCGBhZyBop4MPeXU6rtEbdrsHaZLf2xgudiTkVdCfQDxXWsrhkbf-69PLA-Ojxe-4reqXPOoRbhXOvnaiivqCkIwyjTM86175sWPTSFaI7ZiGUH3hHnhI9rnUu13k3lXIMsdLW75uiZcuvNATfDkYTjLFFk4AtcLw1n0wJF4vFytHaHfQ__&Key-Pair-Id=K6UGZS9ZTDSZM 92fc1c788226765d8d8a11a02d92b974 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 Histories, philosophy, biographies, directories, bibliographies, almanacs, catalogues, annuals, religious, educational, and travel literature 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-sovversivi 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. The release in 1921 of Alfredo Bosi’s Cinquant’anni di vita italiana in America, 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. 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. 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. 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). 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 Tre anni [1937-39] di lavoro in difesa degli immigrati italiani in America [Three Years [1937-39] of Work in Defense of Immigrant Italians in America]. New York: Comitato italiano per la difesa degli immigrati, 1940. Description An account of the resource The leader of the Italian Committee for the Defense of Immigrants, Edward Corsi (b. Capestrano (L'Aquila) 1896 - d. New York 1965) immigrated to the U.S. in 1907 at the age of ten with his mother and step-father. A studious boy, he frequented Harlem House, just founded by Anna C. Ruddy in 1908, at that time called Home Garden, and later LaGuardia House. Home Garden was an important center of sociocultural activities in Italian East Harlem and a hub of prominent political personalities, among them Judge Salvatore Cotillo and Congressmen Vito Marcantonio and Fiorello La Guardia. Corsi personally knew the people and the problems of East Harlem, and later described his experiences there as an actual turning point his life. He became director of Home Garden, from 1926-1931. When the Republican Herbert Hoover became president of the U.S., the Republican Corsi became Commissioner of Emigration, for two years, from 1931 to 1933. The next year he went on to direct the Home Relief Bureau, until 1935. In that year, he published In the Shadow of Liberty, and founded La Settimana, a bilingual newspaper publishing correspondence from the most influential Italian journalists in America, such as Amerigo Ruggiero of La Stampa (q.v. his Italiani in America), and Alfonso Arbib-Costa, as well as prominent exponents of Italian American culture such as Angelo Patri. He was until the 1920s a correspondent for Il Carroccio but also the politically quite opposite La Follia di New York, as well as (later, in the 1950s) Divagando and others. The texts of his radio broadcasts treating themes on Italian and American history and culture were published successively in La Follia and ultimately collected in the volume, Edoardo Corsi Parla (1942). His work for the Comitato italiano per la difesa degli immigrati is typical of the work in whose importance this lawyer and public servant believed. From 1943 to 1954, he was head of the New York State Industrial Board, and later, became special assitant for immigration in the Eisenhower administration. Giuseppe Prezzolini translated and published in Omnibus and then in Oggi, two passages from In the Shadow of Liberty. An excerpt from the latter appears in Durante. This volume was printed by Cocce Press, which besides having its own imprint, was a "jobber" for printing for others, like the Comitato. Creator An entity primarily responsible for making the resource Edward Corsi [pref.] Publisher An entity responsible for making the resource available Comitato italiano per la difesa degli immigrati Date A point or period of time associated with an event in the lifecycle of the resource 