The influx of immigrant Sicilians into southeastern Louisiana in the nineteenth century resulted in a parallel rise of the French Quarter as a culinary destination. Through an analysis of menus, recipe books, city directories, newspapers and census rolls, this work maps the growing influence of Sicilian farmers, vendors, and restaurateurs on New Orleans foodways. The often-overlooked community of Sicilians already living in the city in the early nineteenth century set the stage for the mass migration from Sicily to New Orleans later in the century, when Sicilians gained control of the produce food market in southeast Louisiana. A comparison of local cookbooks and recipes from before the mass arrival of the Sicilians with those created after Sicilians began to dominate agricultural production in Louisiana reveals a subtle shift in the use of ingredients, as local cooks incorporated into local dishes the produce made available by Sicilian farmers and vendors.

Thesis (Ph. D.)--University of California, San Diego, 2002. / Vita. Includes bibliographical references (leaves 240-248).

The educational habits of Italians in the city of Montreal before the 1960's is a topic that has generally been neglected in the field of social and educational history. This thesis attempts to fill the void and also to identify areas where further research may be conducted. The thesis treats the educational habits of Italian children in the Catholic schools of Montreal between the years 1895 and 1960. The thesis looks at enrolment patterns and language instruction in the Catholic elementary schools of Montreal. It was found that language played an important role in Catholic schools frequented by Italian children. Italian children were educated in the English, French and Italian languages on and off from the beginning of the twentieth century to the late 1950's. Furthermore, a discernible shift in the attendance of Italian children from French to English Catholic schools occurred after World War II. So much so, that by the 1960's nearly 80% of Italian children were attending English Catholic schools.

Thesis (Ed.D.)--Teachers College, Columbia University, 1994. / Typescript; issued also on microfilm. Sponsor: Douglas M. Sloan. Dissertation Committee: William B. Kennedy. Includes bibliographical references (leaves 308-323).

Issued also as Thesis (Ph. D.)--Columbia University. / "The main experimental groups are two in number, one composed of Italian children and the other, Jewish."--P. 22. Bibliography: p. 155-164.

This study charts the developing relationship between the Zurich church and Italian-speaking Protestants between around 1540 and 1620. It explores the close ties that were established between Zurich's senior minister, Heinrich Bullinger, and Italian evangelical exiles in Switzerland and elsewhere from the early 1540s, and describes how the Zurich church facilitated the spread of Protestantism in Italian-speaking regions such as Locarno and southern Graubünden. That process culminated in the setting-up in Zurich, under Bullinger's patronage, of an Italian Reformed congregation. A particular concern of the thesis is the threat to the integrity of the Zwinglian settlement posed by the ideas and activities of religious radicals within the Italian exile community. To begin with, Bullinger was confident that those 'heretics' could be accommodated within the emerging Reformed consensus. However, a series of doctrinal disputes during the 1540s, 1550s and 1560s revealed the extent of the radicals' differences with Reformed orthodoxy and compelled the Zurichers to revise their judgement. Bullinger's hostile reaction to the publication of the allegedly heterodox Dialogi XXX by his Italian colleague, Bernardino Ochino, signalled a move from conciliation to confrontation. From the early 1560s, the Zurich divines assumed an active role in the Reformed campaign to shore up Nicene orthodoxy against the criticisms of Italian antitrinitarians, and to expel radicals from the Italian-speaking churches of the Rhaetian Freestate. In the process, they endeavoured to counter the charges of heresy that had long bedevilled Zwinglianism by articulating a conservative, 'catholic' definition of their church's identity. The study concludes by examining how relations between the Zurich church and the Italian Reformed communities of Graubünden and its subject lands were placed on a new, co-operative basis once the radical challenge had been repelled. Through its support for those vulnerable congregations, I suggest, the Zurich church gave evidence of its continued commitment to the international Protestant cause during the period following Bullinger's death. The correspondence of Bullinger and other Zurich ministers forms the dissertation's most important source. The study also draws on works produced by the Zurich divines in the context of their exchanges with Italian evangelicals, the works of the Italian exiles themselves, and the records of Zurich's Italian-speaking community.

