1 25 11 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/475c1afe978924b2d526e8076818d8af.jpg?Expires=1789603200&Signature=eyagCznxykAShEwT2zs6nuPxJtQ1gihBQW%7EYIkqcPGb80OUNCERiTBCt0Xbp4UuRjmV00WRJrTLyRbVfXVyZ2ukWdN1B58yKr8n760WpxVn8tXkDSYY49nzMoV9RmA1Wr%7EIqkkRgnoTdjNFtunwnle-gafqezxEvQVCKWdbNQl8l33pPGGlj3VoTScjtcY%7EMmwev6l9b6a29o0GptlFt2mN9kFwnm6iF7rTnD8sE6YGUcm2lDoUQgy309-vF9nm907C38UYNur3imvsmxJoM%7EWsa0Uf568YjEXv0XS2eIHhVkgVST2Paxib%7EAN%7EMW9buxP9ClYgF-w391vbxodus2Q__&Key-Pair-Id=K6UGZS9ZTDSZM 5e9aeb5b229c9931744ec28a31532dd7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Periodicals: newspapers and magazines Description An account of the resource The collection is rich in hard to find magazines and/or newspapers like Ernesto Valentini's Zarathustra, Vincenzo Vacirca's Il Solco and La Strada, Aldino Felicani's La Controcorrente, Il Proletario, Enrico Arrigoni's Eresia, Carlo Tresca's Il Martello and Guardia Rossa, Antonino Capraro's Alba Nuova, Arturo Giovannitti's Vita, Agostino De Biasi's Il Carroccio, T. Lucidi's Il Messaggero della Salute, Guido Podrecca's and Gabriele Galantara's L'Asino (this last mostly published in Rome) and others. As Francesco Durante rightly observed in Italoamericana, 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. 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. The politics of the magazines and newspapers ran the gamut from left to right, and some - e.g., Il Messaggero della Salute - 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 Il Carroccio, and less overtly political writers like Salvatore Benanti and Federico Mennella often contributed literary pieces to leftist periodicals like La Follia di New York. For example, Mennella wrote the dialect column for La Follia for some time. The catholic nature of the magazines in the literary culture of the Italians reflected one of its strengths. 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. 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. 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 Cronaca Sovversiva 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 Il Martello, La Follia di New York, Il Carroccio and many of the other political magazines - they were part of the "glue" that held together the Italian community quite beyond their immediate political messages. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Follia di New York [The New York Folly]. New York: Marziale Sisca; The Italian National Magazine Company, 1935-1977. Description An account of the resource The Collection includes only a few issues of this long-lived important literary and political magazine: La Follia di New York, Vol. XXXXIII, No. 1 - January 6, 1935 La Follia di New York - Dicembre [December] 1977 La Follia di New York - Aprile [April] 1977 Emigrating with his family to America in 1892, soon thereafter Alessandro Sisca, known usually as Riccardo Cordiferro, founded the weekly literary magazine La Follia di New York, together with his father Francesco (1839–1928), who was also a poet (q.v. his Lu Ciucciu, in Calabrian dialect), and with Alessandro's brother Marziale. Francesco Durante's essay on Cordiferro, on this website, is a delight to read. The work for La Follia, combined with his intense literary productivity, absorbed Cordiferro completely, and gave him a vehicle by which to publish several of his works, such as La vendetta (q.v.). Approbation for the magazine’s notable success on the East Coast led him to make frequent trips throughout the country and beyond to give theatrical presentations and poetry readings, and to engage in debates, very often with political overtones. Though not committed to any one strain of leftist thought, Cordiferro maintained close contact with anarchist and socialist circles, which resulted in more than one arrest and constrained him to resign from directing La Follia. In 1895, his drama, Il pezzente [The Tramp], ran for hundreds of performances and became a standard in the repertory of amateur players in revolutionary political circles. See Durante's essay on this website, “Riccardo Cordiferro,” pp. 21–22. Marziale Sisca, Alessandro's brother, was the business manager who was primarily responsible for keeping the magazine as fiscally sound as it was. It was Marziale who probably deserves the credit for getting Enrico Caruso to supply the magazine with his marvelous caricatures, two collected editions of which are in the Collection, q.v.; the later editions of these are commonly available for purchase, probably having been issued, in various editions over the years, in relatively large numbers for an Italian-American audience