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Brooklyn, or "Bruculinu," as many Italians affectionately pronounced it, is where Italian values, culture, and dreams thrived. In an era when over four million Italians found their way to America, the first significant influx came during the 1880s, primarily from rural peasant communities fleeing poverty and overpopulation. Although Italians in South Brooklyn have been traced back as far as the 1820s, most settled in Manhattan. The 1855 New York Census did not list any Italian natives in Brooklyn; however, by 1890, there were 9,563 Italians residing in the borough. By 1900, Brooklyn's Italian population was second only to Manhattan. Although the last notable wave of Italian immigration ended in the 1960s, Italian remains one of the six prevalent foreign languages in New York according to a 2007 census estimate. This work serves as a time capsule to remind us of the contributions and influences these immigrants have offered to the community.
From Sicily to Elizabeth Street analyzes the relationship of environment to social behavior. It revises our understanding of the Italian-American family and challenges existing notions of the Italian immigrant experience by comparing everyday family and social life in the agrotowns of Sicily to life in a tenement neighborhood on New York's Lower East Side at the turn of the century. Moving historical understanding beyond such labels as "uprooted" and "huddled masses," the book depicts the immigrant experience from the perspective of the immigrants themselves. It begins with a uniquely detailed description of the Sicilian backgrounds and moves on to recreate Elizabeth Street in lower Manhattan, a neighborhood inhabited by some 8,200 Italians. The author shows how the tightly knit conjugal family became less important in New York than in Sicily, while a wider association of kin groups became crucial to community life. Immigrants, who were mostly young people, began to rely more on their related peers for jobs and social activities and less on parents who remained behind. Interpreting their lives in America, immigrants abandoned some Sicilian ideals, while other customs, though Sicilian in origin, assumed new and distinctive forms as this first generation initiated the process of becoming Italian-American.
They came from the poorest parts of Ireland and Italy, and met as rivals on the sidewalks of New York. In the nineteenth century and for long after, the Irish and Italians fought in the Catholic Church, on the waterfront, at construction sites, and in the streets. Then they made peace through romance, marrying each other on a large scale in the years after World War II. An Unlikely Union unfolds the dramatic story of how two of America's largest ethnic groups learned to love and laugh with each other in the wake of decades of animosity. The vibrant cast of characters features saints such as
Maligned by modern media and often stereotyped, Italian Americans possess a vibrant, if largely forgotten, radical past. In Italian Immigrant Radical Culture, Marcella Bencivenni delves into the history of the sovversivi, a transnational generation of social rebels, and offers a fascinating portrait of their political struggle as well as their milieu, beliefs, and artistic creativity in the United States. As early as 1882, the sovversivi founded a socialist club in Brooklyn. Radical organizations then multiplied and spread across the country, from large urban cities to smaller industrial mining areas. By 1900, thirty official Italian sections of the Socialist Party along the East Coast and countless independent anarchist and revolutionary circles sprang up throughout the nation. Forming their own alternative press, institutions, and working class organizations, these groups created a vigorous movement and counterculture that constituted a significant part of the American Left until World War II. Italian Immigrant Radical Culture compellingly documents the wide spectrum of this oppositional culture and examines the many cultural and artistic forms it took, from newspapers to literature and poetry to theater and visual art. As the first cultural history of Italian American activism, it provides a richer understanding of the Italian immigrant experience while also deepening historical perceptions of radical politics and culture.
This second volume of New Italian Migrations to the United States explores the evolution of art and cultural expressions created by and about Italian immigrants and their descendants since 1945. The essays range from an Italian-language radio program that broadcast intimate messages from family members in Italy to the role of immigrant cookbook writers in crafting a fashionable Italian food culture. Other works look at how exoticized actresses like Sophia Loren and Pier Angeli helped shape a glamorous Italian style out of images of desperate postwar poverty; overlooked forms of brain drain; the connections between countries old and new in the works of Michigan self-taught artist Silvio Barile; and folk revival performer Alessandra Belloni's reinterpretation of tarantella dance and music for Italian American women. In the afterword, Anthony Julian Tamburri discusses the nomenclature ascribed to Italian American creative writers living in Italy and the United States. Contributors: John Allan Cicala, Simone Cinotto, Teresa Fiore, Incoronata (Nadia) Inserra, Laura E. Ruberto, Joseph Sciorra, and Anthony Julian Tamburri.
