1
25
16
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Liggitivilli: sti quattru versi. </em>New York: Nicoletti Bros. Press Co., [1911].</strong>
Creator
An entity primarily responsible for making the resource
Giovanni De Rosalia
Description
An account of the resource
Similar to <em>Lu novu Tuppi Tuppi</em>, this work is in verse in Sicilian dialect. Unlike the other work, this is comprised of 15 separate short poems on various subjects, not a facially comic dialogue or monologue to an audience, as such but seemingly more subtly in mock seriousness. (The subtitle "Sti quattru versi" could be dialect for "14 poems".) The dedicatory opening poem either states he hopes to avoid offending anyone or expresses the certainty that it has done so.<br /><br />One of the poems notes Palermo 1910 as presumably its date and place of writing, a few with New York 1911, but most are without indication of where they were composed. If the dating of one in Palermo in 1910 is accurate, it must have been composed on a trip back to his hometown, since he arrived in New York in or about 1903.<br /><br />For De Rosalia's biography, see the entry for <em>Lu novu Tuppi Tuppi</em>.
Publisher
An entity responsible for making the resource available
New York: Nicoletti Bros. Press Co., [1911].
dialect
New York
Nicoletti
poetry
Sicilian
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/ccead683bfd67537e0610e297c08f7fb.jpg?Expires=1712793600&Signature=H2oojXC9CJFo0LAHbgdix5f3pjnoSpsKWi-rpf9xJ3Y2v0sxIb-H58TzqkgfzRW9RLl1zi0AX9G0iMzQUNfKWPVKN2fsgGIhMKZeXVECz2jXQaUiUTf%7EsfOw2GNBYcjlE%7E7co4JWJEsmzfDxPgRIine0022rfJrZv1kL537H0LdnC1nAN-prI1xYp8kLkzFiGZGUYAqxeDtmPFTuMPFXfps8b190UYKXaR5x6NpFQ288CsxksGvjEePr%7EWoBAlM9U55FG%7EgdqvYwKAIzEpnqylrNo%7ECDEaxpOsy5TsiBdGMtklL-nguasQpvYzxUnTbU1pwVfzJrfF93xAGCd3oU6w__&Key-Pair-Id=K6UGZS9ZTDSZM
e4d44a591a1368bb1847f2bea6bab62a
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/afab593528f421a4f85e742e9fc66a06.jpg?Expires=1712793600&Signature=rSs%7EVZrT9xaEXET2cz7ySYfVCmdB%7Eiirjxf%7ExYnOmu0DeNX6x8Q8hkcMqdQZJRWy0HBrsBGG0cRTNOCLEhq-8%7E-b0vh8nfGvr2sm4PRDtDX2Eq9uBwxA4euYyZQaoBE0OpXeKg7L-9cpFGBI54JzssDr6%7EOYT0%7EyheAx2g2-zgBH9whaF6J%7EZsiturDDn2H3pi8XDtcxhCIFK5HLRIkfxa2a0KsSWHj51E-aGQDJb21eRCQi0edhQqXyGRcXAMvyKv4zRXEbg93VTNIoaQQmLN6DbWgDgNTeyiz1yTaLj1slZKxrCgBdVxSVOw%7EF6xnCISSmhgzbLASYkj8LE1W5MQ__&Key-Pair-Id=K6UGZS9ZTDSZM
fd80d0b067984c01eccd2e51243d326c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Società Libraria Italiana: The Italian Book Company</em>
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>Raccolta di brindisi per ogni occasione in dialetto siciliano</strong></em> [Collection of toasts for every occasion in Sicilian dialect] [Facsimile]<strong>.</strong> <strong>New York: Societa Libraria Italiana - Italian Book Company, [1916].</strong>
Description
An account of the resource
With a publication date of 1916, this work appears to have preceded the enormously popular 1917 <em>Raccolta di discorsi per ogni occasione; Brindisi ed augurii </em>of Molinari and Cordiferro, q.v., which was a lengthy work (320 pages) containing speeches truly "for every occasion." <br /><br />This work, on the other hand, in Sicilian dialect, contains only poetry, not toasts in prose, and was only 46 pages. The title work doesn't even fill those 46 pages: the collection includes other works of De Rosalia.
Creator
An entity primarily responsible for making the resource
Giovanni De Rosalia
Publisher
An entity responsible for making the resource available
Societa Libraria Italiana - Italian Book Company
Date
A point or period of time associated with an event in the lifecycle of the resource
[1917]
Format
The file format, physical medium, or dimensions of the resource
23 x 16cm; 46 p.
Language
A language of the resource
Sicilian
1911-1920
dialect
facsimile
New York
poetry
Societa Libraria Italiana - Italian Book Company
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/bde1cbb8f03919adea2e328fc3ebbee2.jpg?Expires=1712793600&Signature=FZc%7EtZr3kN%7EY7e1NdxKHWT9VVnRhLsY9YVspgwVCTDPiOw%7EEb-VbaMRPIVBz%7EfUBbtTnRSUpyHl1P5lS7xhq%7EBI3PID6RGeb20Z6B2LwqclX9rD4QNRrLUZObu7GAZvLRrJAxPU0ORpT30kDRNyx1uh7LMe7K3Vl7-ZwojYslWtHAmmG-3zgdfrOdYFoFkLUm8NsBL8BczU3prALIkHnGIkfX4BXt%7EVLXJ3-cc7cRVh1IwwzkGy7RoZk-rKSjPbcTCCQbS9-bE8SkafXW0x7vtgNZvM0x651s6fSCz%7EBlwRSYp2z87yoxCOl140NI58qWKA88ZgTSsjHtQAzZeukHg__&Key-Pair-Id=K6UGZS9ZTDSZM
dca14830ae9ff7e182b292d8f4696caf
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>Lu ciucciu. Poema in dialetto calabrese</strong></em> [The Donkey: poem in Calabrese dialect]. <strong>New York: Tipografia Sisca & Sons, 1913.</strong>
Creator
An entity primarily responsible for making the resource
Francesco Sisca
Publisher
An entity responsible for making the resource available
Tipografia Sisca & Sons
Date
A point or period of time associated with an event in the lifecycle of the resource
1913
Format
The file format, physical medium, or dimensions of the resource
22 x 15cm; 174 p.