that adored Caruso. Publisher An entity responsible for making the resource available Marziale Sisca The Italian National Magazine Company Date A point or period of time associated with an event in the lifecycle of the resource 1935-1977 Format The file format, physical medium, or dimensions of the resource 27.5x21cm 28x22cm Language A language of the resource Italian 1931-1940 1971-1980 Enrico Caruso Francesco Sisca Francesco Durante La Follia di New York Marziale Sisca periodical Riccardo Cordiferro https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/4b41ef25e4fba27774221e1553acc143.jpg?Expires=1789603200&Signature=V%7E77ezNqENwjln-KKlw1fmK6giFLcQ2%7EkeYMbDvEydgllRP44dVe4gyeBosLkLL698oKUWWrD2Q1k9b6deBha-Zkc-Jl1iL-CwI0Pu-bD8mdFxJvey8mIReBsW0-PXT8GdIu8c2Q9g6XiswDj17SYAWUNhVlUBuvYmhZuo603BhGWr-Km0Q9OQF-X3Sj1BMNka8GgiZvQvGKjtvR-DxvFsEDrQoL8RENoeDWt9ntN9-HKyWLdYWa7CsguZCO7Sjh7c7ImYe4FpFRuKfXTMfMuoT%7Ecs4gLtlQNk71WsWcLJfQiAVdj6wk7e3SmZkjUzFAUpiRYhPQyE-TgtT1g2aP0g__&Key-Pair-Id=K6UGZS9ZTDSZM 157c07d476b84f303ace2fa4dfae9470 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/cd7fa9abcdb19b1a38c20044cda0f817.jpg?Expires=1789603200&Signature=W1dXKeAljl8ztEFmsrlGqDduZTfINZhprsLPDppxUSMOobOczsCElIC%7EaIHs%7EB8cVA2WPJo2rH-mw7VbuU9DdkpSrtEViH3QB9GegspyBg8W7nS86zMEEBg5BtLX%7ER1ZSGRcOoZNd0eFIC0nEoJEiWAGzkBYPi%7EDlIeFpaxSZFKv9pJrniXdI-0svVw1cmpLh9EIbznAtsiIrThuLwphYNTF%7EEDemlBYjVcyko8jDDF%7ET5AhoG81X8yvg78S6Gq0Rnevm0E4ZJw7zZNpDBXNNVpCgtdwemCa8t86BIne4DPQlZ-pNOQcEGkWWfzf%7E1sPLL1b8opd0tfWeqT8x%7EH4uw__&Key-Pair-Id=K6UGZS9ZTDSZM dc8b076c284279dcc3f0127d8be40867 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 Il diavolo biondo [The Blond Devil][Facsimile]. New York: Nicoletti Bros Press, 1916. Description An account of the resource Stanco’s eloquence and pessimism are amply illustrated in Il diavolo biondo. 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, as does Durante. The protagonist of the book is an Italian American detective, James Forley (born in Naples with the name of Giacomo Forlì), a resident of the Bronx with his young daughter Laurina, the governess nurse Giacinta, and Fox the dog. Forley is dependent upon the celebrated poilice detective, Giuseppe Petrosino, head of the New York City Italian Squad. The “Black Hand” abducts Laurina. Orchestrating the abduction is the “blond devil,” Lady Ryton, wife of an English baronet, who in New York has recast himself as an influential Republican politician. In reality, the woman is none other than the baroness from Palermo, Livia Iamicelli. Years before (in the novel, these circumstances are introduced via a long flashback), in a nocturnal duel, James had killed her fiancé, his rival in love. Livia accepted him and fled with him, then gave birth to Laurina. In the course of the search to recover Laurina, James becomes entrapped in a lunatic asylum of Brooklyn by a very wicked German psychiatrist; Petrosino enters the scene to save him, and in a tragic crescendo, James succeeds in liberating himself from the grasp of Lady Ryton’s accomplices. A dramatic recognition scene ensues as mother and child discover their respective identities. The finale sees nearly all of the main characters dying: Laurina is killed, and in sorrow, her young suitor Anthony commits suicide. James also dies, falling from the Harlem Bridge, after having, in his turn, killed his daughter’s assassin. Triumphant, beautiful and perverse, Livia (Lady Ryton) is, naturally, “the blond devil.” An entire page advertisement is in the rear for books designed for Italians to learn English. About Stanco himself (b. Riccia (Campobasso), Italy, December 20, 1886–d. New York, 1954): he was born Ettore A. Moffa, and adopted the pseudonym of Italo Stanco, and, on other occasions, that of J. Cansado (stanco is Italian and cansado Spanish for “tired”). He undertook his first freelance writing activity in Naples, then in Florence. In 1907, he emigrated to Argentina, where he worked for the Giornale d’Italia e dell’America del Sud (Journal of Italy and South America). By 1909, he was in the United States. On July 23 of that year, Riccardo Cordiferro presented him at the Beraglia Hall, in New York, with the following words: “Still an adolescent, he began to contribute to the literary newspapers of Naples, revealing himself as a poet of no small significance. In Naples, with the printing houses of the Stabilmento Tipografico Torinese, he published one of his first volumes of verse, entitled Bandiere della miseria (Flags of Poverty). . . . He published some critical essays, entitled La penna italiana (The Italian Pen), in which he reviewed the principal literary