https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/24747e2ce6fa1ea9df8548c7efe9a0d5.jpg?Expires=1779926400&Signature=KjvrPSxG96rlwixPDF5xTChYJ0LrrZ4h5fr8WiBNeiQN%7EcO0I-r9leE-YXLjDYbf8ipFQFERx8at92F93ETw7lCZS95T9iFMod%7EaJPlUBk--L0en2lSJnLd47%7EV%7ER%7EOSEpaXnEosq1XUtYUT73GVM0EcjyLiDltCJraMwFtYJveRD38oK127Yg57D8OQMWLCFqQxPNr1ei-pvlTqMPQuzCgU38eXi7IWv%7ENxwv-72%7EwrdFw7PYk-JQShWiGPXZuBWXUKq0u5SnF3YPopQgCqeD2DoZhkC-hjEh0yL%7EtQDk7J6PcCejilLzQbp0wjNu%7EB%7E6mlLa5cDAebQyhXkHnK%7EA__&Key-Pair-Id=K6UGZS9ZTDSZM 3e0da46124093704850eb3124eab7929 https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/8ba52cf7c5bc1fb6a196a7ca017f7be4.jpg?Expires=1779926400&Signature=rSWki7wrS%7E0gLXH4hvQkutQ7txJN4F2O7-yhuoQuJsTxxPv9c--ssk0IVRB%7EuFjbzJJmx0SYNL91LnJr8kBBCgW5DKM%7EBK558lOsg-6TO3ieJ0khLGSG9o5AEymgEy7JD9lCuoiiHi7vWKnhkg6Y56xjnEMcy6-Q9QhBfPiASRDrUK9ZdptkwQ6bIM3NRLpfd9yBCDRgO049FIwH%7EgFVJlWgjjSPdYNZvYERjYGrzEdY1j1kXTatO7bpiUHM%7EOh%7EkceZlaBIvN66PofyMw1cvSwqL0r3yy5MfTxCQ1ZkEb0Gw9XVgSVKlVISBS45FawPU-l5zB9Q29zu1f1FDJ78WQ__&Key-Pair-Id=K6UGZS9ZTDSZM 3de8625f3d310aa7b62291c913fbb34c https://d1y502jg6fpugt.cloudfront.net/58817/archive/files/083ad89781dc6307e23929c99b6f0674.jpg?Expires=1779926400&Signature=jpXuKyMgOTV7Du%7EzJ3iuiESXf%7E5RiXKWhpQXiSF3gzUjuF7egawhEfmzzgQ0BLfLw-rrzguNMh41wmVPGXatYEJY-meqr3J-HmVGwerHeCaP6lnSmSkmSizTCGMgCsCWOVu8vV0BSO7PkePr4dAoXEa3orKlAFVHSJOw3QFtDEC%7EmUoffohwLxyHlUX-f0OpSQHOA%7ERwCbwTOW1D7zx2FgsOBfEZoUncj1IpaFQitNrMsh6scsA6aUvDr2XVCkVt9K1dXs7iay5cCgmQke%7EQw2l8Tau9WN4c6aKTWbVwIsRl2EC7moE%7ECC8wZfvvA%7EvJyUaHK7gtrWmTdtoVH7Sbxg__&Key-Pair-Id=K6UGZS9ZTDSZM bef777ed45bf5c832269693a1c55f29a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Imaginative literature of the great migration: Fiction, poetry, drama, music, and art in books, magazines, and other works on paper Description An account of the resource During this period fiction, poetry and drama ranged from the sensational urban “mysteries” of Bernardino Ciambelli (never translated into English) to the arguably more literary and certainly more political fiction of Ezio Taddei. Unlike most of the others, Taddei enjoyed a significant, however brief, success in American intellectual circles, with English translations of most of his American works. Illustrations, such as those by Costantino Nivola (the first non-American admitted to the American Academy of Arts and Letters) in Parole Colletive, matched the sophistication of Taddei’s writing. Poetry was written largely in dialect rather than the standard Italian used by the novelists, could be found in the poetry, of Calicchiu Pucciu, or Francesco Sisca. Drama, more than the other genres, was largely though not exclusively devoted to political education, and was often the central entertainment of May Day picnics of Italian leftists consisting of performances of the plays of Gigi Damiani or other dramatists, discussed in Section VII. Italian American theatre began in New York in the 1870s. Theatre filled important emotional needs -- entertainment, a support system and social intercourse, supported by a network of fraternal and benevolent associations. Italian and European writers were introduced to immigrant audiences, whether in Italian, Neapolitan, Sicilian or other dialects. The Italian American experience furnished the subject matter for original plays written by Italian immigrant playwrights. Among them, Eduardo Migliaccio, known as Farfariello, who appears in one of the playbills advertising his performance here, made the Italian American immigrant the hero of his dramatic creations. Riccardo Cordiferro, several of whose play scripts appear here, concerned himself in his plays, as in his philosophical writings, with the social conditions of the Italian immigrant, and was less action-oriented than, say, the hard-core work of the sovversivi. Women in the theatre, like Ria Rosa, whose playbills appear here, enjoyed freedom and an outlet for creativity not available to women who played out their lives in traditional domestic roles. Antonio Maiori introduced Shakespeare to his immigrant audiences in his southern Italian dialect productions. Guglielmo Ricciardi, whose later memoirs appear in the collection, originated Italian American theatre in Brooklyn, and went on to a successful career in American theatre and cinema. Magazines reflected the politics of the publishers to a greater or lesser extent, whether of the nationalist (and later Fascist) Il Carroccio, or Arturo Giovannitti’s literary but also politically leftist Vita, Vincenzo Vacirca’s Il Solco, Ernesto Vallentini’s socialist Zarathustra, or Enrico Arrigoni’s anarchist-individualist Eresia, all of which are reflected in the collection. The generically (and gently) leftist and anti-clerical La Follia di New York was was one