Language
A language of the resource
Calabrian
Italian
Description
An account of the resource
<p><span style="font-weight:400;">The only known book-length publication of Alessandro and Marziale Sisca's father, Francesco Sisca, or of the publisher or printer that bore their family name,</span><span style="font-weight:400;"> this poem was a “bilingual” collaboration — Calabrian dialect by the father, and Italian translation (as well as preface and notes) by his son, Alessndro, who took several pen names, the most famous of which was Riccardo Cordiferro. <br /><br />Though the family was Calabrian by birth, the curiosity of this work is that the Siscas had built their reputation in Italy as masters of the Neapolitan dialect (</span><i><span style="font-weight:400;">e.g.,</span></i><span style="font-weight:400;"> Alessandro (Cordiferro)'s</span><span style="font-weight:400;"></span><i><span style="font-weight:400;"> Core ‘ngrato, </span></i><span style="font-weight:400;">q.v.) while living in Naples; contrast this with the popularity of Cordiferro years later as a poet writing in the Calabrian dialect, e.g., <em>Ode alla Calabria</em>, q.v.. <br /><br />This copy belonged to Calabrian-American poet Pasquale Spataro, who featured examples of poetry by both Francesco Sisca and Riccardo Cordiferro (Francisco's son, born Alessandro) in his anthology, </span><i><span style="font-weight:400;">Poeti calabresi in America</span></i><span style="font-weight:400;"> (Bergamo, 1957), q.v.</span></p>
1911-1920
association copy
Calabria
dialect
New York
poetry
Sisca & Sons
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/71bec73207344e98b8723096a240c606.jpg?Expires=1712793600&Signature=KUeYWVQBfpLz98doW-oPJg6W1vdapdTV10JePrFDFx8sYh7xTp%7EpImfjLLNFtGElMMoYh17Y2941Pd7QbMdP1WecAF3nduuvyuPTXNphiK0IayXtRcBa44tinuSe1DTlgIFkUbCNEHxb9APr-Mki1%7EnfFepdubOfaGPfGH0YwTbZ%7EUdQfzMNG1n-qTnXZkGpcag1d10uGnO1DmlbHkbAU5URJAADA1og1TwFvnTifXjvKD0NY6jdS3p6wBn9f2Doq8kn7Vgf3RAURIB7Sp0FXIiElxG8K-Db59nNvf9A45RBVqSIlneyItcAIuU29GrlBsZfo7CmT8bf7vyDhBd8QQ__&Key-Pair-Id=K6UGZS9ZTDSZM
3703461099dde3b1debb4b9776525146
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/f77290fd9d30c58ff4759cba37a27b67.jpg?Expires=1712793600&Signature=nKPuPQrX0%7EUVKVEVmOb9FhUjvBRyB0rxHyvi0p5b7M6yMADh7lGuPg8W0Z5Dl3cCk0MKnWU3V%7ELbYpWX-qsMH0ImlWHH5VIpOSasOwEQCsFgpHXoVBewDks14U8nVnmuymUIrkKfjpT5V1zKyyfM7g0RBBoa762E%7EVPd%7Epu7neQifrdeJ5Wz5uPwEa1Ny0217yne%7Ef2UWWUfSfmANbJ6KVPt2Y2rYaNQ9f9E9wCghFVYK86jNOXzcE4iEXPZjcY%7ERcMrnj3Q1Y5haLI1xhYUBv1HEUf-2E2w2TbtX5DOjqJSImNKyQKPK9i1tVZd0CPcQP6Wf2Ctf6La1KkSwXa%7EhQ__&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
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Lu sonnu di Monsignuri X: poimettu in lingua siciliana</em></strong> [The Sonnets of Monsignor X: Short Poem in Sicilian]. <strong>Brooklyn: Tip. Ital. del Rinascimento, 1912.</strong>
Description
An account of the resource
Dedicated to Riccardo Cordiferro. Pucciu (b. Italy, 1876; d. New York, 1927), or Puccio, was a sculptor and carver, with a studio in Brooklyn, as well as an accomplished dialect poet who began to publish verses in the literary and political magazine, <em>La Follia di New York</em> in 1906. <br /><br />This work is dedicated to Riccardo Cordiferro, the long-time editor of <em>La Follia.</em> After several trips to Italy on a sculpting project, Pucciu was back in New York by 1922. <br /><br />Pucciu was something of a tragic figure: treated in a hospital on Wards Island, he fell into a depression and attempted suicide by jumping into the East River. Rescued, he died two days later of pneumonia.
Creator
An entity primarily responsible for making the resource
Callichiu Pucciu
Publisher
An entity responsible for making the resource available
Tip. Ital. del Rinascimento
Date
A point or period of time associated with an event in the lifecycle of the resource
1912
Format
The file format, physical medium, or dimensions of the resource
20 x 13cm; 37 p.
Language
A language of the resource
Italian
1911-1920
Brooklyn
dialect
Durante
La Follia di New York
poetry
Riccardo Cordiferro
Sicilian
Tipografia Italiana del Renascimento
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/5690d240ec9d2013a6857ac4e3807d82.jpg?Expires=1712793600&Signature=U0puisFeH3LTXQPoM6HnzvwtL1NFxxlUOvr13cHWWJ9WSHzr6eES1qlOt09n67t4gvxmg9vseFlAjrEAAolwQ%7E8nEPWn5bBMiPq%7EQgsqOfycrlv2M%7E2EyRpxW-X%7EOFFyjA71hIE8Dma1uxmJV1YzaAUoZ%7EDypvu30a54gcmEhJpeTKNREMpBgBAztWa2fZF1XVP2DooqdIGLA7SgqvS1M86V5KQVenVtdRKRHuzjXYRvpYaT4PsHYO0lX4OkauVSJ1sxZYjWecaAQEWi2u5DBqcvJUSoz6BOEXWDQESaT9ZbJ-vc--UL1AEHSt-qB-3B0XPHaTlm19ega5KpPomWfg__&Key-Pair-Id=K6UGZS9ZTDSZM
4f17e41fd034274d2b5af50e0d132bdd
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/14894777ee8f43cb9053301977920004.jpg?Expires=1712793600&Signature=NGWOE8hHFXMj2iNWkkoVnwL%7EZ8vNoOTg9lGhViQfj0ZWBSMOFB%7El%7EPL9OJ173PCX1c61MxVQ7dpqVH0N2I015FZRmJZfZm5Rc5MgbJoJgeDYLLN-YWBqqulJXKuGB94N2d6L91j3nGh73Mncd642ghiTywmqCC6lZO3xpLqBSXFVsRwFiXgWuQ%7EjcIij1ubwJuiosbXkLCkn37DLQG3g6RDKWr%7EEsZaOMozX7cgqfN-XZMFItsqn1mAz9VSXN7d66eCBKqFj3C4-u6ivcfk5lue1tQdWHfXIpVzsa4yX1duTlGPmMa1RFsz7OtlFVOlpFWFSN7W3qi%7E3QA5vxRCGvw__&Key-Pair-Id=K6UGZS9ZTDSZM
2524c42a970a0f76b53afb58c43ebd3d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Rapsodia napoletana</em> </strong>[Neapolitan Rhapsody]. <strong>New York: Cocce Press, 1944.</strong>
Description
An account of the resource
<em>Rapsodia napoletana</em> is an epic story of the history of Naples from its founding as a Greek colony, composed of 105 sonnets written in the Neapolitan dialect. It includes a preface by Agostino de Biasi, publisher of <em>Il Carroccio</em> during most of its run. <br /><br />Besides this accomplished work, Mennella (b. Naples, 1894; d. New York, 1954), a businessman and trade official living in New York, wrote the dialect page in Cordiferro’s<em> La Follia</em> for years, and published at least two other poetic works in New York, <em>Le canzoni de l’ora</em> (1945) and<em> Napule d’aiere</em> (1944), both in the collection. <br /><br />The author's grandson and namesake is a longtime fellow member of the Grolier Club who I met at the time of the exhibition of my collection at the Grolier Club, in 2012.<br /><br /><span style="font-weight:400;">Martino Marazzi's <em>Voices of Italian America: a History of Early italian American Literature with a Critical Anthology </em>(Madison, 2004) contains an excerpt from this work in translation.<br /></span>
Creator
An entity primarily responsible for making the resource
Federico Mannella
Publisher
An entity responsible for making the resource available
Cocce Press
Date
A point or period of time associated with an event in the lifecycle of the resource
1944
Format
The file format, physical medium, or dimensions of the resource
22.5 x 15cm; 142 p.