productions of that time” (Cordiferro, “Italo Stanco,” in Mondo nuovo [New World], a New York weekly of politics and art, directed by Italo Stanco). Italo Stanco was, in sum, a true man of letters; his pseudonym is emblematic, and his Neapolitan critical essays, especially La penna italiana (whose complete title includes the ancient word for Naples, Paralipòmeni), reveal tastes and knowledge far from banal. In New York, he founded the review, Maga Arte, on art and criticism, and from 1916 to 1928, he was subeditor of La Follia. From 1925 to 1938, he was a reporter, then subeditor of the Corriere d’America. In the 1950s, Stanco was still active as director of La Follia di New York, and as a member of the Circolo di Union Square, a sodality that revolved about the sculptor Onorio Ruotolo, and published a weekly review, Divagando, in which the poets Antonio Calitri and Pietro Greco took part. Between 1952 and 1954, it published a hundred or so installments under a rubric entitled, “Questo è il mondo folle and tondo” (This is the mad round world). In 1958, Onorio Ruotolo dedicated to Stanco the poem “Notturno di rimembranze” [Nocturne of Memories]. Stanco’s production was vast and varied: novels, theatrical works, and translations from Spanish, English, and French, among others, translations of Alarcón, the Sibylle of Mirabeau, and various popular narrators. In examining Stanco’s production, Martino Marazzi identified four of his American novels in volumes: besides Il diavolo biondo, Dopo la colpa [After the Fall], 1913; Sull’oceano [On the Ocean], 1922, q.v. also a facsimile copy in the Collection, similar to the moralistic stories of Edmondo De Amicis, from whom Stanco borrowed the title of the book. This story treats of a crime: L’amica del kaiser [The Kaiser’s Lady Friend], 1925. From Marazzi’s examination emerge five other novels, published only in La Follia and Il Corriere d’America: Il re della pampa [The King of the Pampas], 1911; Il nemico del bene [The Enemy of the Good], 1914–15; I rettili d’oro [The Golden Reptiles], 1915–17, reprinted in 1952–53, in Divagando [Wandering]; Le piovre di New York [The Leeches of New York], 1925–26; and Reginetta di fuoco [Little Queen of Fire], 1931. Finally, there are numerous novellas, allegretti (short comic novels), poetry, and dramaturgic works. Finding copies of Stanco's works is a frustrating experience, and in 25 years of collecting these materials, I have never found one (except this facsimile copies of Il diavolo biondo and of Sull'Oceano, as noted). In the category of "one that got away," occasional lunches with a fellow Grolier Club member years ago, the late Robert Raymo, a distinguished Chaucer scholar at New York University, revealed that he had been a good friend of Stanco's, and had had at one time copies of many if not all of Stanco's works. The reason he no longer possessed them: Raymo's mother discarded them while a young Raymo was away, fighting in World War II. Sigh! Creator An entity primarily responsible for making the resource Italo Stanco Publisher An entity responsible for making the resource available Nicoletti Bros Press Date A point or period of time associated with an event in the lifecycle of the resource 1916 Format The file format, physical medium, or dimensions of the resource 21.5 x 14cm; 349 p. Language A language of the resource Italian 1911-1920 book ads Divagando Durante facsimile fiction Italo Stanco La Follia di New York Martino Marazzi New York Nicoletti Onorio Ruotolo https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/83aea111b9eb6e90e396a007d7ca9e13.jpg?Expires=1789603200&Signature=VnTJTWCG7Paq0aIXk4Va1HgO%7EZu0NGJkbcYkp5evedUHommyKl1ZjK7OeHsnD9tXZFU-Nf1g32B1UIUMkXnXToGvSISj7LzwGK2PUkRxYZjS64T2hV42SHm8NtmClQSaJSJplYJ3Q04ZJ2ggnmIFk6sf6tZc2QvszGBGV-v4pvFoCQmc3oBqfSRsvz%7EjjWP10ekkOm9W1VJhOqkl5gyTD0pNiofbDXVcM3lXeRH3LCT3t9oytvyuHxXITr1S5hJg21D1%7EEzXUpLnKywylWbC7LOTg5AJ2rZsrW6apYvcSNzzJ556ofyEQ6ccTHveIGdpGXfzWpKCYb2HgVuWmanT9g__&Key-Pair-Id=K6UGZS9ZTDSZM 6ea942a05a36db532b91b31e9d3cf228 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/beb50bcf39d0f924f87ecf8b81bf3895.jpg?Expires=1789603200&Signature=XJliTH8aSUpH09kSGXDUfa-ZX0OXyBwX66KWvpzbmpo3lvjHwOYbx1Z3Cyw3z%7ENMMh6yWQmBwdaLx3QTEH6Mvl4A-Gx5Xp6W7hEMYXNEaoloCcP19E6XpvpcOV3DFdVWXWa2S1%7EPnwPLRrtQGOGTHt1gkM80f03vznbwDNdwzDtG063SNK4NixzYMy3RUfMkxg4VuRYo8jOAS5JN7H6S4RIL6yTSc95HKtWNF7-NWadpkTINKDv9X5sepFxDYbDMa6FJVtmjuu-hRoYbZUWJaDmDT8G8mDhs9EWmKv9HEo5wEURNW9gtpaQSgT8rOIzG9loxZLyb2zIb3lTCILgrdA__&Key-Pair-Id=K6UGZS9ZTDSZM 570309c8a0ce360d967ea5655f44c728 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 Il Presidente