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This book is divided into three sections. The first section deals with the general situation of Italian/American literature and its reception both in the United States and in Italy. It also discusses other social and cultural issues that pertain to Italian Americana. Section two consists of six chapters, each discussing a specific author; three dedicated to prose (Pietro di Donato, Mario Puzo, Luigi Barzini), three dedicated to poetry (Joseph Tusiani, Maria Mazziotti Gillan, Rina Ferrarelli). Section three examines the current state of criticism dedicated to Italian/American literature, the second part focusing in on a number of specific works.
The Cultures of Italian Migration allows the adjective "Italian" to qualify people's movements along diverse trajectories and temporal dimensions. Discussions on migrations to and from Italy meet in that discursive space where critical concepts like"home," "identity," "subjectivity," and "otherness" eschew stereotyping. This volume demonstrates that interpretations of old migrations are necessary in order to talk about contemporary Italy. New migrations trace new non linear paths in the definitionof a multicultural Italy whose roots are unmistakably present throughout the centuries. Some of these essays concentrate on topics that are historically long-term, such as emigration from Italy to the Americas and southern Pacific Ocean. Others focus on the more contemporary phenomena of immigration to Italy from other parts of the world, including Africa. This collection ultimately offers an invitation to seek out new and different modes of analyzing the migratory act.
This collection offers a fresh re-reading and re-imagining of Italian Americans in film, from actors to directors, from subject to agency. The trans-Atlantic discourse that emerges from these keenly insightful essays offers a guidepost for future analyses. As we come to understand the evolving paradigm of Italian Americans, whose cinematic representation has long been object of discussion and debate, Mediated Ethnicity constitutes a prismatic lens through which the contemporary viewer/reader may re-discover the cultural positioning of Italians in America. - John Tintori Associate Arts Professor and Chair, Graduate Film Program New York University Tisch School of the Arts
IACP AWARD FINALIST • Reimagine Italian-American cooking, with more than 125 recipes rich with flavor and nostalgia from the celebrated husband-and-wife chef team of Michelin-starred Don Angie in New York City. “Every bit of warmth and hospitality that you feel when you walk into Don Angie pours out of every page of this magical book.”—Michael Symon ONE OF THE BEST COOKBOOKS OF THE YEAR: New York Post, Minneapolis Star Tribune, Food52, Epicurious, Taste of Home The words “red sauce” alone conjure images of an Italian-American table full of antipasti, both hot and cold, whisked off to make room for decadent baked pastas topped with molten cheese, all before a procession of chicken parm or pork chops all pizzaiola—and we haven’t even gotten to dessert. It’s old-school cooking beloved by many and imbued with a deep sense of family. In Italian American, Angie Rito and Scott Tacinelli, the chefs of critically acclaimed Don Angie in New York City’s West Village, reinvigorate the genre with a modern point of view that proudly straddles the line between Italian and American. They present family classics passed down through generations side-by-side with creative spins and riffs inspired by influences both old and new. These comforting dishes feel familiar but are far from expected, including their signature pinwheel lasagna, ribs glazed with orange and Campari, saucy shrimp parm meatballs, and a cheesy, bubbling gratin of broccoli rabe and sharp provolone. Full of family history and recipes that will inspire a new generation, Italian American provides an essential, spirited introduction to an unforgettable way of cooking.
Tells of the story of how Italians integrated into America in the 1950s in part through the music of such singers as Enrico Caruso, Frank Sinatra, Dean Martin, Perry Como, and others.
In the first major critical reading of Italian American narrative literature in two decades, Fred L. Gardaphé presents an interpretive overview of Italian American literary history. Examining works from the turn of the twentieth century to the present, he develops a new perspective--variously historical, philosophical, and cultural--by which American writers of Italian descent can be read, increasing the discursive power of an ethnic literature that has received too little serious critical attention. Gardaphé draws on Vico's concept of history, as well as the work of Gramsci, to establish a culture-specific approach to reading Italian American literature. He begins his historical reading with narratives informed by oral traditions, primarily autobiography and autobiographical fiction written by immigrants. From these earliest social-realist narratives, Gardaphé traces the evolution of this literature through tales of "the godfather" and the mafia; the "reinvention of ethnicity" in works by Helen Barolini, Tina DeRosa, and Carole Maso; the move beyond ethnicity in fiction by Don DeLillo and Gilbert Sorrentino; to the short fiction of Mary Caponegro, which points to a new direction in Italian American writing. The result is both an ethnography of Italian American narrative and a model for reading the signs that mark the "self-fashioning" inherent in literary and cultural production. Italian Signs, American Streets promises to become a landmark in the understanding of literature and culture produced by Italian Americans. It will be of interest not only to students, critics, and scholars of this ethnic experience, but also to those concerned with American literature in general and the place of immigrant and ethnic literatures within that wide framework.