Language
A language of the resource
Italian
1941-1950
Cocce
dialect
Neapolitan
New York
poetry
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/a37bc1d8d67462fc1107237fe1f801e3.jpg?Expires=1712793600&Signature=fbnRrOgWsd3Jn-p6xmr35oudB2sBy-Hq1W2H-QYk99cdz1NhC-ozLCZoIvXlb3J81c8hBpVQyUMgzWXBsM2w3WSx%7E1u32Gd4Ii6MOu6W8ZWSbMoJsuQ6L9lAUdw8r4oHB-qGjch292lQYnhtJ1uy35vF-b8Fsqxg-ebpWjV%7Eb3yQFehwa4e8b66529kzevg6KKVTi5a9OqJUJlYUeAp0ow%7E9w4wra3UfFhOheh8m-wyR6tpAN3gRmSkVQJRhj6xjkhG0yhClx1M9PmTLW5nAhb1fNF9lpKkpx-JhzOkBukWaiNsJlotKJeJOITkixGSJawQbTupludmlCB9lUwsVEA__&Key-Pair-Id=K6UGZS9ZTDSZM
8ef21b750c0be3a12c588452bdf438ec
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/f8bbcd7a320e007f84d833196767c347.jpg?Expires=1712793600&Signature=DKm-S9WhtwNhpMg%7Exsq-Hj5IZuJGheK5rota2v%7EOb2ZZcb5mwt7Q9xZbwtyYCWtpTjY8qBJur13x-RReVUv0HHtKbRTMOlN0PvUfd1KOMFL82cKYAadEK9bGcrP3B9CidJ38wWsYbzys-vuNmNHrtpZ9%7EUKJDqumHj59s6Or%7Eq76dAf6T7jz9YCk14Ly3lPpMAMtH786xQrcIczhMrw-X7XUt3CJifKchdPk%7Eu%7ER7NUOPigC-cyy53iqG7oTguGnZyS4RdVIq4bMnYxscyLfo8m5TvWXxqj6HNbgsMy2ele-AcCtoz9STvs11ZZ268jUqviyyW1-f3jYwwuLPEbIIg__&Key-Pair-Id=K6UGZS9ZTDSZM
d3b33bab57980d67b0820c3bf6d359e7
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Napule d'Aiere</em></strong> [Naples of Yesteryear]. <strong>New York: Cocce Press, 1944.</strong>
Creator
An entity primarily responsible for making the resource
Federico Mennella
Publisher
An entity responsible for making the resource available
Cocce Press
Date
A point or period of time associated with an event in the lifecycle of the resource
1944
Format
The file format, physical medium, or dimensions of the resource
23 x 16cm; 64 p.
Language
A language of the resource
Italian
Description
An account of the resource
On who Federico Mennella was, see discussion under <em>Rapsodia Napoletana</em>. This dialect poem is in the same vein as that work.
1941-1950
Cocce
dialect
Neapolitan
New York
poetry
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/4125738f8a25ad8b8f6f98866eddfc89.jpg?Expires=1712793600&Signature=G9B8HQGSA-SS7R6B85WXVY3uftZSZfUW1rDhdM7TQNNngdbriquHjX16C5JZ04Y-Ll13shVLVbwuFGQA7U-y8Lcc2%7EGNzErO6nbSbyyAFbdBfcYZlKLt-I4-fa%7E5gyd1sP1O%7ETTZCYdNeH3I8Gl0PTJXOUcxwpnNX6gOWKe%7EXg8U2UIs2EmsJJO8q2-DXOit1nQ-WWfLuX-HHWya0l8U0uE133Kb1IDll6qKlA5NNvHZDIAPvKXUE2rC2kvHCkClE3fOS8f1zyBg-GMMa8TbYH4J3sAXz2nDXlLQbiPOcZVsnRospT8-L2nCYc7QFO6SuOvzJkTfhUYmBbUB5Q3QzA__&Key-Pair-Id=K6UGZS9ZTDSZM
7bd7f859d5af9944fa6f0dbafd0fb8de
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/973735afcfc94b4692ef62ba0627d7f9.jpg?Expires=1712793600&Signature=OWvROUYVYfq5HmgT5eW6BCHQOwi5Nq499qH6SxuZxg2TssNof4LFVSYseWUCp7TMiTeh1UN7kzFOgQSLsRBGOtYKmWgVYVn5-YC3Ka9AZleanIaPgzS3n1bEWyaYwpSDN117DuyA6md15o2Bq40Uk4Nx-7lMGSjT6Z7gq%7ExHXodOJnqc5jghAVg91mQ-JVGqs0sgs0uLIqKOHqPWhqG%7Eos0LypZAVFtme7RiLzXYFGP1UA2O-uPrk57h2Ce7FjdahqICYc3tK1XQR8PdwbbNv4CgORoysfec9CE7ynnXWYiA8G%7El0JdnLbgIu8EUHhItXqSDYnrnD4R28v9KO%7E7HpQ__&Key-Pair-Id=K6UGZS9ZTDSZM
898d2c9d25f56b0869a006771ab98be1
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>Le canzoni de l'ora</strong></em> [Songs of the Hour]. <strong>New York: Edizioni Sirena, 1945.</strong>
Creator
An entity primarily responsible for making the resource
Federico Mennella
Publisher
An entity responsible for making the resource available
Edizioni Sirena
Date
A point or period of time associated with an event in the lifecycle of the resource
1945
Format
The file format, physical medium, or dimensions of the resource
22.5 x 15cm; 45 p.
Language
A language of the resource
Italian
Description
An account of the resource
On who Federico Mennella was, see discussion under <em>Rapsodia Napoletana</em>. This dialect poem is in the same vein as that work.
1941-1950
dialect
Neapolitan
New York
poetry
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/32832e5f8d5ea991126940a954894289.jpg?Expires=1712793600&Signature=seL3LFBZ0k0lfV6YHSGs67PW51CLZjQutDRxt05a09tPmD93nZCdMSXXWXc0lODNvoqXkQcDuRICjkmgQ7LesZh-LaQ6w0yjO2aR5AiT03kMvv597ia9AATnOH0iM8FAczSnMtDA1XTxBn6pAqY%7ECGCQorTQTPYdVwHvoPIRFv7FVD-mopMz8VZCaP6PNj-LkBf5WYXaN0nSC0ceHKY52rQ-ic6oA1rA72cUr6LSDrMDUpn5CQfNVvS0N10XKarvXuyqh2dvi3m0w1SPnajBeH8qxYYAd0Ldpk1oVmu6nVl0L--pLV4-dsFnmga5TiE1oc3UgTUGBEH1bF0OecGyyg__&Key-Pair-Id=K6UGZS9ZTDSZM
eaa7a89b74db6b68ad245342ef6380ed
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/25c69c74fe1c033883432f7febaf58ba.jpg?Expires=1712793600&Signature=t1CpWnN2bvNgfPZg3t1piJXodA1M8njhVJIbVMNeVlBakSPEvvuiHbIX3NqV9jjHV8Jzp1A2u6bnMlBnSIrgckj1pIYUVBMS8JRIvSKK8OG9a5RRq13RjC-a1hI%7EhP3c1T4152-7OcPySQysdeEbEi1X3AxvaUqziQ1v9THLDJmDSnkCkhyoDO1zQcuJbgpxf3SAEuaPAp5e8yowNB61YVF9aHbvx8TH1XS-i5ozsAWseO8ehBfANoEcpv7NuKoEmwg9KuSAWRNiu%7EB%7EJMnrdVxogwd0F2ySA7Cw1BIEF-3y1TfL7qGJSzwh6eEO-3myS8WYnvWTm7ZLG2JJv-PxLA__&Key-Pair-Id=K6UGZS9ZTDSZM
1f97a3b616fe358dac9832f7fefaeae8
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/f30c1ff4d44aecd9f336a71024f465a7.jpg?Expires=1712793600&Signature=gJX533%7Ez96rgXaDyTWLNvxvuxfHW0s6m4EeRlrCxw3zK8LkSD0LhQaor6fw8riBuPL9fLjSis97au0YDA9pK5F-aki2YJuvrdx7J2sgqCNvw%7EvVWogPbBwiipls2Bl9zUyK1yYTo6oif%7EWAdHIcf3iWpYfQ8JfvMvrm9X-NTrz8rdMhighCyOKAD3ijUgRo6g7GGU-gXhlXZLGXbiN2ezrYe3nd6yWs0fs9Ms-eCQtEM-fPo8cBsRGKOX7WZCX8OlAuMZnMnN7QYEy9GqALlyiMhg7F3hCeG0jPUUpcHVBsml41T50z3S%7EaPG14s6gTAXWrcN833NdJVsBr4ZchxFQ__&Key-Pair-Id=K6UGZS9ZTDSZM
b1e9a1caa9ea6403fca5449ee8d1fceb
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Histories, philosophy, biographies, directories, almanacs, annuals, religious, educational, and travel literature</em>
Subject
The topic of the resource
These largely non-political works reflect a broad pallette of non-fiction reflections on the history of Italians in the U.S., travel literature, biographies (like that of the Peanut King, Obici), or the religious, like Sister, later Mother, and final Saint Cabrini.