Scoppetta, ovvero La Società della Madonna della Pace [President Scoppetta, or The Society of Our Lady of Peace (from its founding to its dissolution)]. Philadelphia: [n.p.], 1927. Description An account of the resource This parody by Seneca (b. Benevento, 1890 - d. Philadelphia, 1952), a professor of languages at the University of Pennsylvania, reflects the bitter laugh of early Italian American comedy. It is filled with a corrupted version of dialect, along with comic drawings and, in its own words, an “outrageous narrative, full of double-entendres,” a “wry extended joke” on the divisions that stifled the Little Italies. This work was dedicated to the king of early Italian American comedy, Eduardo Migliaccio, also known as Farfariello. A year after publication as a book, it appeared in twelve illustrated chapters in La Follia di New York. 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. The narrative is a story about a garrulous shop owner turned politician, Francesco Scoppetta, who founds an organization named “The Society of Our Lady of Peace,” of which he is sure to be president. He is painfully surprised when he learns of his well-qualified running mate (whom Scoppetta calls his “anniversary” instead of his “adversary”), the somewhat comically named Angelantonio Squaglianzogna. Seneca uses Scoppetta’s effusive character and misplaced jargon to mock his fellow Italian Americans, but all the while embracing his culture — the title page declares, “Scritto per diverter tutti e non offender nessuno,” that is, “Written to entertain all and offend no one.” Creator An entity primarily responsible for making the resource Pasquale Seneca Publisher An entity responsible for making the resource available [n.p.] Date A point or period of time associated with an event in the lifecycle of the resource 1927 Format The file format, physical medium, or dimensions of the resource 21.5 x 14cm; 82 p. Language A language of the resource Italian 1921-1930 Durante fiction La Follia di New York Pasquale Seneca Philadelphia satirical https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/71bec73207344e98b8723096a240c606.jpg?Expires=1789603200&Signature=ab90dt8leVpAMNWQuwgQfa0YcZqpYitzhAanTrPUKXpI7qoKT%7E5RA-YXQ4yfrF47SYs1kvhg9E3517dUbnhN-2DLFDdK90yPa5sbLl8WlJ0Esfc3lwmjtLofEHyUETU57%7EGP3TcdDc8rivR8clw0B2s1icfsQ8Sfl8kP7A7HVcHsMjhN5hiTR5SY28xUplTJSERhhWTOw6zt25AKRB2kWABLldmT77E-nLP30PmwK9OYmU22wJ0dMgs9jU2Xdm3kMlejoQTEvt-JelJ0EjHf88TLh8nuezLO012LTmshtLkscaFSe2rdrbV4mXZ4FARC4CXNkBcmAVAmDF4KZi2WCA__&Key-Pair-Id=K6UGZS9ZTDSZM 3703461099dde3b1debb4b9776525146 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/f77290fd9d30c58ff4759cba37a27b67.jpg?Expires=1789603200&Signature=cGtnX%7E5iXZiMVOYMWHgPqL3fgCBDKmjgdgZg4sh2TU%7Elg7z7w8I-5txPcTW23djZIYdFeVPKHOpBHqwtuTZ3TwmJ5J3K7ideLtjV3fPg1YNa78WPbHdtuAg6JU3YqyKVyjwFPPvozVvOwiUcka9As-QTjsC4Vns8Vw0OmbpKzBYaBlxReCj-Pg5RI4dT6kpPVosPSGdoogjaw%7Eyw3kmMF37oh%7EbcrAjEVadUZOk1tdaPo-7TIxR0rb1dplDBeRk11jISWovDlB-gZLPz1iEYmUbibnNgi%7E3LxmnN2RG3PboT7H0UEEmpGd68KN8mOfwPk--YbcT4auMz7z1K-JUEEA__&Key-Pair-Id=K6UGZS9ZTDSZM 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 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 Lu sonnu di Monsignuri X: poimettu in lingua siciliana [The Sonnets of Monsignor X: Short Poem in Sicilian]. Brooklyn: Tip. Ital. del Rinascimento, 1912. 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, La Follia di New York in 1906. This work is dedicated to Riccardo Cordiferro, the long-time editor of La Follia. After several trips to Italy on a sculpting project, Pucciu was back in New York by 1922. 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 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/ddfc79f7a4489b17b324622607d7a1a5.jpg?Expires=1789603200&Signature=GQrGuPh9YjAxfqhsCOs2JcT4n246kLI5f5i9WNsY1A0f6K0VnU87VEVhtLfAo8q7YlFocGIW6nhO726vC3dryizUwyFOsYlPySOLlB7%7EWKb6yEJojWfqnVARWaQ2LHMZBpmpOtVR%7EmDO8prkFew5EhJwZ7FYtZrTWRmBGBF5VAE2EyPta7Cb-EqxMbNDSk8glG8cWt65cAWL0cT6v16Syy5kB7ub8rogVQsb3M8xxpe5-5ZF1k0Bsbzp2T96CtywuFNVP58yNEmUR5U726oDnCOgVS2izItEP7s3GtzxArRLPcDB0Hkr8CNjG3uKQVR5slxce%7E3TIWDakTpRMOeTpQ__&Key-Pair-Id=K6UGZS9ZTDSZM e4824038c9e3ade1dda0d4c6184985dc 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 Nofrio senzale di matrimoni [Nofrio, matrimonial agent][Facsimile]. New York: Casa ed. Biblioteca Siciliana (presso la "Follia"), 1919. Description An account of the resource De Rosalia was a leader in the Italian American vaudeville scene in New York. He premiered on the New York stage in 1903, shortly after his arrival in America. In 1904, he became a teacher in the New York public schools, and gave English