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“The Cornerstone Is Laid”: Italian American Memorial Building in New York City and Immigrants’ Right to the City at the Turn of the Twentieth Century
European journal of American studies Vol 10, no 3 | 2015 Special Double Issue: The City “The cornerstone is laid”: Italian American Memorial Building in New York City and Immigrants’ Right to the City at the Turn of the Twentieth Century Bénédicte Deschamps Publisher European Association for American Studies Electronic version URL: http://ejas.revues.org/11299 DOI: 10.4000/ejas.11299 ISSN: 1991-9336 Electronic reference Bénédicte Deschamps, « “The cornerstone is laid”: Italian American Memorial Building in New York City and Immigrants’ Right to the City at the Turn of the Twentieth Century », European journal of American studies [Online], Vol 10, no 3 | 2015, document 1.5, Online since 31 December 2015, connection on 30 September 2016. URL : http://ejas.revues.org/11299 ; DOI : 10.4000/ejas.11299 This text was automatically generated on 30 septembre 2016. Creative Commons License “The cornerstone is laid”: Italian American Memorial Building in New York Cit... 1 “The cornerstone is laid”: Italian American Memorial Building in New York City and Immigrants’ Right to the City at the Turn of the Twentieth Century Bénédicte Deschamps 1 At the end of the nineteenth century, the massive arrival of Eastern and Southern European immigrants in the United States was often depicted in the local press as an “invasion” of “undesirable” crowds. Permeated with eugenic ideology, the New York newspapersresented the “dark faced Italians” who were “swarming through the doors of Barge Office.”1 This “miserable lot of human beings” was deemed a potential nuisance in a society which needed cheap labor but had difficulties welcoming foreign workers on an equal footing.2 At a time when rapid industrialization was contributing to shaping the cities, the question of space became crucial. -
European Journal of American Studies, 10-3 | 2015, « Special Double Issue: the City » [En Ligne], Mis En Ligne Le 31 Décembre 2015, Consulté Le 08 Juillet 2021
European journal of American studies 10-3 | 2015 Special Double Issue: The City Édition électronique URL : https://journals.openedition.org/ejas/11186 DOI : 10.4000/ejas.11186 ISSN : 1991-9336 Éditeur European Association for American Studies Référence électronique European journal of American studies, 10-3 | 2015, « Special Double Issue: The City » [En ligne], mis en ligne le 31 décembre 2015, consulté le 08 juillet 2021. URL : https://journals.openedition.org/ejas/ 11186 ; DOI : https://doi.org/10.4000/ejas.11186 Ce document a été généré automatiquement le 8 juillet 2021. Creative Commons License 1 SOMMAIRE PART ONE Spatial Justice and the Right to the City: Conflicts around Access to Public Urban Space Introduction Aneta Dybska et Sandrine Baudry Urban Discourses in the Making: American and European Contexts Where the War on Poverty and Black Power Meet: A Right to the City Perspective on American Urban Politics in the 1960s Aneta Dybska Who Has the Right to the Post-Socialist City? Writing Poland as the Other of Marxist Geographical Materialism Kamil Rusiłowicz Segregation or Assimilation: Dutch Government Research on Ethnic Minorities in Dutch Cities and its American Frames of Reference Ruud Janssens Public Art: Transnational Connections “The cornerstone is laid”: Italian American Memorial Building in New York City and Immigrants’ Right to the City at the Turn of the Twentieth Century Bénédicte Deschamps Performing the Return of the Repressed: Krzysztof Wodiczko’s Artistic Interventions in New York City's Public Space Justyna Wierzchowska -
Shifting the Cultural Balance