1940 Format The file format, physical medium, or dimensions of the resource 22.5 x 15.5cm; 47 p. Language A language of the resource Italian Cocce Divagando Durante Edward Corsi Harlem House Il Carroccio La Follia di New York La Settimana New York https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/06fdadabc3d275d7613797887d440832.jpg?Expires=1789603200&Signature=W5CX7HGaLdccDJpsWL0fljbIzKjZI1K%7EkOufKJuj-U6v98dMfmdHahlxZVXu1vXYU%7Ef7t5RG%7ECB6BUpBADSVgLnmXEMJ4feGKuDoxYTXRaZB21u61UeuyCaX5PxJpuGX2pQSB-2vUk9fc8tjX13DevR%7EqS0Q3AkWWpb3et-a9vor9VJ1lZr8NA98bH%7E9BbK1-ELKAFH6kWPl5oieaDhI-qUxY2yEdei9N2khNb-iGyBvkIC5Mf110rtVu5NddJQ8BCpARo9WIq38qqWxkon-8CVHSUAkgKoel4QMG6byymCOhZ3WRRn%7EcBrhKoAG4kL%7EOpFsGH6ULBtWXmnVeVRIlw__&Key-Pair-Id=K6UGZS9ZTDSZM 27cd105351e0997a905c0bff4321ecf2 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/a90ebd25b064cbe8ddbfb1530912ddbe.jpg?Expires=1789603200&Signature=CowjISS4o1EgR47yKUMVoOHTbvO5jVqJuPuZANzTXIu2mbtsg2cie78fE2Ha7ySNSXBuF98iXsS3YerMIT7PNACo%7EvXcqYsEBep8KJHj-UVfPeQnNCdV84FoZll8PuTa1sMBSb9X-CNhUgQwUAymWWFMfrsLNOBb1XEez8XLs7Rvc6a5MZrRs2zqNb8sTSB-Cu6I19LVvbB%7E846RVKub6O4dHQKeoottZ72vxf9TwjUFilIphfVh2cysRAm-mbaIS5DJYFclRcBOjKrG-N7R6HkAJCpnsdV2bSl%7E24064faQ6fskw9SZ0mdzXqHoGokj80gDYZLV2QfGnEeZrtdxPA__&Key-Pair-Id=K6UGZS9ZTDSZM e4d2a11f95d9025fedc3ea4135752cdd https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/9f02185302451746b3c59efde3ecad52.jpg?Expires=1789603200&Signature=Rw7QXh%7EzzTYfBxbltrk1URCry9Ji4afUU6N0Ax-xFu9lp%7EaItKKkzqiy-v335TcxoAhxZzqXfuwmA1yZanqsme6gj-hSXEC-NQdyWuE-c4OBHvxgRkFrckrnmyj93LZnM%7EbT5zwCBPqyHfwOFm4LGMxXbnIuHZ7N4BGuZfpE30QYrV2mcgeM112JLO-Megrl2tlO2q2sd0NevWUamBU6TM8IosE%7EnB6IUD2BQjbj3v4BtQ8PY0xnVz7J%7E9uoGs1Km%7ErpfxlZjzAbRMHnhCX93W2x6jhRZEcDIRDfPmGFRwcFfK%7E5ihz%7EUMoE64raeqPeIsNdxhjCyc3kcMpN9EP4PQ__&Key-Pair-Id=K6UGZS9ZTDSZM 0e0a857378e03d6ab1b8d159d4bf88b3 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/c65b8a9174b71f01ab7527be0b630a1f.jpg?Expires=1789603200&Signature=SCU7P3aaBxDmMa%7EF8GvB4ep11iz0lameuMdZiYdN%7Et26-z1yWn-AncDe3QXT3r-dpGXMqrxghsVkHEw0NXRf9V0M96VsPv-nt4ASya8IfNVoR32%7Ebb%7ECVjx%7EPmBkEq4I3qZHc74txAE7QFjLsGGg62a83wL94fIe3jjbf%7EXlTgQ6WzUclr6kH9LSXClrmByQzCPGSPRp7ShuKxmcTCLncbZJXd4o6oB02iVvFlLKo1loaG0K1X05-5KfidSq0G1o7UwS9EGEEDkilVBi0EsTPlnK3igohvM9RHtzHWHYt3lN3xaK8qKnyiaUQ6RZQevQ8xewj8mxyKTVcsXZBG9ezA__&Key-Pair-Id=K6UGZS9ZTDSZM 06b8c18d55a3253cb4497c8486a0d28d 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 Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper 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 Parole Colletive, 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. 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. 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 sovversivi. 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. 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) Il Carroccio, or Arturo Giovannitti’s literary but also politically leftist Vita, Vincenzo Vacirca’s Il Solco, Ernesto Vallentini’s socialist Zarathustra, or Enrico Arrigoni’s anarchist-individualist Eresia, all of which are reflected in the collection. The generically (and gently) leftist and anti-clerical La Follia di New York 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. Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of La Follia 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 La Follia. 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. 