O canto popular se constitui como uma das expressões de maior significado dentre as manifestações de tradição oral da imigração italiana no nordeste do Rio Grande do Sul e reforça os traços de uma identidade cultural e de uma memória dos descendentes de imigrantes. O projeto ECIRS (Elementos Cuturais da Imigração Italiana no Nordeste do Rio Grande do Sul) realizou, na década de 1980, o levantamento e registro das canções interpretadas na região, resultando num acervo de aproximadamente 400 canções. A presente pesquisa tem como objetivo compreender o processo de construção de sentido na performance das canções que compõem o acervo do Cancioneiro Popular da Imigração Italiana e, a partir disso, identificar de que forma os sentidos atribuídos à sua performance contribuem para a manutenção de uma memória da imigração italiana. Para tanto, foi realizado um estudo comparativo, a partir do grupo de canções ainda interpretadas, visando identificar o processo de construção de novas memórias e de novos sentidos atribuídos à prática de cantar. A partir de discussões sobre Cultura Popular, se estabelece a relação entre o hábito de cantar com a formação de uma identidade cultural do descendente de imigrante italiano. Da mesma forma, explica-se que o sentido no Cancioneiro Popular da Imigração Italiana acontece em sua performance, e que todos os elementos que a constituem participam na construção de sentido, devendo-se considerar os processos individuais, sociais e culturais. Como metodologia de análise, utilizou-se a abordagem de José Luiz Martinez que, baseado na semiótica peirceana, propõe que a investigação musical deva acontecer nos campos da Semiose Musical, da Representação Musical e da Interpretação Musical. As análises realizadas nesta pesquisa demonstraram que, na atualidade, existe um certo caráter de politização no processo de formação de sentido das canções, visto que as formações corais partem de iniciativas públicas e privadas, muitas vezes associadas a um discurso sobre políticas patrimoniais. Da mesma forma, foi possível identificar que alguns signos e estruturas musicais têm importante papel na formação de sentido das canções. Por fim, foi possível estabelecer que o sentido atribuído à prática das canções é também construído a partir de um sistema gestáltico, em que os hábitos de escuta e gerações de expectativas individuais fazem parte do processo. O sentido atribuído às canções é estabelecido no sistema e na inter-relação entre todos os elementos que as constituem no momento de sua performance, elementos estes formados a partir do uso e contexto social e cultural. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-03-04T12:33:22Z No. of bitstreams: 1 Tese Patricia Pereira Porto.pdf: 22257076 bytes, checksum: e0645498d30b137b91e84fbdfb1c6b39 (MD5) / Made available in DSpace on 2016-03-04T12:33:22Z (GMT). No. of bitstreams: 1 Tese Patricia Pereira Porto.pdf: 22257076 bytes, checksum: e0645498d30b137b91e84fbdfb1c6b39 (MD5) / Popular singing is one of the most meaningful expressions of the oral tradition left by itallian imigration in northeast Rio Grande do Sul, as it bonds both the cultural identity and memories of descendants of immigrants. During the 1980’s, the ECIRS project (Cultural Elements of Italian Imigration in the North East of Rio Grande do Sul) has surveyed and recorded a repertoire of more than 400 songs in the “Cancioneiro Popular da Imigração Italiana” collection. This research aims to understand the meaning processes in those performances, in order to study how the meanings attributed to their performance contribute to the maintenance of descendants of immigrants memories. Songs still sung by descendants of immigrants were selected for a comparative study, aiming to identify the construction process of new memories and meanings attributed to the singing practice. Relationships between the singing practices and the cultural identities of descendants of Italian immigrants were estabilished based on currrent Popular Culture studies. This work also proposes that the meanings in the “Cancioneiro Popular da Imigração Italiana” are derived not only from its performance but as well from many individual, social and cultural elements, all inextricably intertwined. The analysis methodology was based on José Luiz Martinez approach, inspired by Pierce’s semiotics, which proposes that musical inquiry should take in account the fields of Musical Semiosis, Musical Representation and Performance Practice.The analysis has shown that, nowadays, politics also plays a role in the construction of meanings in those songs, as choral ensembles usually originate from public or private iniciatives, usually associated with certain preservation politics discourses. It was also possible to identify that certain signs and musical structures are integral to the meaning processes in those songs, and that the meaning attributed to the pratice of those songs is also constructed in a gestalt-like fashion, in which listening habits and generations of individual expectations partake. The meanings attributed to those songs are estabilished both in the system as well as in the inter-relationship between all elements that constitute them during the performance, formed from their social and cultural context.