Over the course of 130 years, Italian American Catholics in New York City have developed a varied repertoire of devotional art and architecture to create community-based sacred spaces in their homes and neighborhoods. These spaces exist outside of but in relationship to the consecrated halls of local parishes and are sites of worship in conventionally secular locations. Such ethnic building traditions and urban ethnic landscapes have long been neglected by all but a few scholars. Joseph Sciorra’s Built with Faith offers a place-centric, ethnographic study of the religious material culture of New York City’s Italian American Catholics. Sciorra spent thirty-five years researching these community art forms and interviewing Italian immigrant and U.S.-born Catholics. By documenting the folklife of this group, Sciorra reveals how Italian Americans in the city use expressive culture and religious practices to transform everyday urban space into unique, communal sites of ethnically infused religiosity. The folk aesthetics practiced by individuals within their communities are integral to understanding how art is conceptualized, implemented, and esteemed outside of museum and gallery walls. Yard shrines, sidewalk altars, Nativity presepi, Christmas house displays, a stone-studded grotto, and neighborhood processions—often dismissed as kitsch or prized as folk art—all provide examples of the vibrant and varied ways contemporary Italian Americans use material culture, architecture, and public ceremonial display to shape the city’s religious and cultural landscapes. Written in an accessible style that will appeal to general readers and scholars alike, Sciorra’s unique study contributes to our understanding of how value and meaning are reproduced at the confluences of everyday life. Joseph Sciorra is the director of Academic and Cultural Programs at the John D. Calandra Italian American Institute, Queens College. He is the editor of Italian Folk: Vernacular Culture in Italian-American Lives and co-editor of Embroidered Stories: Interpreting Women's Domestic Needlework from the Italian Diaspora.
Often separated from other immigrants because of their language, Italian immigrants to New York City in the 1880s formed communities apart from their new neighbors. They tended to think of themselves collectively as a small Italian colony, La Colonia, that made up part of the demographics of the city. In each of the five boroughs, Italians set up many colonie. Several of them dotted Manhattan in East Harlem, the West Village, what is now SoHo, and the downtown area of the Lower East Side, straddling Canal Street, which still identifies Manhattan's Little Italy, the best-known Italian neighborhood in America. Little Italy is made up of stunning photographs culled from numerous private and public collections. It begins with the first phase of immigrants to Lower Manhattan in the early 1800s, including political and religious refugees such as Lorenzo Da Ponte and Giuseppe Garibaldi. In the 1870s, more and more Italian immigrants settled in Little Italy. As the neighborhood grew up around the former Anthony and Orange Streets, New York's first "Little Italy" emerged. The tumultuous history of the Five Points area, the "Bloody Ole Sixth Ward," and many faces and memories from the Italian newspapers L'Eco d'Italia and Il Progresso Italo-Americano are also included in this long-awaited pictorial history.
To demonstrate the special place Italian immigrants hold in the city of New York to this day, readers will experience a visual tour of their traditions and landmarks. New York City's five boroughs have been home to more Italian immigrants than any other place in America. Over the last 140 years, scores of Italian neighborhoods have spanned Manhattan, Brooklyn, Staten Island, Queens, and the Bronx. These communities preserve their heritage by celebrating special events and feasts, such as Manhattan's 130-year-old Feast of St. Rocco, the Dance of the Giglio in East Harlem and Williamsburg, and saint processions for Padre Pio and Maria Addolorata; maintaining famous Mulberry Street storefronts and the Arthur Avenue Market in Little Italy, as well as popular bakeries and restaurants in Greenwich Village and Queens; and supporting and worshipping at notable Italian churches, like Brooklyn's Our Lady of Mount Carmel Shrine Church and Alba House, a religious bookstore on Staten Island.
From Saturday Night Fever to Jersey Shore, Italian American youth in New York City have appropriated—and been appropriated by—popular American culture. Here, Donald Tricarico investigates how Italian ethnicity has been used to fashion Guido as a distinct youth style that signals inclusion in popular American culture and, simultaneously, the making of a new ethnic subject. Emerging from a wave of Italian immigration after World War II in outer borough neighborhoods such as Bensonhurst, the story of the Guido is an Italian American story, symbolizing the negotiation of a negatively privileged ethnicity within American society. Tricarico takes up questions about the definition of Guido, the role of disco, and the identity politics of Jersey Shore in order to reconsider the significance of Guido for the study of Italian American ethnicity.
What accounts for the precarious state of liberalism in recent decades? Jonathan Rieder explores this question in his powerful study of the Jews and Italians of Canarsie, a middle-income community in New York that was once the scene of a wild insurgency against racial busing.