lessons to Italians. At the Villa Mascolo Concert Hall of Canal Street, De Rosalia performed parts in classical and modern drama, from Alfieri's Oreste to Giacometti's La morte civile. From the summer of 1904, he was proprietor of the Compagnia Comico-Drammatica Giovanni De Rosalia alla Villa Napoli, succeeding Francesco Ricciardi. De Rosalia subsequently formed the Nuova Compagnia Filodrammatica De Rosalia-Perez-Picciotto. De Rosalia on stage became Nofrio, one of whose many comic sketches is reflected in the present work, perhaps because serious theatre didn't bring in the crowds (and thus the money). Nofrio was the comical fool, buffissimo Nofrio. Though Eduardo Migliaccio (Farfariello) already dominated that scene, De Rosalia's comic theatre was somewhat different, oriented toward an extension of farcical material. On the label Italian Columbia Records of 1930s - he later recorded for RCA Victor - there are listed some twenty "little Sicilian songs and comic scenes" performed by him with his company, of which this is one; some of the recordings have been reproduced and are available. De Rosalia apparently also wrote a memoir Avventure di palcoscenico, which has not been found. Francesco Durante (2005 in Italian/2014 in English translation) has an extended biographical sketch. Creator An entity primarily responsible for making the resource Giovanni De Rosalia Publisher An entity responsible for making the resource available Casa ed. Biblioteca Siciliana (presso la "Follia") 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 21 x 14cm; 22 p. Language A language of the resource Italian English 1911-1920 dialect drama Durante facsimile La Follia di New York New York Sicilian https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/5ff7bcea566a2ef6322ee263a0f60d4f.jpg?Expires=1789603200&Signature=CG76ML2xPcCNmzxqfOm2AQAMu0EdsII3EuO931kPhH0POxvS643B8FC5hHJJVuNNCz7hipt0nIqLO3kj7otgIUe6vJFYuGGsoYlhv-eela68NuAzowHgUH4mSLc8jofrfmMQV1OGyF1aLpxN779StXO3uynntNJf5vRVDd727krKANpIYsetkdV7qiS1jdCeScFuP7NqNpOiK2cNCEX%7E-pvPLFTygnVfRrc%7EqzagL8adEf%7E3vPR-F0PbQQf4WmpN4vGkjRC7pWE5RqG7kjLDnlzUBZph309RNNJAty%7EAmZohd5OpDdOR37aSyLhvh7M7ED5T%7EC3KIK43G5AZI1RBjw__&Key-Pair-Id=K6UGZS9ZTDSZM f524e25130fc2b812fc27b18c911aab5 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/3bf44d1873d18cdaa85321af154b97a5.jpg?Expires=1789603200&Signature=E9Ksu7Hjmx4Kg8NoPfTNTh3mX%7EmI8saNXAcmT4rNKLGAeSoUKSxcjKxOs3edRvcHExYukZdt%7E9cROJD1aw3XO-2dw6lK2VdGAm%7E2NRZVaxSC1KTp6TNBGWcGXoEhiMJ54erNWRYXcNT-0AwoMx-oFtGPY6V6Qd8DmKr58HZCoxqlWEppUpAzZLTltloFqRxKZ0ciSb4vNUOl3izw3nBc0odRd5E3wgnQCO9p9tm0jkMHpl9FHe%7EazkvPFEgr6wdmffki6TSGgIisb3iQUCWdEAO4NLwWado7wPqzRfpOorq-YeeyIwqbmP3CRBE8%7EFX0lgjBaSwdGFBZo4Aug-TPeg__&Key-Pair-Id=K6UGZS9ZTDSZM e778ad18f23a0d4e3876d2153d845271 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 Il prisco cavaliere [The Old Horseman]. New York: F. Sparacino; "La Follia di New York," 1924. Description An account of the resource This copy inscribed by author to the writer Anna Lannutti in 1933, like La vendetta. This copy lacks covers or a title page. This work tells a story of Italy in 1840s & 1850s. This comic satire — the title is a play on words, as “prisco” means “ancient” or “of olde,” but it is also the horseman’s name — is also inscribed to Anna Lannutti: “Ad Anna Lannutti, gentile e fervida cultrice della Muse, per ringraziarla della parole di loda e di plausa/ scritte dopo la lettura del mio sonetto ‘Fine l’anno’ / Riccardo Cordiferro / New York, 20 Gennaio 1933” (To Anna Lannutti, kind and ardent cultivator of the Muses, to thank her for her words of praise and approval written after the reading of my sonnet, ‘End of Year’). Lannutti's verses appear in the December 1932 issue of Il Carroccio, q.v., showing as we have seen often that an author's politics were not important when it came to getting work published (in Il Carroccio). Or maybe it demonstrates - see Salvatore Abinante's work here - that Cordiferro could be friendly with, even publish the work of, writers whose politics were not necessarily consistent with his own. 