Description
An account of the resource
In these non-fiction works, Italians reflected upon themselves and their American experiences. Representing the non-<em>sovversivi</em> type of immigrant, who were more interested in becoming American and “making it” in America than in stoking class warfare and remaking society, They began to place themselves in the context of contemporary American society and the history in America. <br /><br />The release in 1921 of Alfredo Bosi’s <em>Cinquant’anni di vita italiana in America</em>, the first history of Italians in the United States, represented a watershed - the first 50 years of Italians in America - and allegedly arose from a conversation between journalist Bosi and King Vittorio Emanuele of Italy in 1901, in which the king expressed curiosity about the Italian colony in America. <br /><br />Luigi Roversi’s biography of Palma di Cesnola proudly places that Italian within the august homes of white Anglo-Saxon Protestant America, into which di Cesnola had married, and where he ruled as the first director of the Metropolitan Museum of Art. <br /><br />More than the first half of Flamma’s “biography” of the greatest mayor New York City had ever seen, Fiorello LaGuardia, has little to do with La Guardia, unfortunately, but the work did reflect his obvious pride that after electing mayors in 29 other cities, Italians “finally” elected (in 1933) a mayor of Italian heritage to the country’s most important city. <br /><br />The directories discussed here, from New York to San Francisco, provide a particularly rich source of information about the different businesses and professions Italians had in virtually every state of the union, from as early as the 1880s (in San Francisco) to the first few decades of the 20th Century (primarily in New York).
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em><strong>America! America!: atti e memorie del popolo</strong></em> [America! America! Acts and Memoirs of the People]. <strong>Casalvelino Scalo [Salerno]: Ed. Giuseppe Galzerano, 1979 [1981].</strong>
Description
An account of the resource
Antonio Margariti (b. Ferruzzano, Reggio Calabria, Italy, 1891 – d. Willow Grove, Pennsylvania, 1981) published these memoirs in 1979 at age 87. This "savage and touching" book (Durante) awakened a vast interest, so much so as to be a finalist for the Viareggio Literary Prize. <br /><br />The education of the poor Calabrian immigrant took place entirely in America through his frequenting of anarchist circles; Margariti committed himself, among other things, to the circulation of <em>L'Adunata dei Refrattari</em> and of <em>Il Martello</em>, as well as to committees for Sacco and Vanzetti and to antifascist initiatives.<br /><br />For Margariti and many other immigrants, the anarchist circle represented therefore a social occasion that, for the first time, allowed them to attend theatrical events, concerts, picnics, and dances. It also offered educational opportunities, a school for critical thinking (often a real school, with teachers, courses, and classes). Here one could better define and give historical breadth to those spontaneous and rebellious inclinations that the helpless confrontation with priests, bosses, and all sorts of profiteers had nurtured for a long time. <br /><br />Workers from all over the country became <em>galleanisti</em> (followers of Galleani), even if this did not mean that they were strict observers of the famous leader’s doctrine. These memoirs, written in Calabrian dialect by the unlettered Margariti, were translated into Italian by the publisher.
Creator
An entity primarily responsible for making the resource
Antonio Margariti
Publisher
An entity responsible for making the resource available
Ed. Giuseppe Galzerano
Date
A point or period of time associated with an event in the lifecycle of the resource
1979 [1981]
Format
The file format, physical medium, or dimensions of the resource
19.5 x 14cm; 136 p.
Language
A language of the resource
Italian
anarchist
anti-fascist
Calabria
dialect
Il Martello
L'Adunata dei Refrattari
memoir
Salerno
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/ef38e69c994daf317c949b31d1fdfc8f.jpg?Expires=1712793600&Signature=SVvS7T6n6Few0TxlVmLA70xauJgMNE%7ECligbuCIfMb4o1rfGlqfAh3k6cB2PgeuE5F9qYFOwmo9XLbesHSaPOa7YZGmx0z5uaWBGtqkVnXeVMe-W9N6Mgqx-CShTUpwulJnHfYz6Ags8Ph6RTMXgjK2kSHPAl2Dves964GG4vYKOphn6eCIIOr7FdmcEjqJp4HYzZIbKmB3SVoHDrh8SpWjadmWMSjKoHB-ZZxWuj0DDAbxJ9TEnSIuxIEf8y6DeDtXgsKEQ9Bmgs5CbwGFV2tMW-HAVSmADa7rQi06Wxe8LLyOES9%7ER1p2g5ws3dQ9EWTvR79JhWu7CDTWOVx%7EJ8w__&Key-Pair-Id=K6UGZS9ZTDSZM
81efddb9010843532361c0e603bf1799
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/9fc3fcc7cdc1532fbe2dfb62dce384b4.jpg?Expires=1712793600&Signature=BxJUbxhE8J04hHJyq25Jb3ERWkoAc7HDoHmyqK%7EAcioI2InD5YgTV1qsDxS7MbwVGgpCzT8OdVlMH-71D%7E3Nm8%7EGg4MqLNqbO3GeXYD-GTwg9kxMuIE1Luy0Uf0zge753dYkswG4gwugRGX7ObvraXsgQa7GOzVDaALwjfUJokoxnZd0yt7pxJDk23h%7E3lH281ftRSsXwcsdIubxILGN-EVYFeZrUm7eDsvmasmRTRMf1pJw8FlEfmQCSqw7%7EoPyV1laNPkeZ1F3Zby%7Eh8xqt7hhtL3n3dabYCiN6cYWWTudDq7GFeosE-UFd7Sq3poWI1GsGTK0vxmtFuCKMZMwVA__&Key-Pair-Id=K6UGZS9ZTDSZM
5dfc8af831a64fa6cbc1946344cf6b7e
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/146a313eba5ea8db1e2fdc77bfba010f.jpg?Expires=1712793600&Signature=i-XmbGMQzWC-agY%7EfhktncGalclai7gQ57IYzQ1mp1H1E8vWWJP%7EzCUtBXEp8kleJuYgSM9UtKk6NsX6P66kKNGAylAone53NEp6GUGXRTTxRdoZ9f4td0C698QEdgfvZHFRU2sWqFbik6dTxY06EpIsV51N1gX53dZSLYJfUzJDPOIBzgJTChiMLFtvxJmUsevNiMoCvUw74qFbGpnwlCkg2v3EAkUi6J3npIYn-ON2Sl4jDLZH8ZlbSpuu9-KZ4UL9OPK%7EV5I7Qb3hylnrMMzAjbuHhbnUIcYtuwwBy1sJUietnCQ4X4PHhYg3EkQUNOwzL9CxYFsqanXEmZDofQ__&Key-Pair-Id=K6UGZS9ZTDSZM
7e6d99e9570841eede5beac7e02246ba
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Political subversives III: Fascists and anti-fascists</em>
Description
An account of the resource
<p>The Anti-Fascist movement embraced diverse leftists, including Carlo Tresca, as noted above. Opposition to Mussolini from the left was reflected by activities of the Anti-Fascist Alliance of North America, which formed common ground for anarchists, socialists/syndicalists and communists to temporarily set aside their differences and unite against fascist oppression. Gone, at least temporarily, were the debates about proper philosophy of the left: the goal was to unite in order to defeat fascism.<br /><br />As for fascism itself, its roots were in the nationalist fervor stoked by Italy’s late 19<sup>th</sup> and early 20<sup>th</sup> century imperialist ventures in Africa, which are reflected in several items in the collection. Fascism itself<span>, with its </span><a href="http://en.wikipedia.org/wiki/Political_radicalism">radical</a><span> nationalist agenda, </span>came to prominence in the first quarter of 20th-century Europe, originating in Italy during<span> </span><a href="http://en.wikipedia.org/wiki/World_War_I">World War I</a>. Benito Mussolini founded the Fascist Party, a right-wing organization which launched a campaign of terrorism and intimidation against its leftist opponents, and forced the king in 1922 to name him the Prime Minister as a result of the fascists’ show of force in the March on Rome. </p>
<p>In America, active fascist supporters started two magazines that vied for primacy with Mussolini as instruments of the Fascist Party in America. Agostino de Biasi’s <em>Il Carroccio</em>, (The Chariot) was published from 1915 until 1935 - most years of the magazine are in the collection - with a circulation of about 10,000–12,000, long-lived initially but ultimately with a circulation of only about one-third of Domenico Trombetta’s far more militant <em>Il Grido della Stirpe</em> (The Cry of the Race), which became the largest circulation pro-fascist periodical at about 30,000 at its height in the mid-late 1920s, dropping to about 5,000 in the late 1930s as Italian Americans soured on Mussolini.</p>