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 Poesie napoletane [Neopolitan Poetry]. Napoli: Cav. Ciro Russo, 1949. Description An account of the resource With a preface by Pasquale Ruocco. Cenerazzo (sometimes spelled "Cennerazzo") was an actor and author of theatre, poetry, songs and Neapolitan caricatures, who arrived in the U.S. at the age of 12. Self-taught, he collaborated with Francesco Ricciardi, performing duets and Neapolitan songs. Ario Flamma says he performed with Mimi Aguglia. He also worked at the Cocce Press. After World War II, his compositions appeared in La Follia di New York. An important locus of study of theatrical activity among the Italians in the U.S. is the Raccolta Cenerazzo of the Biblioteca Lucchesi Palli, an independent section of the Biblioteca Nazionale Vittorio Emanuele II of Naples. It contains a rich collection of manuscripts and published works, including Rose Rosse e Rose Gialle, a copy of which is now in the Collection. Durante's Italoamericana contains the one act text (in translation in the American edition of Italoamericana) of an unpublished plan, Rapitori di Fanciulli; ovvero, La Mano Nera [Kidnapper of Children, or The Black Hand], dated 1912. Creator An entity primarily responsible for making the resource Armando Cenerazzo Publisher An entity responsible for making the resource available Cav. Ciro Russo Date A point or period of time associated with an event in the lifecycle of the resource 1949 Format The file format, physical medium, or dimensions of the resource 21 x 16cm; 261 p. Language A language of the resource Italian Cocce Durante Napoli Neapolitan poetry published in Italy https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/1213e083189f17f456ffece05087be12.jpg?Expires=1789603200&Signature=hzkIke%7EPO-PGUgjrOKyg1bhpfLteeEN6ugP8w4ZWl1uxxvYiquYbITuIKPgjAeza-QFwRUAu-vzjevvEFLdnw9l%7E4tiUT6TiNym%7EJT3bFJGmWoAeVo3qaBCLK%7E3HFDwTua%7ES%7EgNuSgxtrJyuPDibeAZHy9XeU2gz02cjEr0Lu2m72xSETRXVzFoFzE9OLgIi02lqF9Tf7Sr7Carerh3Sk5VjQ2fqb5uyYxNVDXJPA2I7fYmqgZgWLI0-foiCT0YCIkkg2y79Nh49jxgBKGzquSx1G17xmXtmn4wv8ZZr67SRFUug8lNKvEZ8vMGQ1nZYU7Qbt8dcq5kPdrPQiQmT5g__&Key-Pair-Id=K6UGZS9ZTDSZM ad91ae2343a5e3a19d3f1fc56a128ced https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/6dba375ba9152c1b9a66cfb158167d10.jpg?Expires=1789603200&Signature=B7KWKBNEaUiZ46R2%7EUeGfjLZ4oHSPoxY7OIof1PAOQlabNlgdPjM5180Vi%7E5JHsk-2bCIougEOrMa3FtlbKIySnaLvm6J2nPIw2p2w9GWExvrWtS2g2pOPBJB8D8LJ0JdS%7ERiND4qXjiVwjUjmPO6WJpKd9BRH1M3OhcY%7E%7EJST3ATEC-uvnTgWEe2vJwZK9TxwZfiTsA4QBea3rnkt5uS%7ECJlAjTgntIek6BhhoaC%7Eclff2a1os8JMr7mmH5jeNdvi1O8-VTjn4gAGmSZc3JFXcW4PD-W0xtlF0zCc5xZC3pLTWgA4Km54pYCuc%7EH2%7EdIoJSGqZFGlCfXjjwTMRkTA__&Key-Pair-Id=K6UGZS9ZTDSZM 161169547cbde3eb965eced8f0ebe166 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/b52cf0bce2d8a5bc24785ecc643e68d5.jpeg?Expires=1789603200&Signature=lgOjA-9gF8CJR88PrVDcS1nAYTZjVrLgDu-LCGBVHP8yYo%7EaYJKn6p%7EMNB-EINZVlGQ6z1Aw8aTWcNr%7EsCsRmeRAW9oPl9TOGOtzHUkgOwDOKXKekvjrGnc2FpHh352AvVFZlHnqlctwa0TidPf3ixa2WzhhkYzioXe-iC4th-cy6jUCV0BlVE4BgqDtuEpMuDB%7EmMvpyv7FTH9SZr7stjIzt4Rw-mLJkf%7EBC5Q8jiL4bs7RbFE2WhPps79LPfUaBCx7CE369nO6YRUxRJXlzlU7K5eewlPgM4U1n1jRSrvZ34pZopjZrWm5i2zHws43o124QCqpxkXhPucn-GlUfQ__&Key-Pair-Id=K6UGZS9ZTDSZM 3bea0e604bdb883e3b03b3caa4f9e89d 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 Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper 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 Parole Colletive, 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. 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. 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 sovversivi. 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. 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) Il Carroccio, or Arturo Giovannitti’s literary but also politically leftist Vita, Vincenzo Vacirca’s Il Solco, Ernesto Vallentini’s socialist Zarathustra, or Enrico Arrigoni’s anarchist-individualist Eresia, all of which are reflected in the collection. The generically (and gently) leftist and anti-clerical La Follia di New York 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. Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of La Follia 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 La Follia. 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. 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 Parole collettive [Collective Words]. New York: S.E.A. [Società Editrice Americana], 1941. Description An account of the resource Ezio Taddei (b. Livorno, 1895 - d. Rome, 1956) was involved in Italian politics at an early age: at thirteen he was arrested for involvement in a demonstration connected with a nurses’ strike in a Roman hospital. When released from prison, he found the doors of his home closed to him, and began life as a vagabond. He was sentenced in February 1922, along with 32 other anarchists, by the Court of Assizzes in Genoa for conspiracy to destroy several private and public buildings. Overall Taddei spent 18 years in Italian jails, first for his anti-bourgeois activities and later for his anti-fascist activities; these experiences animated and fueled much of his writing. War and imprisonment fostered his desire for social justice, reinforced by his reading, especially 19th-century Russian realist novels. The Russian radical Mikhail Bakunin, who arrived in Italy in 1864 and believed in immediate armed revolution, attracted intellectuals like Taddei; he and anarchist Errico Malatesta recur as models for the fictional alter egos under which Taddei wrote. This work, with a preface by the writer Alfredo Segre, comprises seven stories, written in the late 1930s during the last few of Taddei’s 18 years of imprisonment in the Fortezza di Civitavecchia in Italy. It goes without saying that publication of such a work in Italy would have been impossible in 1941. The artist for these sketches spread throughout the work, and probably also the unsigned collage depicted on the cover, was Costantino Nivola (b. Orani, Italy, 1911; d. Southampton, NY, 1988), a Sardinian graphic and fine artist and sculptor. Fearing for the safety of his American Jewish wife, Ruth Guggenheim, Nivola fled Italy with her for America in 1939, where he became art director of Interiors and Progressive Architecture, the first non-American admitted (in 1972) to the American Academy of Arts and Letters, and an intimate of de Kooning and Jackson Pollock. The American edition of this work, Hard as Stone, was translated by Frances Keene and published in New York by New Writers in 1942. The Collection contains six of Taddei's works. As is evident from the translations into English of several of his works, Taddei (unlike most of the other writers in the Collection) enjoyed a significant, however brief, success in American intellectual circles. A frequent critic of the racist and anti-immigrant fervor in the U.S., in New York he was welcomed by Carlo Tresca and, following Tresca’s assassination in February 1943, made an impassioned speech on the street outside the offices of Il Martello about the need to find the assassin. Martino Marazzi has a fine, extended biographical discussion of Taddei (in Voices of Italian America, 152 et seq.) as well as excerpts there in translation from Le porte dell'inferno and, also in the Collection, Ho rinunciato alla libertà. Durante also has an extended biographical introduction and appraisal of Taddei's special place in Italian American letters. Creator An entity primarily responsible for making the resource Ezio Taddei Publisher An entity responsible for making the resource available New York: S.E.A. [Società Editrice Americana] Date A point or period of time associated with an event in the lifecycle of the resource 1941 Contributor An entity responsible for making contributions to the resource Printed by Cocce Press. Language A language of the resource Italian Carlo Tresca Cocce Costantino Nivola Ezio Taddei fiction illustrated