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 F. Sparacino; "La Follia di New York" Date A point or period of time associated with an event in the lifecycle of the resource 1924 1921-1930 Durante inscribed La Follia di New York newspaper press poetry Riccardo Cordiferro https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/b3e78611c0c8b570db1f4af3e7ae7b39.jpg?Expires=1789603200&Signature=GT-Z0KquAlZCpSYI3Y2BwpbgaPzXsfFJdKI-GPM-DG84GPsf506sZ1C-ZKYmXn777Wn8yCzFlp-oCkSjwgAW3nYLD4Z9hPafsIw8ydM0wSYaAmjUe2fKVAIftnYg046YJZeslFrg6aAqr5kEeTl4k0%7ENQydTzRmWoiwauB8qhS3EMpZxT5wHUFllm4QCOnvXRm2tIxGmL9DzMkTfmPwZusqANdBwHxhE8AKvSMfDPlv5tUeVjD9a0NVhlytmWCgPbP7tW5AoEjVbGS%7EHKCMkQdra-GDnwmXkg0tuHVnBMX4sccxSCYvXM4T6Eq%7E4k-Jk3ssw116dwzjqykAKshENVw__&Key-Pair-Id=K6UGZS9ZTDSZM 9345c7f8a62b711bae5fa993ddd17629 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/9f7d96b93231b9cc4b5ce6f3fee1f166.jpg?Expires=1789603200&Signature=DQVaV6B3%7EKZ%7EV81DJM0R04g4yWzUYOP38VbLY9OOzLKYa2lDcFcVAwvU5IXRIOyOAOeUP8rLWObaSYYJVtGhDNRoed3lt7%7EuOi9z6JnbGuqiXkXrOvXAWEeKDog2A4-uksfzdG7dwwUc0CfXoIkuqJqH1RbhWomwBNyCms3NqSO7%7EmXoewIy%7E4uMtkVh8rgkaU-sILNA-BHcYUKdhM2IETubfrK1-QO2q9TPnNsJ3nLVmTCdYwWJ649lsvUvu7gi%7EZ4OW1vT7px4-PvabFn5HW2SAZCHcE%7E9UMCMEnC8pl1L4S9Z7RvT28Uxu9uHX0cJsXQsOG7YoyKfK3xQgqMzOA__&Key-Pair-Id=K6UGZS9ZTDSZM 2c11322812629d7356004aaf388dea74 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 La vendetta: lirica in versi liberi [Vendetta: lyrics in free verse]. New York: La Follia di New York - Marziale Sisca, 1933. Description An account of the resource Inscribed by author, as with the copy of Il prisco cavaliere in the collection, to the "scrittrice [writer] Anna Lannutti, con sincera ammirazione/Riccardo Cordiferro/ 22 gennaio, 1933." Of interest is that Lannutti's verses had just appeared in the December 1932 issue of Il Carroccio, q.v., showing as we have seen often that in the Italian American writing community, an author's politics were not important when it came to getting work published (in Il Carroccio). Or maybe it demonstrates - see the similar situation with Salvatore Abinante's work here - that Cordiferro could be friendly with, even publish the work of, writers whose politics were not necessarily consistent with his own. Creator An entity primarily responsible for making the resource Riccardo Cordiferro Publisher An entity responsible for making the resource available La Follia di New York - Marziale Sisca 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 22 x 14cm; 15 p. Language A language of the resource Italian 1931-1940 Durante inscribed La Follia di New York newspaper press poetry 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/86ee0c687649230ebb205726964454c9.jpg?Expires=1789603200&Signature=O1ZUSlMyNvo4IUV%7EhQlioAWZGRBVmHVY02dfLpHoy-I%7EnzdoPvPCFHVHJfjfFnk1c-OKRayHzhjEaQrEmQURNn0mOshAmZIiJqkFJJhqFG7BrhjO46F7sZF2X8I5gTV3QZKPcZf2ZjB-HDmV-WhvvTSmYCLpp53f2Te9AWjOCOI91h-PhwKHYqWodGaqeXAlw7evq0pkaiEtSmvlphEyEto88ITLrTjtWLLM34C%7EbYyvvlQmSNUR1GSe8Ez9XLUvcoAeua7WCiEycXPmZIn7jAz9sQYoVvTUZ95aNUIcvgFqcfU%7EM%7ETRszXLbPSN5APyEReT8o3OoBM%7EPaWK6GW-rQ__&Key-Pair-Id=K6UGZS9ZTDSZM 3bc4d4cfb4df6fb8d8a798469f550579 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/82ce4bf6f3a3c27706e60004d280b83b.jpg?Expires=1789603200&Signature=b8v14W6ZPUmDC1y39mayYJPrkF7C8sRevGs1JMfHAQ8V8hTYKFZdHZRK-%7Elg-JZ1aRNDRWcaG1zOo8OfAbXtdV5p8v1A60okvXnV5gwR%7ExmkeQkF0aLnuYIlKO6KIJ09ItkLCygf9uUvXZzErXIS99RtBmb4EtxavgdJ0KYSVbq4itxmaggxFWv-8F9RLltO%7EDPomX5jKZO0qziGNSHIcNlKWXsD72IhRi8a033sjy5OT9sl1FTcrO0FIwWU%7EREyK3I39zYL2CPX-f-In5ruzf6tGpbu2JSzXXSsVGPMZ4haL2t73odtlHrOqxvi2QHwCb9XrXOS3P6tTyATTD%7E5JA__&Key-Pair-Id=K6UGZS9ZTDSZM baf80db01073ec1c972431c6e89ef1a2 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/e1c0e04a45fd1d5f67c6f87f1720321e.jpg?Expires=1789603200&Signature=f986RJc%7E1fDX9TGCWf-7IFs23uR0o6ZfjQt1GzcNG%7EWC44Q0SZrOp2DCqGYOCEjq9K569GuSFcudL3NbjxHagDz0Ty1ZhzrlqHR-HIRhheRpn81zP3qDY0l0RyvjS%7EfePQQ07BAxH7puCGHuyQ5hZfa5cHKbn2B2vTaCV1kMglwtV451-WQ9surt0-h%7E1fwfWFnuXU5A2s9RFzuzkz0Ik7JQ6pAlQwj2qlTHqQaXXo%7EPnR2IaxhFdpGcvM%7EAhiNI%7ExT5D2RBqgPS1SJ0LmzIfFQdLDL6EJIgxH36JygocdFWolk04XTsDdqGwrKX1Hury2wgSm9kFIJJSY8spl%7EJrQ__&Key-Pair-Id=K6UGZS9ZTDSZM 4fcf7955bdf2ce37cb1eae11424e8e00 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/d6ca779fd94b0eacf943bc505e13d5dd.jpg?Expires=1789603200&Signature=ULwIrx2RJxqqR7eUUDLosnvzCwFJE5WcaTjOXeS4k08luP8ka-Os4jClwO-3dudAEEqv3FojvkJj5XsUdd1ZAA2as2jrqLGJyAjKiN%7EXuDmL6RGl7B8QRv9LjyH80XnwAXhn4nSgIMH7%7Ee0ARxbJNxEofnyLNqK1e7y27nS0Y74nPvo3G2222-WNvuimOb4UfEVbbAdOaWoL2rMNYq1MB44xyeXYHvfMs-ACs7GUlKfKwJhEt8B0m5ibrviIVOOAvPv2mdbQqEpUjdc3qOQZ-9apM4mRxDpjCsiYrb3LNvHI%7EXqFa26bOaC1w5zYejLwLFcBx4HqYPXAOctNlkkv2w__&Key-Pair-Id=K6UGZS9ZTDSZM 90d5e7ce81e0619f9c3890874c20c1ca 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 The New Book of Caricatures by Enrico Caruso. New York: La Follia di New York - Marziale Sisca, 1965. Description An account of the resource This later edition, the most commonly available one (dated 1965), lacks the biographical entry at the outset, the ads at the end, and most of the Italian-language material. However, it does contain Caruso’s letters in the Italian