Friday, November 30, 2007

Italian - US Diplomatic Relations from the Beginning

The article outlines the diplomatic relations between the "beginnings" of Italy in 1840 and WW II .
What I consider typical of diplomats, bureaucrats and politicians, the first US Consul to Italy was mentally seriously unbalanced, and was committed to an institution. The second a notorious bankrupt. A rather inauspicious beginning.
From 1894, to 1941, There were No US Ambassadors to Italy that were Italian Americans.
From 1945 to 1973 , there will still NO US Ambassadors to Italy that were Italian Americans.
Many countries lobby hard to have Ambassadors that are of their Heritage, and speak their Language and are familiar with their Culture.
In 1973-1977, Anthony Volpe, a former time Governor, and US cabinet member was the FIRST Italian American to become a US Ambassador to Italy.The second was Peter F. Secchia 1989-1993 . Thomas M. Foglietta served 1997-2001. Ronald P. Spogli started serving in 2005
US Italian Amercans activists feel that as in true in Israel, and other countries, that the US Ambassador to Italy be of Italian Heritage.
When those activists became aware that Mel Sembler, a self called Real Estate Developer was being considered, we mounted a campaign to detour that appointment, but were unsuccessful. Therefore, Italy received a person who was a "hack" and had previously purchased a lesser Ambassadorship. He served as US Ambassador to Italy from December 10, 2001- July 26, 2005
Sembler was a total egotist, that built himself a $113 Million Palace, and was considered brash and uncouth by Italian diplomats.Then it was discovered seriously "irregularities" in his US businesses, that were involved in drug abuse rehabilitation, where he was charged with "child abuse", and Sembler decided to resign his Ambassadorship to return to the US to fight the charges.

Notes From Italy: Some Old Envoys

California Literary Review By Peter Bridges On November 29, 2007

American contact with Italy goes back a long way. True, that probable native of Genoa named Columbus came to the New World not for Italy but as a captain for Spain, and Giovanni da Verrazzano was in the service of Francis I of France when he sailed into New York Harbor in 1524. But in 1610, only three years after Jamestown was founded, a settler named Albiano Lupo landed there and, unlike many other new Virginians, survived and prospered. The Taliaferros, a family of Genoese origin, arrived in Virginia by 1647 and became prominent in my family’s home county, Gloucester; one Taliaferro became a Confederate major general...

The number of Italian Americans however remained small for centuries. As late as 1850 the census showed only 3,645 Italians among the more than two million American residents born abroad. Nor were the Americans who visited Italy at first very numerous. One early visitor was Thomas Jefferson, who went down to Piedmont from Paris in 1786-1787, seeking seeds for American farmers of the superior Piedmont rice.

The question arose whether the new American republic should send official representatives - though not to "Italy", which politically did not exist. In the early 1800s the Italian peninsula was divided into seven pieces, of which one was under the Popes and another under the Austrians. In the northwest, the Savoy family ruled over the misnamed Kingdom of Sardinia. Their holdings included that island but their kingdom’s center was Piedmont, Turin was their handsome capital, and Genoa was their biggest port. Trade with the American republic began to develop - the Piedmontese liked American tobacco to smoke and American cotton to weave - and an American consulate opened at Genoa in 1798. The Savoys were unsure whether they wanted to open diplomatic as well as consular relations. Consuls were supposed to concentrate on trade and shipping problems; diplomats were involved with political questions. Whether American democracy was contagious or not, it was something an autocratic monarchy needed to think about.

In 1838 the two countries finally agreed to exchange diplomatic representatives, and the first American envoy arrived in Turin in 1840. His name was Hezekiah Gold Rogers, and it soon became clear that he was seriously unbalanced. The Sardinian authorities told the chief nurse of Turin’s insane asylum to do his best to help him. Then it turned out that the consul at Genoa, John Bailey, was a notorious bankrupt. The new Sardinian envoy in Washington was instructed to say politely to the State Department that his government believed it wrong to leave a madman and a bankrupt as America’s chief representatives in the kingdom. Eventually they were replaced.

American envoys were also sent to the Papal States in Rome and to the Kingdom of the Two Sicilies, which despite its confusing name was Sicily plus southern Italy and was ruled by despotic Bourbon kings in Naples. Those were different days in diplomacy. It was not just that Americans were dealing with European kings rather than democrats; for our diplomats those were halcyon days of independence. The trans-Atlantic telegraph did not begin to function until 1866. Before that, an American envoy was sent to a post in Europe armed with general instructions from the State Department. Further correspondence between him and headquarters would take two to three weeks in either direction. When a crisis arose he must deal with it as he thought best, without Washington dictating every move. True, there were no world wars back in the 1800s; but there were critical moments.

