ITALIAN AMERICAN PENTECOSTALISM AND THE STRUGGLE FOR RELIGIOUS IDENTITY. By Paul J.Palma. New York, NY: Routledge, 2020. Pp. xix+ 254. Paper, $124.00.

2021 ◽  
Vol 47 (1) ◽  
pp. 104-104
2021 ◽  
Vol 100 ◽  
pp. 60-86
Author(s):  
Javier P. Grossutti

AbstractMarble mosaic and terrazzo were a very common type of stone paving in Venice, Italy, especially between the sixteenth and eighteenth centuries. Throughout the period, migrant craftsmen from the nearby Alpine foothills area of Friuli (in northeastern Italy) virtually monopolized the Venetian marble mosaic and terrazzo trade. Thus, on February 9, 1583, the Venetian Council of Ten granted maestro (master) Sgualdo Sabadin from Friuli and his fellow Friulian workers of the arte dei terazzeri (art of terrazzo) the capacity to establish a school guild dedicated to St. Florian. The first chapters of the Mariegola de’ Terazzeri (Statutes of the Terrazzo Workers Guild), which set the rules for the guild of terrazzo workers, was completed three years later, in September 1586.From the 1830s onward, Friulian craftsmen began to export their skills and trade from Venice across Europe and later, at the turn of the twentieth century, overseas to several American cities. Prior to reaching America, mosaic and terrazzo workers left from their work places outside Italy, initially from Paris. Friulian mosaic and terrazzo workers were regarded as the “aristocracy” of the Italian American building workforce due to their highly specialized jobs: This contrasted with the bulk of Italians in the United States who were largely employed as unskilled. The New York marble mosaic- and terrazzo-paving trade was completely in the hands of the Italian craftsmen, who demonstrated a strong tendency to become entrepreneurs. They made use of their craftsmanship comparative advantages to build a successful network of firms that dominated the domestic market, in a similar fashion to what had already been occurring in France, Germany, the United Kingdom, and other European countries.This paper argues that immigrants can be powerful conduits for the transfer of skills and knowledge, and emphasizes the importance of studying skilled migrant artisan experiences. A closer look at ethnic migration flows reveals a variety of entrepreneurial experiences, even in groups largely considered unskilled. The Italian marble mosaic and terrazzo workers’ experience sheds new light on ethnic entrepreneurship catering for the community as a whole, it reveals a remarkable long-lasting craftsmanship experience, thus demonstrating the successful continuity in business ownership and the passing down of craftsmanship knowledge across family generations. Creativity skills and innovative productive methods adopted by firms appear as a key factor that allowed these artisans to control the trade for such a long time.


1969 ◽  
Vol 3 (2) ◽  
pp. 78-81
Author(s):  
Salvatore J. LaGumina

A Report on the Proceedings of the American Italian Historical Association Conference held October 26, 1968 at Casa Italiana, Columbia University, New York City, New York.


Author(s):  
Katy Hull

This introductory chapter discusses how the representation of fascism as a machine with a soul explains why Italian fascism appealed to some Americans in the interwar years. Although Richard Washburn Child, a former ambassador to Italy, and other fascist sympathizers echoed their contemporaries in their critiques of American modernity, they parted ways with most other Americans in their interpretation of Benito Mussolini and his government. In their telling, fascism was an effective system for managing contemporary challenges because it delivered the material benefits of the machine age while protecting Italians from its emotionally draining effects. These observers claimed that the fascists had intentionally reformed democratic institutions to create a government that was more receptive to the needs of ordinary people. In each case, they asserted that fascism produced a different kind of modernity from that which prevailed in the United States — one that upheld traditions, restored connections between government and the governed, and rebalanced the relationship between men and machines. The chapter then provides a background of the four individuals selected for the in-depth study of fascist sympathies: Richard Washburn Child, the diplomat and writer; Anne O'Hare McCormick, the New York Times journalist; Generoso Pope, the Italian-American community leader; and Herbert Wallace Schneider, the professor of moral philosophy.


2007 ◽  
Vol 11 (1) ◽  
pp. 61-83 ◽  
Author(s):  
Jacob S. Dorman

To date, scholars have tended to view Black Israelites as mercenary, derivative, or imitative. However, this microhistorical reading of the public, partial, and hidden transcripts of New York Rabbi Wentworth Arthur Matthew's beliefs and ritual practices demonstrates that Black Israelites did not simply imitate Jews, but rather they were bricoleurs who constructed a polycultural religion that creatively reworked threads from religious faiths, secret societies, and magical grimoires. Black Israelite religious identity was imagined and performed in sidewalk lectures and in Marcus Garvey's Liberty Hall; it was embodied through Caribbean pageants, and acted out in parades. Black Israelism was lived through secret Spiritualist and Kabbalistic rituals, and taught openly through Sunday Schools and Masonic affiliates. Finally, it was an identity that was formed and performed in a mixture of Sanctified and Judaic rites. Print culture, performance, and complex social networks were all important to the imagination and realization of this new Israelite religious identity. Recognizing the subversive quality of this bricolage and the complexity of its partial and hidden transcripts belies attempts to exclude esoteric African American new religious movements from the categories of protest religion and black religion. When one combines the study of Black Israelism with similar studies of African American NRM's of the 1920s, it is possible to appreciate a remarkable wave of overlapping esoteric religious creativity that accompanied the much more famous artistic creativity of the Harlem Renaissance.


Author(s):  
Simone Cinotto

This epilogue examines how the distinctiveness of Italian food has been shaped by continuous transformations and adaptations to a changing Italian America and American culture since World War II. From domestic kitchens to luxurious restaurants, Italian immigrants framed a food culture that created a nation and shaped their self-representation as a group. However, Italian American food culture underwent various changes. The meanings of Italian American food were reworked in the neoliberal landscape of deindustrialization, globalization, and a postmodern culture in which “the self” was created through consumption and where cultural difference became just another commodity. A new group of middle-class Italian immigrants to New York City started to reshape Italian food in America by detaching it from its immigrant origins and relocating it within the “authentic” traditions of Italian regional cuisine. Despite all these changes, and even as the ground for Italian American identity has shifted, Italian American food continues to convey a lifestyle, a taste, and a history.


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