original, accompanied by translations into English that are not found in the original edition. These later editions also contain more caricatures than earlier printings, reflecting the continuing output by Caruso, who published drawings for La Follia until shortly before his death in 1921 at age 48. This edition is unpaginated, with a 2-page preface by publisher Marziale Sisca; the drawings are followed by about 42 pages of letters from Caruso photo-reproduced & translated. This may be the last edition (Caruso died in July 1921). Altogether less lavishly produced than first (1908) edition. Creator An entity primarily responsible for making the resource Enrico Caruso Publisher An entity responsible for making the resource available La Follia di New York - Marziale Sisca Date A point or period of time associated with an event in the lifecycle of the resource 1965 Format The file format, physical medium, or dimensions of the resource 28.5 x 22cm; [n.p.] Language A language of the resource Italian English 1961-1970 Enrico Caruso Francesco Tocci La Follia di New York Luigi Roversi Marziale Sisca Mayor des Planches New York newspaper press https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/97ca57efae9a4f63c6336da7d428a7b6.jpg?Expires=1789603200&Signature=D7vIbSZrJc5Y53AyrPR2HVNbyXq815wlDvYzuIIWOyRXhvJSn-tcjvrSiI89dhNcHRs8h0lNPJHv9OaEOhefmqpAYPaJdyzx0JNgibNtqBYdHB2JHiA%7EpshVYjPxdtVL9W7u5ncyDwqdzo0AgCY2U4vk2mSvsu6UIbXDg9-qnv25No5-zn08JBc2hNkScSaChTktqqQhmu1tFDOC4ddG%7E4KGvZ9L%7EcFy-tTA2GiWS2i8GFOppht9Nuzew7TYafn0vkeXAZBNyjUW9OCOxGUoIamvAEqF6Vnl584pIGvHfrx8-weBED8lU6-VDT9jO-vgxiVIRTjechiP3M-9vE57Bw__&Key-Pair-Id=K6UGZS9ZTDSZM ce44459cf2ebd8829752536ebeafaafe https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/2b5d1f1b0a3d69ebe4089dcdf614a915.jpg?Expires=1789603200&Signature=eMpJrr83eqcZvfsvkOivLR3SqIQN2H8zRIaRp8x8SHLvRG0IKrOV8DQ7GqpiVeJh8sYcWXs9Svz-yTkp5j4P4bcV6HxntTGn8emEHYNlJSKHVZIdNC4RksbMEBAKBkeNHUsEWBJgfRDu2XoeI5Rm-06M5gGApJTg3ADMoYeEOJCJCIITCN-6n7hSmP%7ETrQqpD4mQ0WNsbY-3M%7EcUHwoxtDXlMQ1qsIax9pjJM1VSMhMNbTjsbya5U04ZuWhzmzO5MGaOqRuS7uZXuh0piEmjmsUZN-5os2m2voVZPWJZNijjn8Gf8ZCfQcx8wblxgwGLwA4PSv1eA7WneGOBKtk08g__&Key-Pair-Id=K6UGZS9ZTDSZM 3b6c5683c720696d2b2b24e1c38c83b6 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/b33170350b96338cfdc164d2930a8a99.jpg?Expires=1789603200&Signature=CcVboEG9yhZMFSP8UtNZ06qiJIIu1Sd14hPDCDkcXHhEwpgCI9tFW%7EJFgYjV8oRYjfwxyJKjyEnyM3fvK9HquBs171vKq1eMUZH2eKAl94m84e2QzPBsP3RqjQP33mlefv5%7EPyDxHG-zIXBhpKBp1mgFaI%7E-uRW1l5gxhav22G6-kTPOYRgRpIEVSlNTq7ZnBRYcgnwtv2rX6R2V9aOiwUPSJfgUjq3psr8pjAOIZpaOpZBt9Mdbgea-dw7cKZ3gPitXiYkhwJF-Pip0eIqk1xD3dvPmbgRVe61zyr%7EYaEjuYyW3%7Eag54L-vu8aNQDpU6DM-QqhGvjUbGyC1CMVBHw__&Key-Pair-Id=K6UGZS9ZTDSZM ec9740c423dc28ddb777da6b7f229251 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/62020591f7b2fb1357224e1ceedda64c.jpg?Expires=1789603200&Signature=mSq9TDmZBBnufv-k%7EDYLyr1AY4SsVC-s-kzZRLNShUHhvtZlZJS5pRewpl0zEt5iTQUnRuIxoSXTkwM8OKSOL8lnfIvflCJIeaJN8Sz49GGtJb%7EAnROX2FbKLXR-WlHvyWxhxogfYd91JBhv6ORQNXZlYzoKIlXDmNg5L-gh5iKuEKnkObWp77iUF-4alX8Q4WT3an3CDZlL-N0dDmCdqa1daj3yhIOTdBuTpDAA61f6eBG1s21GVgawnNuQxlL-vQQJ1pdwTyYk-lRNjff3pDwTDWmI%7EOQyI%7EUWcI3R7VijAmyhmSY%7EdRm1waRbX7nomW0gxEgOEF8-AAjlmgxHcw__&Key-Pair-Id=K6UGZS9ZTDSZM 4e6614f24409199fa34bf6110c8e0de5 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/6aba680f8eb47da859379aaafa15fcde.jpg?Expires=1789603200&Signature=pXJLG1wfYqIVanyaKVfTbBRnv%7EQOufsvaNIYZFyWnBksIKiKXrLfr8BctDeXhjgYzH6hRN735dL8loRCdlZ93z109pgf0bqC2VcycT8SzV%7EpBP8aZ8KkwCeHuPanWi7a4IkEiu3PdAQxQFSEuvThbdbP6NemKtghFKTp9XB2rxAMnEN7fb9iNvW1VkXCxUN-HNHZHFE0RTlma1NR5DfOLETtBinQhPovKVo7l3uTNaahzTUPNbT%7EhMhi90g4qEZjE27RQdbsdjmeL3AB%7Eg11DcKg8c4%7ET3VLSogcdIt78TyHlTvLbBS0i5PfuPXJHAU9p31%7EOQz87a7K9HZ867rb4g__&Key-Pair-Id=K6UGZS9ZTDSZM d6e6d33e1a1d0ff396eaeee6b478ad21 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/08dc0971de62cad50a2c55da25e47135.jpg?Expires=1789603200&Signature=HkKGN9JcqEtGQpXVPfOZ%7Es9t-MXgED2s%7EtTTux-oD9Iko520tKgJmfXpTSRg-WvARUr7x9%7EGBIMEX%7EO7cAojQO6ZyWldOZtCnwGmJu%7EWVZ0cqVu9SU-8k3Y7ryvmKskn-etMDhk5kvnCf2gpar7d-kKZnFqT%7EfE9oQ1s5eW5LqbSMKpOJBbf-8uUXEVwohgSJ5R72I0x6UkWR-Jn3RJOz50EBe-tI0kv74alTdulP3VXnliTJX2UEHcZxt9QBy1KaB44rgHddpMYt2lgGfZbO6T5nG0ueaG07JKuFL-5RLQOXfxO0n78rmRltDj%7EioqmugmEpVoI2qUi8hXKkucQtw__&Key-Pair-Id=K6UGZS9ZTDSZM 16beb01ffadcf58473c78eb5fe46c754 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 Caricatures in four parts | Caricature in quattro parti. New York: La Follia di New York - Marziale Sisca, 1908. Description An account of the resource This is the rare first edition of a series of editions of this popular collection of caricatures