One day in April 1860 Giuseppe Garibaldi called on John Moncure Daniel, the American envoy in Turin. The previous year Garibaldi’s corps of volunteers had done wondrous service in the war that took Lombardy from Austria and added it to the Savoy kingdom. Victory was won with the help of a large French army, and now Napoleon III was asking Vittorio Emanuele II for the reward the Savoy king had agreed to: the hand of the king’s 15-year-old daughter for the emperor’s much older, dissolute cousin, and the cession to France of the duchy of Savoy and the city of Nice. Garibaldi, a native of Nice, was enraged, and was not mollified when the king told him that if he was losing the cradle of his own family, Savoy, Garibaldi could bear to see Nice go.

If Nice declares independence, Garibaldi asked Daniel, will the United States provide it protection (from France, he did not need to say) and assistance?

Daniel thought fast. He was a democrat as well as a Democrat and he did not care for the self-made French emperor. But the United States was not looking to go to war with France. If he consulted Washington it could take six weeks for an answer.

Daniel told Garibaldi that the United States would have nothing to do with the matter. American policy was to recognize all governments that succeeded in establishing themselves, but there was no chance that little Nice could prevail against big France.

Garibaldi said, no doubt with a sigh, that he had anticipated Daniel’s reply. He left his home town to its fate, and instead sailed out of Genoa the next month with a thousand volunteers, bound for Sicily. Daniel wrote to the State Department that if Garibaldi succeeded in landing on the island he would succeed in his plans. Few if any others thought so; the plans were grandiose; but they succeeded. Garibaldi and his famous Thousand captured Sicily, marched north to Naples, put an end to the Bourbon kingdom, and then handed it all to Vittorio Emanuele II, who proclaimed that he was no longer king of Sardinia but of Italy. Just as well, I always thought, that Minister Daniel had not waited to hear from Washington what he should tell il Liberatore about Nice.

There was, however, a later case when Washington had to be consulted about Garibaldi. In January 1861 a Republican named Lincoln won the White House. He would obviously replace all Democrats, including John Daniel. More importantly, Southern states began to secede from the Union - and Daniel was a proslavery Virginian. He resigned his commission and went home to Richmond to become a fiery Confederate editor.

He was replaced by an abolitionist from Vermont named George Perkins Marsh, who arrived in Turin just as Confederate and Union armies met at Bull Run. Marsh’s main job when he reached Turin was to dissuade the Italian government from recognizing the Confederacy. He succeeded; these Italians might be autocrats, but they did not like slaveowners. Four years before the Civil War began, in 1857, Marsh’s racist predecessor Daniel had been angered by a ballet he saw in Genoa called Bianchi e Negri. The ballet was said to have been inspired by Uncle Tom’s Cabin, which had been translated into Italian soon after its appearance in America and had sold well in Piedmont. The ballet’s first scene was at a plantation in the American South, where white ladies danced with white gentlemen. In the last scene the ladies were dancing with liberated black slaves.

A difficult problem for Marsh came when Giuseppe Garibaldi grandly told the Americans that he was willing to come back to America "he had once lived on Staten Island" to become commander-in-chief of the Union forces. The answer to that obviously had to come from Washington, and soon enough it did: an offer to the Liberator of a commission, but only as major general. Garibaldi refused. Marsh wrote Secretary of State William H. Seward that he was relieved; it would be difficult to employ a general who thought himself on a par with governments and sovereigns.

It took me a long time to gain a full appreciation of George Perkins Marsh. Often, in the years I worked at the Rome embassy, I would pass through the protocol office just off the top of the grand staircase in the Palazzo Margherita and, in passing, I would glance at the photographs of our old envoys to Italy. The one with the best beard and longest term of service (21 years!) was someone named Marsh. He was not Ambassador, but Minister, to Italy. Until 1893 America had ministers who headed legations instead of ambassadors heading embassies, the latter being, it was thought, too high-level for a republic that avoided (or said it avoided) entangling relationships abroad.

[... George Perkins Marsh. wrote Man and Nature which was the first important American work on the environment and, is still in print. ]

Both Marsh and his predecessor Daniel suffered from leaks, of a sort perhaps not very different from the ones we read about today’.