of the earliest, in the 1890s, begun by the Sisca family (of whom Alessandro, pen name Riccardo Cordiferro, was the most celebrated), and was perhaps the single longest-lived magazine published in Italian in the U.S. Cordiferro’s brother, Marziale Sisca, packaged the caricatures of the charismatic Enrico Caruso that adorned the pages of La Follia into a book that went through many editions, beginning in 1908 and continuing with an edition as late as 1965, which suggests that it financially sustained La Follia. Evidence of widespread cultural influence may be found in publications which included letters from enthusiastic readers or reviewers preceding or following the work itself, much like today’s review blurbs, and also lists of subscribers from around the entire country. Subject The topic of the resource While the amount of political literature (anarchist, socialist, fascist) in the collection suggests its prevalence in the Italian American community, it might well be the great survival rate of those materials that's responsible. The non-political imaginative literature created in Italian by the Italian community in the U.S., richer in wildly varying qualities, philosophies and interests than the political literature perhaps, provide a three-dimensional view of the Italian community. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Spose di guerra: dramma in un atto [War Brides: drama in one act]. New York: Casa ed. "Il Martello", [1915]. Description An account of the resource This feminist, anti-war play is the best known work of socialist and suffragette Wentworth (b. 1872 - d. 1942); it's a topic that would have appealed to Carlo Tresca, proprietor of Il Martello and its book publishing arm. Tresca also used the "Libreria Rossa" imprint (see below), e.g., in other publishing, including his magazine Guardia Rossa. q.v. The story of the play is of a war bride widow who commits suicide rather than bear more children for a nation that allows her no say in its decision-making about war. It was one of the most successful plays in its original English of 1915. Its translation into Italian seems to have been done in the same year. It is the sort of play that Italians would have loved to perform in Primo Maggio celebrations. For Italian performances, the reader was direced to "our representative Paolo Valera" in Milan. Seven years later, Il Martello would publish Il fascismo of Valera (b. Como 1850 - d. Milano 1926), who was a prolific journalist and novelist. The translation of Wentworth's play was authorized by Zino Fioretti. It is one of two works that Il Martello translated from English into Italian that we have found. The other is Eugene Lyons' Vita e morte di Sacco e Vanzetti (Il Martello, 1928), q.v., based on the English original published in 1927 by International Publishers, q.v. A particularly interesting feature of the current work is that it includes four photographs drawn from the production with Madam Alla Nazimova in the leading role. This imprint is somewhat more lavishly produced, especially on better quality paper, than many Il Martello publications. It was printed by the De Pamphilis Press of 51 Greenwich Avenue in New York City. De Pamphilis had also printed a 1909 work of the other Tresca imprint, the Libreria Rossa, entitled Il mondo e le sue trasformazioni: dialoghi fra il nonno e la sua nepote by Paraf-Javal, translated from the French original, q.v. The name "Libreria Rossa" name adorned Carlo Tresca letterhead, at least in 1919, see holographic letter of Tresca's in the collection. So De Pamphilis may have done work for Tresca under whichever of his imprints he happened to be using. Besides this work, and the Paraf-Javal translation, Libreria Rossa also published, in 1921, Se si farà la rivoluzione in Italia, si morrà di fame? See description of another work in the Collection, Il mondo e le sue trasformazioni: dialoghi fra il nonno e la sua nepote, which was also published by De Pamphilis Press. Finally, "Librerie Rosse" - the plural, Red Bookstores - was a term used generally to described leftist bookstores in the Italian communities of the U.S. Creator An entity primarily responsible for making the resource Marion Craig Wentworth Publisher An entity responsible for making the resource available Casa ed. "Il Martello" Date A point or period of time associated with an event in the lifecycle of the resource [1915] Format The file format, physical medium, or dimensions of the resource 20 x 13.5cm; 70 p. Language A language of the resource Italian Source A related resource from which the described resource is derived Copyright The Century Co., 1915; translation "authorized" by Zino Fioretti. 1911-1920 De Pamphilis drama Il Martello New York newspaper press translated from English