This reference work details the saga of the Italian-American experience from immigration through assimilation to achievement.
The essays in this book all share a common notion that a greater awareness of the potentiality of signification of sign functions is an indispensable tool for a more extensive understanding of how a film might signify-indeed, about how any text might signify. That said, I should state here at the outset that my use of the binomial "extensive understanding" is by no means evaluative; my only intention is to underscore that through semiotics and its various components of interpretation we can testify to the greater potentiality of signification that any text-e.g., cinematic, written, figurative-may produce with respect to a more conventional analytical process that, as well, does not take into consideration secondary or tertiary functions of the signs in question. -- from the Introduction In Signing Italian/American Cinema: A More Focused Look Anthony Tamburri means it. His new work employs the concentration of a neurosurgeon with the precision of a guided missile as he dissects, shatters and reexamines such films as the well-known and well-loved Big Night and not as well- known but equally beguiling Dinner Rush. Culture matters and his explanations of these films plus the classic Nuovomondo and the iconic Mean Streets makes you want to screen them a second and a third time. -- Richard Vetere, Playwright and film writer. Anthony Julian Tamburri's collection of essays about Italian American cinema will change the way you look at movies. Whether you study the form, teach cinema or watch for enjoyment, there is a rich garden of ideas in these essays that will challenge and delight you. Dr. Tamburri is one of the leading Italian American voices of our times. You will savor this collection. It's an intellectual Moviola by a man who knows movies. -- Adriana Trigiani, bestselling author The Shoemaker's Wife . Anthony Julian Tamburri is Dean of the John D. Calandra Italian American Institute and Distinguished Professor of European Languages and Literatures. Concentrating on cinema, literature, and semiotics, he has authored 14 books in both English and Italian. His books on Italian/American cinema include, Italian/American Short Films & Music Videos: A Semiotic Reading (Purdue, 2002) and Re-viewing Italian Americana: Generalities and Specificities on Cinema (Bordighera, 2011).
Tells the story of Italian food arriving in the United States and how your favorite red sauce recipes evolved into American staples. In Red Sauce, Ian MacAllentraces the evolution of traditional Italian-American cuisine, often referred to as “red sauce Italian,” from its origins in Italy to its transformation in America into a new, distinct cuisine. It is a fascinating social and culinary history exploring the integration of red sauce food into mainstream America alongside the blending of Italian immigrant otherness into a national American identity. The story follows the small parlor restaurants immigrants launched from their homes to large, popular destinations, and eventually to commodified fast food and casual dining restaurants. Some dishes like fettuccine Alfredo and spaghetti alla Caruso owe their success to celebrities, and Italian-American cuisine generally has benefited from a rich history in popular culture. Drawing on inspiration from Southern Italian cuisine, early Italian immigrants to America developed new recipes and modified old ones. Ethnic Italians invented dishes like lobster fra Diavolo, spaghetti and meatballs, and veal parmigiana, and popularized foods like pizza and baked lasagna that had once been seen as overly foreign. Eventually, the classic red-checkered-table-cloth Italian restaurant would be replaced by a new idea of what it means for food to be Italian, even as ‘red sauce’ became entrenched in American culture. This booklooks at how and why these foods became part of the national American diet, and focuses on the stories, myths, and facts behind classic (and some not so classic) dishes within Italian-American cuisine.
Place, Setting, Perspective examines the films of the Italian filmmaker, Nanni Moretti, from a fresh viewpoint, employing the increasingly significant research area of space within a filmic text. The book is conceived with the awareness that space cannot be studied only in aesthetic or narrative terms: social, political, and cultural aspects of narrated spaces are equally important if a thorough appraisal is to be achieved of an oeuvre such as Moretti’s, which is profoundly associated with socio-political commentary and analysis. After an exploration of various existing frameworks of narrative space in film, the book offers a particular definition of the term based on the notions of Place, Setting, and Perspective. Place relates to the physical aspect of narrative space and specifically involves cityscapes, landscapes, interiors, and exteriors in the real world. Setting concerns genre characteristics of narrative space, notably its differentiated use in melodrama, detective stories, fantasy narratives, and gender based scenarios. Perspective encompasses the point of view taken optically by the camera which supports the standpoint of Moretti’s personal philosophy expressed through the aesthetic aspects which he employs to create narrative space. The study is based on a close textual analysis of Moretti’s eleven major feature films to date, using the formal film language of mise-en-scène, cinematography, editing, and sound. The aim is to show how Moretti selects, organizes, constructs, assembles, and manipulates the many elements of narrative space into an entire work of art, to enable meanings and pleasures for the spectator.