<p>Mussolini also promoted teaching the Italian language to Italian American schoolchildren, reflected in several items in the collection.</p>
<p>Both fascist and therefore anti-fascist activities were not confined to New York, Chicago and other big cities. By the early 1920s, Fascist Party cells in the United States were present in Buffalo, Albany, Rochester and Syracuse.</p>
<p> </p>
Subject
The topic of the resource
This section of the collection reflects tensions between fascists and anti-fascists. But the anti-fascist movement in the U.S. among Italians and others had far less to fear from Mussolini than did such dissidents in Italy itself. Savage portrayals and caricatures of Mussolini and of fascism are fully reflected in the collection.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Io canto la vita e la morte!</em></strong> [I Sing of Life and Death!]. <strong>New York: Il Carroccio Publishing Co., Inc., 1923.</strong>
Description
An account of the resource
Inscribed by author "To my kinsman - Anthony Barraco with best wishes for a successful future in his chosen career. Sincerely, Rosario Ingargiola, Dec. 28, 1947." Some of the poetry was composed in standard Italian, and some in dialect.<br /><br />Ingargiola (b. Marsala, 1898) emigrated at the age of 8 to Brooklyn, where he took his degree in law and practiced law. He was an "estimable figure" in the Italian American literary community, according to Durante, as well as a lawyer, writing prefaces to works by Pallavicini and Callichiu Pucciu, q.v. His politics were decidedly on the right, and he was attacked by Tresca for his views, especially in that he was an "ex-subversive." He was also head of the Ordine Indipendente Figli d'Italia. Tresca called him a "fascist, a rascal of the worst kind." In 1923-24 he was editor of and then contributor of critical literary articles to the <em>Corriere d'America</em> and other newspapers.
Creator
An entity primarily responsible for making the resource
Rosario Ingar-Giola
Publisher
An entity responsible for making the resource available
Il Carroccio Publishing Co., Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
1923
Format
The file format, physical medium, or dimensions of the resource
18.5 x 13cm; 105 p.
Language
A language of the resource
Italian
1921-1930
dialect
Durante
fascist
Il Carroccio
inscribed
nationalist
newspaper press
poetry
Rosario Ingargiola
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/4224555e2989a47db045ac3ced45c941.jpg?Expires=1712793600&Signature=d1R%7EUPo24UMjB8YPmQfeAZxTNeaJj46ueBYJsx0aJWcSfg00uX1mJ0k5T3AMyKTsUKhe6J%7E-BDr-MCAfmQJ30kVCvSD99bKeWWihcGi9yON7qwss4Rw9fIoqQRf40Z-Au5MW5dlXDeXg7pqxoy0lvonSI%7ECAlxPd-ZPK%7EJjqIWnb5V2KSMmisLFlVvIsO-zY9SGNBeKmiDEMkETJWmfE9zFbdIiVb5tSY1iH1CtfDCyPl28Nohpufrdr6J%7E9FyjHuGazj%7EyoW61pCCieg9i7Jl1Gou7HMMgPI4jvqZaO7h%7EqZQPqSgH1S4dutFjiLpcL0U6iEQgTf3Zpn5bTq8iWKA__&Key-Pair-Id=K6UGZS9ZTDSZM
a034e00ae3ec75bbe013d064ed2fb1a7
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/4dc2a9ee38e285e83f3b8e48d8631e9f.jpg?Expires=1712793600&Signature=Zvg8E7vVXHcnx-Ghphnrj%7E9rgBipCz-Jq%7ELagO8fwE1eZTkk6Xj8wrZNth3SLWU7vHKBGfo0jNdyQc0Ec3FHN49A3lVzJj%7EFxQJk9cCQcumDfJqAoUGFvalJN8nSShIOe8iiFA1u8%7EQKHwHgFhayx8YxmYHEGqQLfYJvrIfI5sH9804U-AyvdVXAEqk7JWVyt1DfJJD%7E3XBIvpv%7EZjPA2glCfNwJuRUwGOpbDO5mcRHIeO5XhAqEGurh69pbBqS4IhyzsqgNeQSc2Eq-76oNkfRcaClCVFmByogsh7x2bmi1vb%7EP5zsDw7MUGI-izJG5Kz2fqLB%7E16z9uJ4MATVWKg__&Key-Pair-Id=K6UGZS9ZTDSZM
f836dda6baa7bd31d89db8ca2a2a9f79
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/d75ee8968ac53404517208ff5163e257.jpg?Expires=1712793600&Signature=VM5tDJn255xs70K-iStW4cSzWnzh2hcIRjTrPMZXCeM0aUiDNJ8IgtnH4ZQn7MXSPUFN7GDvRepdicewcVdhBOmVgEA-pdOXq27OqeIV1IJln3-S9-fic6svgVhBDmLPITdaQ71LSQCla%7ES6HDz0uNvMRWRseCe--UEZWEMVcnV-0-e%7EA78EhQJYkcSXmAIoEhZ-qgNJnsQRzAeGcIkPTlE0xs8Ua7AELoS9vq5NUrCKMcsLKapOKHSQYl6CuRsjKOvJoutD9PTx5BEzFnGqAsZvBqlFWzQ3neo5%7EfnFtd%7EvbOEsUbP9Pm1AkLETX7b9WkRIlYkAIF3aM9mJQie7Yg__&Key-Pair-Id=K6UGZS9ZTDSZM
e5312aa7effd3976c368b158d2bade7a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Political subversives IV: Arturo Giovannitti, Carlo Tresca, and their circles</em>
Description
An account of the resource
Arturo Giovannitti immigrated to Montreal at the age of 17, where he became a Protestant pastor. He then moved to Pennsylvania, preaching mostly to miners. He later left the church to join the labor movement after becoming interested in socialist ideas. Participating in the great Bread and Roses strike in Lawrence, Massachusetts in 1912, Giovannitti was accused falsely of the homicide of striker Anna Lo Pizzo, and arrested, along with Joseph Ettor and Joseph Caruso. Speaking in his defense while on trial in Salem, he delivered a legendary apologia in English that was subsequently published in both English and Italian under the title “The Walker,” further establishing his charismatic leadership. <br /><br />After 1920, Giovannitti was among the organizers of the committee for the defense of Sacco and Vanzetti, a major leader of the anti-fascist movement, thus of the Anti-Fascist Alliance of North America (AFANA), and a member of the committee formed to push for the investigation of the assassination of his friend Carlo Tresca. A complex intellectual figure, equally comfortable in both English and Italian, Giovannitti is the rare Italian American writer who, despite the extraordinary reception accorded him within American literary culture, never abandoned the Italian community. His English-language poems were often translated into Italian as well as into Sicilian. Only his Italian-language publications are included here, including especially <em>Quando canta il gallo</em> and several issues of a gorgeous literary-political magazine, <em>Vita</em>, published beginning in 1915, a few issues of which became part of the collection only recently (2021). <br /><br />Carlo Tresca was the radical left’s most complex, fascinating character, a powerful thinker, charismatic orator and rabble rouser, ladies’ man and a warm friend who never forgot the human dimension of people whatever their politics. By the time fascism began to take serious root in Italy, Italian American radicals for the most part put aside their factionalism to join in the fight against totalitarianism. Along with Giovannitti, Tresca was one of the founding members of AFANA. <br /><br />However, Tresca’s popularity earned him a lifetime of enmity from Luigi Galleani and his followers. Tresca’s political views evolved over time from a belief in the need for a revolution to destroy the private ownership of property basic to capitalism, to grass-roots union organizing in 1905, when he became its leading Italian proponent and practitioner, to being an anarchist who nevertheless believes in organized unions or syndicates (anarcho-syndicalism) by 1913. His longest-lived newspaper was <em>Il Martello</em> [The Hammer], constantly in financial and political difficulties – for many years of its publication, he had to submit advance translations into English for the Post Office and Justice Department of each issue – and a significant book-publishing venture of the same name – Casa editrice “Il Martello.” In addition to several years of issues of <em>Il Martello</em>, and a couple of works authored by Tresca himself, the collection includes numerous publications of works by others under the Casa editrice "Il Martello" imprint.