O canto popular se constitui como uma das expressões de maior significado dentre as manifestações de tradição oral da imigração italiana no nordeste do Rio Grande do Sul e reforça os traços de uma identidade cultural e de uma memória dos descendentes de imigrantes. O projeto ECIRS (Elementos Cuturais da Imigração Italiana no Nordeste do Rio Grande do Sul) realizou, na década de 1980, o levantamento e registro das canções interpretadas na região, resultando num acervo de aproximadamente 400 canções. A presente pesquisa tem como objetivo compreender o processo de construção de sentido na performance das canções que compõem o acervo do Cancioneiro Popular da Imigração Italiana e, a partir disso, identificar de que forma os sentidos atribuídos à sua performance contribuem para a manutenção de uma memória da imigração italiana. Para tanto, foi realizado um estudo comparativo, a partir do grupo de canções ainda interpretadas, visando identificar o processo de construção de novas memórias e de novos sentidos atribuídos à prática de cantar. A partir de discussões sobre Cultura Popular, se estabelece a relação entre o hábito de cantar com a formação de uma identidade cultural do descendente de imigrante italiano. Da mesma forma, explica-se que o sentido no Cancioneiro Popular da Imigração Italiana acontece em sua performance, e que todos os elementos que a constituem participam na construção de sentido, devendo-se considerar os processos individuais, sociais e culturais. Como metodologia de análise, utilizou-se a abordagem de José Luiz Martinez que, baseado na semiótica peirceana, propõe que a investigação musical deva acontecer nos campos da Semiose Musical, da Representação Musical e da Interpretação Musical. As análises realizadas nesta pesquisa demonstraram que, na atualidade, existe um certo caráter de politização no processo de formação de sentido das canções, visto que as formações corais partem de iniciativas públicas e privadas, muitas vezes associadas a um discurso sobre políticas patrimoniais. Da mesma forma, foi possível identificar que alguns signos e estruturas musicais têm importante papel na formação de sentido das canções. Por fim, foi possível estabelecer que o sentido atribuído à prática das canções é também construído a partir de um sistema gestáltico, em que os hábitos de escuta e gerações de expectativas individuais fazem parte do processo. O sentido atribuído às canções é estabelecido no sistema e na inter-relação entre todos os elementos que as constituem no momento de sua performance, elementos estes formados a partir do uso e contexto social e cultural. / Popular singing is one of the most meaningful expressions of the oral tradition left by itallian imigration in northeast Rio Grande do Sul, as it bonds both the cultural identity and memories of descendants of immigrants. During the 1980’s, the ECIRS project (Cultural Elements of Italian Imigration in the North East of Rio Grande do Sul) has surveyed and recorded a repertoire of more than 400 songs in the “Cancioneiro Popular da Imigração Italiana” collection. This research aims to understand the meaning processes in those performances, in order to study how the meanings attributed to their performance contribute to the maintenance of descendants of immigrants memories. Songs still sung by descendants of immigrants were selected for a comparative study, aiming to identify the construction process of new memories and meanings attributed to the singing practice. Relationships between the singing practices and the cultural identities of descendants of Italian immigrants were estabilished based on currrent Popular Culture studies. This work also proposes that the meanings in the “Cancioneiro Popular da Imigração Italiana” are derived not only from its performance but as well from many individual, social and cultural elements, all inextricably intertwined. The analysis methodology was based on José Luiz Martinez approach, inspired by Pierce’s semiotics, which proposes that musical inquiry should take in account the fields of Musical Semiosis, Musical Representation and Performance Practice.The analysis has shown that, nowadays, politics also plays a role in the construction of meanings in those songs, as choral ensembles usually originate from public or private iniciatives, usually associated with certain preservation politics discourses. It was also possible to identify that certain signs and musical structures are integral to the meaning processes in those songs, and that the meaning attributed to the pratice of those songs is also constructed in a gestalt-like fashion, in which listening habits and generations of individual expectations partake. The meanings attributed to those songs are estabilished both in the system as well as in the inter-relationship between all elements that constitute them during the performance, formed from their social and cultural context.

