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Originally published in Italian in 1980, Gli Stati Uniti e il fascismo: Alle origini dell'egemonia Americana in Italia is regarded today as a crucial text on the relationship between the United States and Italy during the interwar years. Aside from the addition of two new prefaces - one by the author and one by the book's translator, Molly Tambor - the original text has remained unchanged, so that Anglophone readers now have the opportunity to engage with this classic work. By analyzing the enduring relationship between the United States - especially its financial establishment - and fascist Italy up until Mussolini's conquest of Ethiopia in 1935, this book provides answers to some key questions about the interconnectedness of America's rise to hegemonic global financial power in the twentieth century and its support of Italian fascism during this time.
Originally published in Italian in 1980, Migone covers the relationship between the United States and Italy during the interwar years.
America in Italy examines the influence of the American political experience on the imagination of Italian political thinkers between the late eighteenth century and the unification of Italy in the 1860s. Axel Körner shows how Italian political thought was shaped by debates about the American Revolution and the U.S. Constitution, but he focuses on the important distinction that while European interest in developments across the Atlantic was keen, this attention was not blind admiration. Rather, America became a sounding board for the critical assessment of societal changes at home. Many Italians did not think the United States had lessons to teach them and often concluded that life across the Atlantic was not just different but in many respects also objectionable. In America, utopia and dystopia seemed to live side by side, and Italian references to the United States were frequently in support of progressive or reactionary causes. Political thinkers including Cesare Balbo, Carlo Cattaneo, Giuseppe Mazzini, and Antonio Rosmini used the United States to shed light on the course of their nation's political resurgence. Concepts from Montesquieu, Rousseau, and Vico served to evaluate what Italians discovered about America. Ideas about American "domestic manners" were reflected and conveyed through works of ballet, literature, opera, and satire. Transcending boundaries between intellectual and cultural history, America in Italy is the first book-length examination of the influence of America's political formation on modern Italian political thought.
Managing Migration in Italy and the United States shows how the development of gatekeeping in the United States and Italy laid the groundwork for immigration restriction worldwide at the turn of the twentieth century. The volume brings together European and American scholars, many for the first time, effectively crossing national and disciplinary boundaries. Using archives on both sides of the Atlantic, the authors explore the rise of immigration restriction and the attendant growth of the bureaucracy to regulate migration through the lens of migration studies, transnational history, and diplomatic and international history. The essays contribute to recent scholarship on the global repercussions of immigration restriction and the complex web of interactions created by limits on mobility. Managing Migration brings to light Italy’s important role in the establishment of international border controls promoted by the United States and expands the chronology of restriction from its origins to the present.
This international history of the origins of 'cold war' in postwar Europe examines the complex relationship between the United States and Italy.
The Italian Emigration of Modern Times examines diplomatic issues that arose between Italy and the United States over a series of lynchings of Italian immigrant labourers before World War I. The work explores a significant epoch in Italian economic and diplomatic history which became intertwined with American ethnic and race relations issues. On one level, the book emphasises the pragmatism and restraint which characterized Italy’s official reactions to these repeated episodes of murder of its nationals. On another level, it shows that the diplomatic crises which swirled around the lynching of Italians pushed onto the American political scene the question of whether there should be a federal anti-lynching law. Naturally, the lynching of Italian nationals in the US produced wide public outrage in Italy. Italian domestic outcries presented the Italian government with a serious dilemma. Emigrant savings and financial transfers to family members remaining in Italy were an important economic asset. Italian diplomats launched investigations and protested vigorously, but ended up accepting federal financial compensation for the victims’ families. The consistent pragmatism and restraint of the Italian government through these episodes of violence is the unifying theme of the entire work.
This cinema history illuminates the role of southern Italian performance traditions on American movies from the silent era to contemporary film. In Napoli/New York/Hollywood, Italian cinema historian Giuliana Muscio investigates the significant influence of Italian immigrant actors, musicians, and directors on Hollywood cinema. Using a provocative interdisciplinary approach, Muscio demonstrates how these artists and workers preserved their cultural and performance traditions, which led to innovations in the mode of production and in the use of media technologies. In doing so, she sheds light on the work of generations of artists, as well as the cultural evolution of “Italian-ness” in America over the past century. Muscio examines the careers of Italian performers steeped in an Italian theatrical culture that embraced high and low, tragedy and comedy, music, dance, acrobatics, naturalism, and improvisation. Their previously unexplored story—that of the Italian diaspora’s influence on American cinema—is here meticulously reconstructed through rich primary sources, deep archival research, extensive film analysis, and an enlightening series of interviews with heirs to these traditions, including Francis Coppola and his sister Talia Shire, John Turturro, Nancy Savoca, James Gandolfini, David Chase, Joe Dante, and Annabella Sciorra.