Subject
The topic of the resource
Giovannitti and Tresca stand out as vibrant, charismatic individuals, not unlike Galleani and Borghi but with a broader political and non-political following and personal drama to match.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Pagine scelte </em></strong>[Selected Works]. <strong>Brooklyn Libreria dell'I.W.W., 1930.</strong>
Description
An account of the resource
This work contains Giovannitti’s speech (entitled “Davanti ai Giurati di Salem, Massachusetts” [Before the Jurors of Salem, Mass.]) in 1912 to the jurors in the trial at which he, Joseph Ettor and Joseph Caruso were accused of the murder of Anna Lo Pizzo during the Lawrence millworkers strike in 1912. The strike is an event memorialized in a famous painting of Ralph Fasanella.<br /><br />The jurors rightly believed the defense that the police were instead responsible, and the arrest of strike leaders Giovannitti and Ettor, in particular, was a pretext to make them unavailable to lead the strike that crippled the factories in Lawrence. <br /><br />The work also includes <em>L’Evoluzione del Pensiero</em> (The Evolution of Thought) of Giovanni Gianformaggio (1859–1901) and Emma Goldman’s<em> Sindacalismo: Lo spettro del capitalismo</em> (Syndicalism: The Spectre of Capitalism), with a preface by Giovannitti. <br /><br />The volume also contains some poems in Calabrian dialect.
Creator
An entity primarily responsible for making the resource
Arturo Giovannitti
Giovanni Gianformaggio
Emma Goldman
Publisher
An entity responsible for making the resource available
Libreria dell'I.W.W.
Date
A point or period of time associated with an event in the lifecycle of the resource
1930
Format
The file format, physical medium, or dimensions of the resource
17.5 x 10.5cm; 61 p.
Language
A language of the resource
Italian
1912 Lawrence strike
1921-1930
Arturo Giovannitti
Brooklyn
dialect
Durante
Emma Goldman
Gianformaggio
I.W.W.
literary
poetry
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/ddfc79f7a4489b17b324622607d7a1a5.jpg?Expires=1712793600&Signature=mnUDZF6qKTtG5TiUra0g92bzL%7EmjArhKx1yByP-zs28hj3IM9MmLR5y6qVWWCRtIkNnVgv%7EGLTWkhOo0cp5eTDzB-Tb-1hpkmYL6p6g02gR8HTE0zc7ggZEk4wyGXnSxBX%7E8rQ21YIW984NZx-XzCe1TbjZJ--DDVapvz%7EmN%7EazAMa26eGr2cpiGtap2omLofJ6nGA2cgtfULvdy6PdY9awN-eK2W5SiYAbfA0t5sXv%7Ev5PREE1MCZDgQwqMjUpBOocOFgwssK8IWuBvDVn9IwuNydJqeblmMDfzerYozad8vLrd%7EcPOszE-Jbvx1cwtPO%7EvEA9JGoU%7EtKhMewNz3g__&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
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Nofrio senzale di matrimoni </em></strong>[Nofrio, matrimonial agent]<strong>[Facsimile]. New York: Casa ed. Biblioteca Siciliana (presso la "Follia"), 1919.</strong>
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 <em>Oreste</em> to Giacometti's <em>La morte civile</em>. 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. <br /><br />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, <em>buffissimo</em> 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 <em>Avventure di palcoscenico</em>, 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/ecfc0081f872d0a6f2c07a50a9facdf5.jpg?Expires=1712793600&Signature=I6VXZBiJe4xYNSm%7E%7EZvc2Nml6xowtZlxOhblKSFuJGUwBOxhX1u8qf9Kwxw4kGQEVPJa1Okob8JbucfTAndACKfoXpmSASnY%7EzgoEPd5X8NF%7E%7EPsDT3HiPZ-3Oy74bfZXhrR1U3RFPvf5n2yc6RL8yTOuUE%7EXtpHy93mPjsA775KvWJf1uhVh5PYnTZJ7Q4YOfh0hVDhmqL0u%7Eaft0W-Cee52q6XByoZFEp8RvMOUV7T5k9wH13SH6-C7hqqid0t8l-YoHRqrBawdfCd-bUlpr40z0n2FLlg0380cjmh-i91vPjE00YrMlKCdpsXe-mbulbe9o3kiA11jkgKyimjwg__&Key-Pair-Id=K6UGZS9ZTDSZM
2eac57f6251079bf4540263fefc5d85c
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/414410dd874470b2efcb385a033fdb93.jpg?Expires=1712793600&Signature=HKQyupPc-OdDBtFgiMb-bwlBtnACBeBZp2hK0u51bIXcpegz7R66M4L%7E5v1szPO3IEQFKo9zat4mu2T8k%7EnZdgnSfPkdDcLNtljbpJr8gBgzRPWz-pVo7uOqEw3lt5HveTYrCefJVNralUneADCs4Tz7vrKOUB9-7av6R7l3%7EpMCl1yf-6d4aO8rXQ0Xb3An5nRgpo0hq-oQMkuqAgSmFoFthlV6k60A8KYKbsyihLm5p7c6I8nHOv7kpSdXvfgxA%7E8TGmo5uoqnZVb-36HnpnH3OKYL8de57CfzKEcwaEXpoCDPVSZ0qoKoDtZbxTD%7E65ucfSrS%7EGmy1-H6QJI6BA__&Key-Pair-Id=K6UGZS9ZTDSZM
208fc818cda81957c9c9cdfe7e6341a8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>A festa 'e muntevergene ('Mmiezo Nola): Scene carateristiche di vita Napoletana in un atto </em></strong>[At Holiday: Scenes Characteristic of Neapolitan Life in One Act].<strong> Napoli: Casa ed. Ferd. Bideri, 1923.</strong>
Description
An account of the resource
Like <em>Femmena 'e triato</em>, this work was an import by the Italian Book Company, which imported many works, holding copyright protection for the exclusive distribution of such imported works. This one is dated two years after <em>Femmena 'e triato</em>, "Copyright 1923 by Italian Book Co. "SOCIETA LIBRARIA ITALIANA" 145-147 Mulberry St.-New York Concessionaria esclusiva per gli Stati [sic] d'America e Canada."