drawn by the great Neapolitan tenor, Enrico Caruso (b. Naples, 1873; d. Naples, 1921). La Follia di New York published Caruso’s caricatures in individual issues for years before gathering them in book form. Caricatures begins with a brief bilingual text of Caruso’s life, and includes illustrations of many world figures, including political leaders as well as those in opera, music and theatre. Part II, “Types of Our Colony,” includes sketches of many writers and publishers whose works that are part of the collection, including those of Mayor des Planches, Luigi Roversi, Francesco Tocci, and the publisher (and brother of Riccardo Cordiferro) Marziale Sisca. Later editions of this collected work lack “Types of Our Colony,” reflecting the decline and passing of “our colony.” Creator An entity primarily responsible for making the resource Enrico Caruso Publisher An entity responsible for making the resource available La Follia di New York - Marziale Sisca Date A point or period of time associated with an event in the lifecycle of the resource 1908 Format The file format, physical medium, or dimensions of the resource 32 x 25cm; 182 p. Language A language of the resource Italian English 1901-1910 Enrico Caruso Francesco Tocci La Follia di New York Luigi Roversi Marziale Sisca Mayor des Planches music New York newspaper press Riccardo Cordiferro https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/7a7d89b32d91291bac8a3e8328b7c49a.jpg?Expires=1789603200&Signature=BXJ6ChXMeXb9QPfikQFSQkKNX4y61Rym2CJ%7EOvQRRnaQe7FXPkTuh2RDdUSYohwUx58Xyl6lPcTt4IkL2LgZdHe-yRTegfnNlgkMMBWuVCWyCwbXMlrq5iDDd7%7EQyPVT3uuOTCdnzAEbQ%7ECAKAsGCthSY%7Ec1LuhTfm9V2Btmt7iAeOKdRKzzPtYgx7K0sFu6JtEf9ZD6lEsSUHBMts0as8qm0zEQaYpcGoEOoQbR22f8UId1CUG9hF6wA4DdW5O-Ry8D3kXba60I%7EWzYDsXjEsYMxiIDSb7rz7E0TSRx7TXxaGWK2f3zAgr5tGqDLOfMzob2G2Mm8kqcpbV1Xt-GMA__&Key-Pair-Id=K6UGZS9ZTDSZM d0cded7ff30777b8f5966d285adfff80 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/d4322dc410835ef83c63db6512c55efd.jpg?Expires=1789603200&Signature=QX%7Ewoh7ByHwa57WL2knm30%7ErhkgLW%7ELoo%7EGHux3%7E5ykOeRgpmZKkVW%7ExgnFI6VI1oa9vEu7lmLu7G86u3rxjgcBrQ-isMUG3Lc%7Eu03VfXNJzoGayXUT%7E3hDN6t0snsqDxGoxmfQMTZ21nNoGBU8xe8tuh12s2vRx9fkQWPXPFRQWImtNu-SIft9VJmER%7ET9EzySXMShxVrSIibl6LXdNYe9YQ-soAiLsbd265ai7Ok-pGoDT8j7QvvCItDFSNlbGX%7EteWj4rSVhgFSNPikf0TWoVa2yF27xvhsHgKuE%7E%7EUJSjXhL0LB866wXKokzu-rREW64zFzYwBcQKfqlnpXbxQ__&Key-Pair-Id=K6UGZS9ZTDSZM c7fb65746eb879be0d6a91d57977a64a https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/9173f54084f20ffb3fc301e3177eb280.jpg?Expires=1789603200&Signature=lQzFKP58x2VAkqsVUi%7EcWSTL8UwEt5ElPbeBQxMzssEAHY0oiEp9bnd7eJy5LcyijbYA83xzUx5LlpdHKAwK-h4CyQg2geKdvco6Cj3III8H5tNdRcHr2xNcm8TsZ2M6JSqO2xrrSwGlkiNtaF0p%7EPHaAPIuHKSxJFGe1pAeoqsDp-MpZZ%7ESx8O1zUHi21jc%7ECckPDXX7fLk4EGKrI-SI-4947LJlmquc%7ECYBfezuetUigdwucAHTKSg5yl2%7EnNXfFc7OEymbPka6nLbtT1OghypX8pvTKvubxymlTIGcevcAhwicGZOcbMExcP8nbYHfSvUUb7yYALgZpV%7E7eW1eA__&Key-Pair-Id=K6UGZS9ZTDSZM 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 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 Sonata elegiaca: dramma [Elegiac Sonata: Drama]. Brooklyn: Tartamella & Co., 1921. Description An account of the resource Ludovico (really Michele, but he took the name of his deceased brother after the latter's death) 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. This copy was inscribed by Caminita on August 22, 1935 to Dr. Cloyd H. Marvin, rector and president of George Washington University. 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. 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, La Jacquerie. From 1908 to World War I, he worked at the office of Mother Earth, the anarchist publication of Emma Goldman. See Bencivenni 2011 in the Bibliography at 122-124 on this play and other work of Caminita. Kenyon Zimmer, in his fine Immigrants against the State: Yiddish and Italian Anarchism in America, has an extensive discussion of Caminita that shows his development and political evolution over time. Sonata elegiaca 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 may not be puffery. 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 La Follia di New York and Il Progresso Italo-Americano. Sonata elegiaca 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. As for Caminita's other work, Marazzi 2004 contains an excerpt from his 1924 Nell'isola delle lagrime (Ellis Island) in translation. Durante also has a good biographical sketch as well as a translation of other work of Caminita's. The Collection has other works by Caminita, e.g., Obici: biografia and Che cosa è la religione? 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