Daniel arrived in Turin in 1853 when he was twenty-seven, unmarried, unwell, and homesick. He wrote to Arthur Peticolas, a close friend back home in Richmond, that the Piedmontese were simply not as good as the Americans, and the girls were uglier. Counts who stank of garlic "as did the whole country" had sponged on him for seats in his box at the opera. He was meeting diplomats who had "titles as long as a flagstaff, and heads as empty as their hearts." These were strictly private comments, Daniel told Peticolas, and none of it should get into the papers. All of it did, in Richmond and soon in Turin. Now it was not garlic but what people called 'the garlic letter" that caused a stink. Daniel offered to resign. Secretary of State William Marcy wrote back to him that the matter had been discussed by President Franklin Pierce and his cabinet; no one thought Daniel should give up his post. He stayed, for seven years, and became arguably America’s ablest diplomat in Europe. He saw himself becoming envoy not just to part but to all of a new, reunited Italy - until Lincoln and secession came on the scene.

Marsh’s leak was different. The State Department carelessly published in one of its annual volumes on Foreign Relations of the United States a secret dispatch from Marsh commenting (not incorrectly) that Italy followed the dictates of Napoleon III. Marsh was much admired in Italy, and although there was a small storm he weathered it. He was fortunate that the press never learned of a letter that he wrote in 1865 to his friend Spencer Baird, the assistant secretary of the Smithsonian Institution. The new Kingdom of Italy had moved its capital from Turin to Florence. Foreign embassies and legations necessarily moved, too, and Marsh did not like his new home one whit. Florence, he wrote Baird, was a place of "Vile climate, detestably corrupt society, infinite frivolity."

In 1871 the capital moved to Rome. Marsh liked that better, and spent his final eleven years there. He died in Italy, aged eighty-one, in 1882, full of honors and accomplishments both large and small. Whenever I go into Washington and gaze at the Washington Monument I recall that it was George Marsh who pressed, successfully, for an obelisk - without the plan that had been urged, to surround the obelisk with 100-foot marble columns.

Marsh’s successor in Rome, William Waldorf Astor, had a different fate. Astor was the great-grandson of John Jacob Astor, a boy from a German village called Waldorf who built a fur-trading empire in America. Like Marsh, Astor never returned to America from Italy; but while Marsh always remained a democrat and an American, Astor moved from Italy to England, became a British citizen, and after applying some of his immense wealth to public causes was made a baron.

One’s fate is really unknowable - which reminds me that once, on a visit to Palermo, my wife went to see the Capuchin cemetery and catacombs. This is, in the view of many, a weird place. One finds on display the embalmed and mummified remains of almost a thousand persons, lay as well as religious, that were placed there between 1600 and 1920. One of the gentlemen is, or was, an American vice consul named Paterniti who died in Palermo in 1911.

Paterniti was not, one might say, the only American consular officer to go underground in Italy. During World War II the young consul at Nice, Walter Orebaugh, was taken prisoner by the Italians. He escaped, and joined the Italian partisans for a harrowing year and a half in Tuscany and the Marche. Decades later, Orebaugh told his rather heroic story in a memoir called Guerrilla in Striped Pants.

I can sometimes wish to have lived in older times-though not in order to lie mummified under Palermo, or to present diplomatic credentials to cruel kings. The question is, what will the future bring diplomacy? That great Italian Giuseppe Mazzini " true patriot if failed republican" warned his countrymen, "Slumber not in the tents of your fathers. The world is advancing."

Thursday, November 29, 2007

In Italy: Caffes and Coffee Adored. Starbucks NOT Attractive - Why?

Italians adore their coffee and caffes, or bars as they're often called, and it's impossible to imagine any street, piazza, shopping centre, train station, office building, even prison, without them. But not just any coffee in any bar will do. The coffee itself must be of the highest quality -- strong but not overly bitter -- and cut with the proper amount of steamed milk that leaves only a thin layer of froth on the top.
It absolutely must be served in little white china cups on little white saucers. It must be made and served quickly and cost little (in Rome, an espresso costs 70 or 80 euro cents, a little more than a C-buck). The bar itself should be filled with locals, an efficient and smiling barista, and not necessarily be equipped with seats and tables. Italians like to crowd the marble counter, say their pleasantries and jump into the conversation about the latest political and soccer disasters.