Creator
An entity primarily responsible for making the resource
Giuseppe Ascoli
Publisher
An entity responsible for making the resource available
Casa ed. Ferd. Bideri
Date
A point or period of time associated with an event in the lifecycle of the resource
1923
Format
The file format, physical medium, or dimensions of the resource
17 x 12.5cm; 51 p.
Language
A language of the resource
Italian
1921-1930
dialect
humor
import
Italian Book Company - Società Libraria Italiana
Napoli
Neapolitan
New York
printed in Italy
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/9f0704f7d65062655c1453f3f0a7416d.jpg?Expires=1712793600&Signature=vnFLiXn1lu7YWMAeM%7EGy7zQFQ30lAMSedBvaGL95HyckDA1d%7EJaGbe6dZfZ31v9vNkMPJKpryGlQTAQ9T1fERdmrI8I35Zqd5BeJT7%7E%7Ek8z-OCNMKDoyIAsAFidIpwBLZ8CdRQmIiGf4IcHiDMrGUfbp8dNhg6YszKfMaGrOYxof53GFjFL8E2mSxx-p6%7EllAtGrGcSss62DPLLuVZQA6O3Zb9fe-aqNNYsulZtQ7dM-NLHUyMjTEqHBHME5dq8v9UjHDsiFVO4i5aBManTJcRqmopzd2hIDQ3yzFJjK2M596qRJYuKeged2Yr3B-1s7R9r1Zu7XI1cjSV7YVWuwpA__&Key-Pair-Id=K6UGZS9ZTDSZM
6d685b4b5e8933f2d659510d403103fc
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/d19bd561b4f5ff3f512a34d4c89801af.jpg?Expires=1712793600&Signature=eStovXwZWpk3Wqji8g0y702U2iSZ5kIQnykecL7z5KztkUI2yvuM0LqX8YxfRzphjobxQ5MYM-V51NsJ1k03xG4Yjt5YzwFuHdZR6LYd37AyGmIHAm27blm2Sko3pFnZB6amNK7VrXmzBEO-NFxe%7Elmt4oLOrskOx6PUEdLYzUp6GlV8A6wbLnbHP65ZD8XP-PJykGuL4HK8JbG4P52kHeqg6Ylzx%7EuH1smsYJ2PwMXMpzVNV%7Esi5WHIgEhir70VRU3JM6%7EDmzrVcJjrCdfbDD1hyjmKancqqxiGnVy6TiuPUSL5RpdzsbZxQytqokGCjm3gL%7Ed7Ii8qPVacXeJyJA__&Key-Pair-Id=K6UGZS9ZTDSZM
0bb23780c69f657c8fedf7203aa75af1
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Femmena 'e triato: scene passionali ed umoristiche di ambiente di palcoscenico </em></strong>[Women and the Theatre: Passionate and Humorous Scenes in the Environs of the Stage].<strong> Napoli: Casa ed. Ferd. Bideri, 1921.</strong>
Description
An account of the resource
"Copyright 1921 by Italian Book Co. "SOCIETA LIBRARIA ITALIANA" 145-147 Mulberry St.-New York Concessionaria esclusiva per gli Stati [sic] d'America e Canada." The actual publisher was the Neapolitan one noted above. But this sort of importing arrangement served the IBC well: it imported many more works from Italy than it published from new sources in America, although it published more of these latter category than any other of the Italian-language publishers in the U.S. <br /><br />This diversification, i.e., imported plus home-grown works, included Italian and English dictionaries and grammars (sometimes a purportedly only English grammar actually served to teach Italian) that went through multiple editions over many years. This practice probably contributed to the longevity of this publisher, which exceeded that of any of the other Italian-language publishers.
Creator
An entity primarily responsible for making the resource
Giuseppe Ascoli
Publisher
An entity responsible for making the resource available
Casa ed. Ferd. Bideri
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 x 12.5cm; 39 p.
Language
A language of the resource
Italian
1921-1930
dialect
humor
import
Italian Book Company - Società Libraria Italiana
Napoli
Neapolitan
New York
printed in Italy
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/3949d08792c84ca47243f16228eacd76.jpg?Expires=1712793600&Signature=CygiBb9YVnJvuA1EtEuQFtNe46Hu%7EraDCGfU-64nr3BVkPXoosp9vZLVofSQRn7ruuos-s6xF7WB-CFY6VEYQZNE9J4SFMUYVZU7ZfxAkxNctgggdAcRb7RQJumZ2HmBbcVHrYRZgFvyhyvyXGFmydqNR9T0Jg-CC%7EeG68-Nm2Q6eWrz89rR57pRiMwoVYyXWOvHHaL20PFvejOgbJT7JSVN2VrDRA-ffMmzkHi-qO%7EAEqAgPugf1CUkJYJslUKzM%7EkrPjmge75NgDNY3RvPW%7Eb5FrCt-QLa1TeRogYijD%7E3icccbWYH3Cjjp0J5%7E4Y4n0lA07d%7Ed3sTb0uBeFWMOw__&Key-Pair-Id=K6UGZS9ZTDSZM
9124d67eb7812c7a827a707a90b6e995
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/9080b85b05e3853e1334e21b9b41fbc5.jpg?Expires=1712793600&Signature=vBunfZN9bUAaoYNGN1GLDjQCa4j6LFVuwk621eF67EkakFHlemPLp-3UWqqAHAaZYz6eSGhhp0K4D6ON1R%7Ep1DekH0fAUCg5g8Tb7z8TMwIpyImNLA7pcoeIUKrpTMpWPdN4hWt0GbnrVO2HgpQ47PHe72dyKulbZ4DUr0zJXOIVWzwC2QzEg%7EkMR8IKzbktWkXa3kbKwJTmSigFm4HBX9Z3uJ8-J4UbtpeYkwToXrtqcEOeV778cyqWlSRSIR-QUx9xxGpNEGHFifUDE8psLJRL%7EyO-s40Dxaw671UOMdVRG%7EkkqJGhie2hpR0g9-z6V-Kn-Yv73ewFu8stgZirkw__&Key-Pair-Id=K6UGZS9ZTDSZM
0242038a768e2788d2f1dd789ade3925
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Scugnizzo: poemetto napoletano </em></strong>[Street urchin: short Neapolitan poem].<strong> New York: Coccè Press, [1924].</strong>
Description
An account of the resource
Inscribed to "Al poeta Armando Massa, con sincera e cordiale amici fa'a, con viva ammrazione, Riccardo Cordiferro, N.Y. 21 Giugno 1924."
Creator
An entity primarily responsible for making the resource
Riccardo Cordiferro
Publisher
An entity responsible for making the resource available
Coccè Press
Date
A point or period of time associated with an event in the lifecycle of the resource
[1924]
Format
The file format, physical medium, or dimensions of the resource
18 x 13.5cm; 15 p.
