This study examines the changing dynamics of the “Italian” writer and how we, as cultural critics, need to re-think our definitions of the new Italian writer. In so doing, we must also re-consider the notion of the geo-cultural zones that we characterize as “Italian.” Namely, how do we categorize that writer who, having left Italy and now living beyond its geo-cartographic boundaries, writes in Italian? Similarly, who is that other writer who, originating from another country that is both culturally and linguistically different from Italy, writes in Italian? Finally, where within these two groups do we position the writer of Italian origin who also lives in another country and, different from the previous two types of writers, composes his/her work in the language of his/her host country?
This talk considers the material legacies of surveillance, restrictions, and imprisonment of different groups of people on US soil in the years leading up to and during World War II: Italian resident “enemy aliens,” Italian non-resident “enemy aliens,” and Italian POWs. The differing ways Italians and Italian Americans were treated were influenced not only by political concerns but also by practices of xenophobia and racism, a point made especially clear in comparison to the experiences of Japanese Americans. Considering artifacts and sites from across the country as well as cultural representations and oral histories, this talk reflects on how political pressure, cultural visibility, and an emerging position of whiteness helped build public acceptance of Italian Americans while shaping a contemporary position of victimhood.
Calandra’s Professor Fred Gardaphé spoke to podcaster Danielle Romero on her channel NYTN, in which she explores issues related to identity and ethnicity. Gardaphé spoke about his working-class background and his education journey and the ways in which his upbringing has reflected and refracted in his life as a professor at Queens College and as the author of numerous scholarly books and articles. Watch the whole conversation below.
This study examines the changing dynamics of the “Italian” writer and how we, as cultural critics, need to re-think our definitions of the new Italian writer. In so doing, we must also re-consider the notion of the geo-cultural zones that we characterize as “Italian.” Namely, how do we categorize that writer who, having left Italy and now living beyond its geo-cartographic boundaries, writes in Italian? Similarly, who is that other writer who, originating from another country that is both culturally and linguistically different from Italy, writes in Italian? Finally, where within these two groups do we position the writer of Italian origin who also lives in another country and, different from the previous two types of writers, composes his/her work in the language of his/her host country?
Laura E. Ruberto, Berkeley City College