American Studies Master’s Thesis Shifting the Cultural Balance American Perceptions of European Opera 1880-1914 Katinka Folmer 3702510 August 20, 2018 Supervisor: Dr. Jaap Verheul Table of contents Introduction & research question 3-5 Overview of academic discussion 5-7 Methodology 8-10 Chapter 1: The influence of Richard Wagner 1.1 Wagner’s life and legacy 11-14 1.2 Wagner in America 14-17 1.3 Wagner’s Tannhäuser 17-19 1.4 Analyzing Wagner’s Tannhäuser 19-27 Chapter 2: The influence of Giuseppe Verdi 2.1 Verdi’s life and legacy 28-31 2.2 Verdi in America 32-37 2.3 Verdi’s Aida 37-40 2.4 Analyzing Verdi’s Aida 40-50 Chapter 3: The influence of Giacomo Puccini 3.1 Puccini’s life and legacy 51-55 3.2 Puccini in America 55-57 3.3 Puccini’s Madama Butterfly 57-58 3.4 Analyzing Puccini’s Madama Butterfly 58-64 Conclusion 65-66 Bibliography 67-70 Appendices 71-100 2 Introduction “Americans, they have an incredible operatic tradition: the Metropolitan Opera House is – if not the most prestigious -- one of the most prestigious opera houses in the world for over 100 years.”1 – José Carreras According to the Spanish opera performer, José Carreras, one of The Three Tenors along with Placido Domingo and Luciano Pavarotti, The Metropolitan Opera House in New York could be perceived as the face of opera in America. Throughout its history, the Met has been America’s most important classical music organization, presenting opera at the highest possible level. -
Statues of New York
Statues of New York By J. Sanford Saltus And Walter E. Tisne With Eighty-Two Full-Page Illustrations G.P. Putnam's Sons ~wYork. ~ London 1[;1Je 1tniclterLoclttt lhe•• 1923 Copyright, I922 by G. P. Putnam's Sons Made in the United States of America !>et,icatet, to NEW YORK UNIVERSITY IN RECOGNITION OF THE WORK IT IS DOING FOR THE ART OF AMERICA FOREWORD '' Lector, si Monumenta requiris circumspice " is well for a Community to give atmos phere and local color to its history by honoring the prominent few connected with its development with permanent memorials, in stone or bronze, that will insp~e the beholder to high ideals and to emulation of deeds of sacrifice, valor, or patriotism. The practice of erecting statues to the memory of individuals having rendered signal service to the State, or to mankind in general, is older than the Pyramids. We have a visual memory of the Roman Emperors because of the sculptured likenesses which have come down to us through the ages and many are famous who would now be forgotten were it not for the existence of a noble statue which immortaUzes them. Who would know, or care, about Bartolomeo Colleoni had not Verrocchio made of bim an equestrian statue so magnificent that Ruskin could say of it: " I do not believe there is a more glorious work of sculpture existing in the world.'' V FOREWORD The fact that a statue endures, and enduring makes permanent the fame of the individual whom it repre sents, has caused many lesser Colleonis to wish them selves iroroortaHzed in bronze or marble. -
A América Como Consagração: Esculturas De Ettore Ximenes Em Nova York (1909-1921)
rev. hist. (São Paulo), n. 178, a09617, 2019 Michelli Cristine Scapol Monteiro http://dx.doi.org/10.11606/issn.2316-9141.rh.2019.141992 A América como consagração: esculturas de Ettore Ximenes em Nova York (1909-1921) ARTIGO A AMÉRICA COMO CONSAGRAÇÃO: ESCULTURAS DE ETTORE XIMENES EM NOVA * YORK (1909-1921) Contato ** Av. Caxingui, 191 – apto. 123 Michelli Cristine Scapol Monteiro 05570-000 – São Paulo – São Paulo Universidade de São Paulo [email protected] [email protected] São Paulo – São Paulo – Brasil Resumo Ettore Ximenes (Palermo, 1855/Roma, 1926) foi um escultor italiano de gran- de notoriedade internacional nas primeiras décadas do século XX. Autor do Monumento à Independência do Brasil, situado em São Paulo, sua maior obra escultórica, Ximenes construiu uma trajetória de grande relevo na América, desde que ganhou o concurso para o Monumento ao General Belgrano, em Bue- nos Aires, em 1898. Nos Estados Unidos, Ximenes realizou esculturas em home- nagem a italianos célebres, como os monumentos a Giovanni da Verrazzano e a Dante Alighieri, encomendados por Carlo Barsotti, editor do jornal Il Progresso Italo Americano, na cidade de Nova York. Este artigo reconstitui o processo de encomenda destas duas obras e evidencia a relevância dos monumentos para os seus promotores e para a projeção da carreira de Ximenes, de modo a perceber como as ações de valorização da identidade italiana foram centrais na consagra- ção do artista naquele país, ao mesmo tempo em que enalteciam a comunidade imigrante italiana e um de seus mais destacados líderes políticos. Palavras-chave Monumento – escultura – história urbana – Ettore Ximenes – Nova York. -