Language
A language of the resource
Italian
1921-1930
Cocce
dialect
Durante
inscribed
Neapolitan
New York
poetry
Riccardo Cordiferro
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/b11b820ed44b62d44ea14a9f6c8ce3e6.jpg?Expires=1712793600&Signature=NO-n0z5B1bOrjT4stj8PA5jKrNqrgeRlmpouKE7A9funVfhr2vdHdr7hlP4N5-Av9GdQAMWee1k01nu%7E7yUHJtcCEhiG29pviCWrwW6GVEnzShlMePBGXCvTFqI1pXmT5hdEaBGIb8RLTFMY05x%7Ev8moZ8KwJyOx7OzjHHPCpUUSE0ExSBnctFMoNtvNU9aQ-5ZWEyn2bEAwE017rRvuwv5EhjUe1lfKSyCC2S1f9dYTYjZsf-PJt3shz7zqPE-Dt5eWRgp3NOYZsGtU%7EwuKbfdc5m5ZV990KgWbn34YWCSpM07VLgGo45UWTzKQsc9r0pEr-pMJGTzJLsHyW4M4CA__&Key-Pair-Id=K6UGZS9ZTDSZM
185b78dae6c14783066d65bb02918e5d
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/76c4d2b666fa49f6da484bdbce538a9b.jpg?Expires=1712793600&Signature=A1XHuGiiQVnFfze-9yIVBWy-%7E2qVbTcgCsiuDZFtK83Z1yZw6HqbTy65laMNJKEqr7vV1irxtaYGvkTIJ5PiAmeyKq-CVgd0H64cQEVTVs3627qtcDV9nRuRRZQsycgGYLBJ4m9zHF7W4Sdt2wfpHd%7E6VSQYiZY4YPgjqnzyRqmih2PbB7rvrDZ82eO1vocYesyRn50cqDKL%7E2CKYqWe0lmRGyDqegy5xKe-7099Qfq1QDZ9WwAVK-dEYUCKYm%7EUYz0B-iGNr7TUN9LTwVwPHL5Xy8HRosKuetQ3OvbNRMqRMMMl%7ETPEswegMFrDP%7EF4j9t1GbxdcF2iL7XrLfLZAw__&Key-Pair-Id=K6UGZS9ZTDSZM
fc3cccb4b57fdaa444a684bc6ef8d9a9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Ode alla Calabria </em></strong>[Ode to Calabria].<strong>Buenos Aires: Casa ed. "La Voce dei Calabresi," 1933.</strong>
Description
An account of the resource
With a translation (from Calabrese into Italian) by F. Greco, this recounts an evening soiree given in honor of Cordiferro by his friends from Acri (Cosenza) 14 December 1930 in the house of Antonio Meringolo in Brooklyn.<br /><br />See the full description of this work under the other copy. This copy, from the same publisher, the Casa editrice La Voce dei Calabresi, has the same cover design but is in a slighter larger format than the other copy, presumably reflecting a separate printing.<br /><br />See discussion of this work in the essay by Francesco Durante, "Riccardo Cordiferro: an Italian American Archetype," on this website.
Creator
An entity primarily responsible for making the resource
Riccardo Cordiferro
Publisher
An entity responsible for making the resource available
Casa ed. "La Voce dei Calabresi"
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
Format
The file format, physical medium, or dimensions of the resource
17.5 x 13.5cm; 160 p.
Language
A language of the resource
Italian
1931-1940
book reviews
Brooklyn
Buenos Aires
dialect
Durante
La Voce dei Calabresi
New York
newspaper press
poetry
reviews of work included
Riccardo Cordiferro
-
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/261264d1c18c9704e63cb71baaf6acec.jpg?Expires=1712793600&Signature=CZT-frfRjEV3AmANsgooLYGQIdSYrCuRizubDUgWqpCNZmqxLaKLQB6e-2O5c34fVLgUTjg9v7KCgwe2c23yht%7EUp3%7ElVh6Pu7fbgLhVCcUrEiG-0M-f4nvPeCSCaZO4QdrUAjAFTHtEPtHygj4-BZtD3HtVPcHQnHoLx769wffDz2DoDTWgvfLhUKr1uyw0-45MPdLWeZ9oa24cToe%7EDxF%7EsyUFke1LA-nM5ZKnTfvFVLKJ3QD4ilPrgDaX2attSG1M3M%7E-u4W3HRCojpAqLv8TSSKxGNpOPQapVtlwomuv2KSD2fhxW9-1%7EeINwEpWBy-nlo6huLeyn01Feg6sgw__&Key-Pair-Id=K6UGZS9ZTDSZM
c02c63f6eb2485b29c31723ebed227c3
https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/4fe0bcc724d88f4d86032cc5f0cd0797.jpg?Expires=1712793600&Signature=R%7EXKpPtGaO0Q7FmvPPFti668wCLlJZOi7QLg-pyiQbdmj-468ns6g2oVHv78OCBoGzFRCcNCRXScYSzNJ-%7E2Reo1IPBrocw-Iw40Wn7ME1z1UFg4Osqjg5NOtfr%7E5y5E2u-6FRCxd1RGvF1wDKqix5W9Q%7EA1KNw5j%7EnvrnC9tJEy8exlVSLO2zSXUMXW8Uw%7E%7EN9WUfKgO-kdjHvaM3tEOOAtfkR45KsJDVaFb%7EpUlziVMLQc%7EAAH51x4kosP9IaUnHoRb0YJAPSn8eLmQEoMa2orAHtaQTFXWsXeQsaN7J8oFNXiJ25M17Gsc9TrD6gECE97qEB3RrsfRay-Q5x8Zw__&Key-Pair-Id=K6UGZS9ZTDSZM
938f250aef1f2240138624d6b5e667f1
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper</em>
Description
An account of the resource
During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in <em>Parole Colletive</em>, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. <br /><br />Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. <br /><br />Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the <em>sovversivi</em>. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. <br /><br />Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) <em>Il Carroccio</em>, or Arturo Giovannitti’s literary but also politically leftist <em>Vita</em>, Vincenzo Vacirca’s <em>Il Solco</em>, Ernesto Vallentini’s socialist <em>Zarathustra</em>, or Enrico Arrigoni’s anarchist-individualist <em>Eresia</em>, all of which are reflected in the collection. <br /><br />The generically (and gently) leftist and anti-clerical <em>La Follia di New York</em> was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. <br /><br />Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of <em>La Follia</em> into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained <em>La Follia</em>. <br /><br />Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country.
Subject
The topic of the resource
While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. <br /><br />The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<strong><em>Ode alla Calabria </em></strong>[Ode to Calabria].<strong> Buenos Aires: Casa ed. "La Voce dei Calabresi," 1933.</strong>
Description
An account of the resource
This work, published by the book arm of the Italian-language Argentinian newspaper, <em>La Voce dei Calabresi</em>, commemorates and reflects a literary soiree held in Brooklyn in 1930 (and elsewhere, e.g., Toronto) in which the title poem was recited (and then published in the January 4, 1931 issue of <em>La Follia di New York</em>). <br /><br /><em>Ode alla Calabria</em> also contains, in addition to the poem itself in Italian as written, a translation into the Calabrian dialect by Francesco Greco, and reviews of Cordiferro’s title poem that were widely published in Italian newspapers and magazines throughout the United States. <br /><br />Given Cordiferro’s popularity among South as well as North America’s Italians, it is not surprising that this poetic work was published in Buenos Aires for the benefit of that city’s considerable Italian colony. <br /><br />The existence of such a broad U.S. Italian-language literary audience, and the promotion of common cause with the Italians of Argentina by itself makes this work interesting. Readers of the Argentinian <em>La Voce dei Calabresi</em> (The Voice of the Calabresi), which advertised itself as the “popular tri-lingual newspaper of the Calabrian collective" (presumably, Spanish, Calabrian and Italian) would have known of Cordiferro’s plays.<br /><br />See discussion of this work in the essay by Francesco Durante, "Riccardo Cordiferro: an Italian American Archetype," on this website.
Creator
An entity primarily responsible for making the resource
Riccardo Cordiferro
Publisher
An entity responsible for making the resource available
Casa ed. "La Voce dei Calabresi"
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
Format
The file format, physical medium, or dimensions of the resource
18.5 x 13.5cm; 160 p.
1931-1940
Brooklyn
Buenos Aires
dialect
Durante
Francesco Greco
La Voce dei Calabresi
New York
newspaper press
poetry
reviews of work included
Riccardo Cordiferro