A obra do historiador da arquitetura Manfredo Tafuri (1935-1994) mantém grande pertinência nos debates contemporâneos. Sua contribuição é caracterizada pelo rigor filológico de suas pesquisas, pela leitura crítica das utopias das vanguardas e sobretudo pelo trânsito intenso de suas análises por outras disciplinas das ciências humanas, como a filosofia, a psicologia e a sociologia. Em seus textos, o autor ladeou o Renascimento e a atualidade de diferentes modos para tecer suas argumentações, através de articulações de noções de tempo. O tempo, na prosa de Tafuri, é um objeto de estudo em si, e remonta às raízes de seu trabalho nos debates filosóficos italianos. A tese se aprofunda nesse aspecto do historiador, na determinação feita entre períodos históricos, dando ênfase ao modo como Tafuri entendia a temporalidade. Toma-se como texto de base a conferência As formas do tempo (1993), onde podemos encontrar uma síntese de suas considerações sobre o assunto, relacionando-a com os textos mais ensaísticos sobre história assinados pelo autor, que formam o corpus desta pesquisa: Teorias e história da arquitetura (1968), Projeto e utopia (1973) e Machine et memoir: a cidade na obra de Le Corbusier (1979). Estudar-se-á este núcleo considerando a hipótese de que a complexidade da obra de Tafuri reside no entremeio de tempos. Espera-se com este recorte destacar a atualidade das considerações críticas do autor sobre a arquitetura, demonstrar a interlocução de seus escritos com os debates filosóficos italianos de sua época, bem como aprofundar em alguns aspectos a interdisciplinaridade de sua teoria. / The work of Manfredo Tafuri (1935-1994) remains important for the History of Architecture. His contribuition is often summarized in the filological accent of his research subjects, the critical approach of contemporary trends in architecture and most of all for the interdisciplinarity of his writings, leaning towards other fields of humanities such as philosophy, psicology and sociology. In the overall of his work, the author established connections between Renaissance and Contemporary in different ways to make a point in his essays. The ways he framed different periods of history concerned a specific transit between notions of temporality. In Tafuri\'s work, time appears as a subject itself and denotes its philosphical origins in the political trends of Italy. This thesis seeks to shed light on one specific aspect of the work of Tafuri. It will work with his most ensaistic works regarding time: The forms of time: Venice and the Renaissance (1993) and Machine et memoir: The city in the work of Le Corbusier (1979). Along with these two articles, we will focus on two seminal books signed by the author: Theories and history of architecture (1968) and Architecture and utopia (1973). Through the study of the temporality in the work of Tafuri, we expect to broaden the understanding of his contribution, shedding light to the pertinence of his critical opinions on architecture, to the persistent dialogue his work with philosophical trends in Italy, and to give a better overall understanding of the interdisciplinary approach of his theory.

<p>This study explores the relationship between soccer and Toronto’s Italian immigrants throughout the 1970s to the now-mythical 1982 celebration of the Italian team’s FIFA World Cup victory on Toronto’s <em>Corso Italia</em>. The celebration’s location in a distinctly ethnic neighbourhood is linked to concepts of ‘place’ and ‘identity’ which made it central to the construction of an Italian-Canadian identity during the era of Multiculturalism policies. Toronto’s Italian-Canadians used the victory as a way of recognizing their own worth to society and to proudly and publicly solidify their integration into the Canadian multicultural landscape. Soccer helped them create and maintain a multi-dimensional transnational identity that reinforced the importance of their ethnic community. It also provided them with a visual way to relate to the nation. This study shows that this nationalism transcended traditional gender constraints and transformed this sport victory celebration into a family event, which included males and females alike. Eighteen interviews of Italian-Canadians who lived in and around the Toronto area throughout the 1970s and early 1980s reveal what they remember about the soccer-related events of that time period and how they feel about those memories now. This study also examines various Italian, Italian-Canadian, and English-language Canadian newspapers that covered specific sporting events and celebrations from 1978 to 1983, with a particular focus on the 1982 World Cup. It argues that in this case a collective memory has been created and conditioned by the way the media portrayed the event and how Toronto’s Italian-Canadian cultural community sustained it.</p> / Master of Arts (MA)