Il Poeta Della Patria. Le Celebrazioni Del 1921 Per Il Secentenario Della Morte Di Dante
KWARTALNIK NEOFILOLOGICZNY, LIX, 2/2012 FULVIO CONTI (FIRENZE) IL Poeta DELLA Patria. LE CELEBRAZIONI DEL 1921 PER IL SECENTENARIO DELLA Morte DI DANTE THE POET OF THE fatHERLAND. THE 1921 CELEBrationS OF THE 600TH anniverSary OF THE DeatH OF DANTE poeta OJCZYSTY. OBCHODY 600-LECIA śmierci dantego w 1921 roku Since the beginnings of the 19th century in the new political and cultural circumstances, resulting from the French Revolution and the birth of nationalism, the myth of Dante Alighieri as a patriotic poet, a prophet of Italy struggling to rise and regain its independence, has been constructed. The final confirmation of dante as a national poet took place in 1865 as the 600th anniversary of his birth was celebrated in the new reality of the Kingdom of Italy. The cult of Dante has been an obvious symbol of Italian-ness ever since. The 600th anniversary of his death, celebrated in 1921, in a country, although victorious in the Great War, at the same time affected by an unprecedented wave of social and political tensions, marked the peak of the idolatry of dante. the paper analyses the symbolic and political implications of the celebrations held in three cities (Ravenna, Florence and Rome). Fin dall’inizio dell’Ottocento, nel nuovo scenario politico e culturale seguito alla Rivoluzione francese e alla nascita dei nazionalismi, si cominciò a costruire il mito di Dante Alighieri come poeta civile, come profetico anticipatore dell’Ita- lia che si accingeva a risorgere e a rivendicare la sua indipendenza. La definitiva consacrazione di dante come poeta della nazione si ebbe nel 1865, quando il sesto centenario della nascita poté essere finalmente celebrato nella cornice del nuovo Regno d’Italia. -
Carlo Tresca Portrait of a Rebel
01_Perni_FM.qxd 16/8/05 4:32 PM Page i Carlo Tresca 01_Perni_FM.qxd 16/8/05 4:32 PM Page ii Italian and Italian American Studies Stanislao G. Pugliese Hofstra University Series Editor This publishing initiative seeks to bring the latest scholarship in Italian and Italian American history, literature, cinema, and cultural studies to a large audience of specialists, general readers, and students. I&IAS will feature works on modern Italy (Renaissance to the present) and Italian American culture and society by established scholars as well as new voices in the academy. This endeavor will help to shape the evolving fields of Italian and Italian American Studies by re-emphasizing the connection between the two. The following editorial board of esteemed senior scholars are advisors to the series editor. REBECCA WEST JOHN A. DAVIS University of Chicago University of Connecticut FRED GARDAPHÉ PHILIP V. CANNISTRARO Stony Brook University Queens College and the Graduate School JOSEPHINE GATTUSO HENDIN CUNY VICTORIA DeGRAZIA New York University Columbia University Queer Italia: Same-Sex Desire in Italian Literature and Film edited by Gary P. Cestaro July 2004 Frank Sinatra: History, Identity, and Italian American Culture edited by Stanislao G. Pugliese October 2004 The Legacy of Primo Levi edited by Stanislao G. Pugliese December 2004 Italian Colonialism edited by Ruth Ben-Ghiat and Mia Fuller July 2005 Mussolini's Rome: Rebuilding the Eternal City Borden W. Painter Jr. July 2005 Representing Sacco and Vanzetti edited by Jerome A. Delamater and Mary Ann Trasciatti September 2005 Carlo Tresca: Portrait of a Rebel Nunzio Pernicone November 2005 01_Perni_FM.qxd 16/8/05 4:32 PM Page iii Carlo Tresca Portrait of a Rebel Nunzio Pernicone 01_Perni_FM.qxd 17/8/05 4:53 PM Page iv CARLO TRESCA © Nunzio Pernicone, 2005.