In other words, the Italian coffee experience is everything Starbucks is not. Italians who travel not only consider a Starbucks coffee "muddy water", and the paper cups vs "white china cups on little white saucers" are declasse. And most important there is not the "socializing" experience.
The irony is that Starbucks was inspired by the Italian coffee experience. In the mid-1980s, company founder Howard Schultz visited Milan and was impressed by the product and the culture around it. He adapted the concept for American tastes and it worked phenomenally well.
Starbucks has some 14,000 outlets in 43 countries, and for several years has been rumored to consider entering Italy..

No Starbucks to be Found

GlobeandMailCanada Eric Reguly November 29, 2007

The moment I realized Starbucks would not dare invade Italy came early last summer, shortly after I arrived from Canada, when I covered a trial at Rome's infamous Rebibbia prison. The place is vast, bleak and intimidating. There's nothing there besides cell blocks and a courtroom lined with cages where the incarcerated await trial. Well almost nothing. To my suprise, I discovered a fairly decent caffee just outside the courtroom. It was filled with jurors and prison guards, all sipping coffee and merrilly nattering away. Except for the dim lighting and lack of windows, it could have been my neighbourhood joint.

Italians adore their coffee and caffes, or bars as they're often called, and it's impossible to imagine any street, piazza, shopping centre, train station, office building, even prison, without them. But not just any coffee in any bar will do. The coffee itself must be of the highest quality -- strong but not overly bitter -- and cut with the proper amount of steamed milk that leaves only a thin layer of froth on the top. It absolutely must be served in little white china cups on little white saucers. It must be made and served quickly and cost little (in Rome, an espresso costs 70 or 80 euro cents, a little more than a C-buck). The bar itself should be filled with locals, an efficient and smiling barista, and not necessarily be equipped with seats and tables. Italians like to crowd the marble counter, say their pleasantries and jump into the conversation about the latest political and soccer disasters.

In other words, the Italian coffee experience is everything Starbucks is not. Italians who travel consider a Starbucks coffee muddy water. They don't like to chug half a litre of coffee out of big paper cups. Paper cups are inelegant and are needed only if the coffee is to be removed from the premises. No Italian could imagine taking a coffee outside the bar. A Starbucks shop, oddly, is not filled with the aroma of coffee (I'd like to know if that's intentional). Starbucks is expensive and the shops double as lounges that you in effect rent. You can pay $4 for a coffee and linger for two hours reading a book or pounding the laptop. Italians tend not to linger in coffee bars. Of course, Starbucks could clone a proper Italian coffee bar in Italy. But then it wouldn't be a Starbucks.

I keep hearing rumours that Starbucks, which has some 14,000 outlets in 43 countries, will conquer Italy next. It does not have a single shop in this country; Britain and France succumbed a long time ago. A few years ago, a Starbuck International exec said Italy was on the to-do list. But nothing happened. Starbucks no doubt would love to have success stories in Italy. Imagine the publicity: If Starbucks is good enough for the coffee-snob Italians, it's good enough for the world. But imagine if Starbucks opened Italian shops and they failed, as they probably would. Every story about the company's global expansion would mention the flop.

The irony is that Starbucks was inspired by the Italian coffee experience. In the mid-1980s, company founder Howard Schultz visited Milan and was impressed by the product and the culture around it. He adapted the concept for American tastes and it worked phenomenally well. Or at least it did until now. In the last year, Starbucks' shares have lost more than one-third of their value. The company is still growing but not as fast as used to. The Italians don't care. To them, coffee isn't about making money. It's about being part of the neighbourhood, a little bit of caffeine-fuelled theatre before heading to work.

Italians Furious at Berlusconi's Mediaset TV for Showing Mafia Boss (Raiina) as Hero

The Cosa Nostra has long provided fictional anti-heroes for film and television but the portrayal of real-life mobsters like Riina is much more controversial, in a country still subjected to violence and extortion by regional versions of the Mafia.

Despite intense pressure from Italian politicians and culture figures urging Mediaset Channel 5 to cancel the final episode of a series "The Boss of Bosses" about Mafia boss, Salvatore "Toto" Riina, because, they said, it portrayed the killer as a hero.

Best-selling novelist Andrea Camilleri, whose detective stories are set in his native Sicily but do not focus on the Mafia, called the Riina series counterproductive and said it was typical of novels and films that often glorify organized crime. "I personally believe the only literature dealing with the Mafia should be police reports and judges' sentences," he wrote in La Stampa daily.

Antonio Marziale, head of a government-funded watchdog for the rights of children, said of the Riina mini-series that "it would be less harmful to show a porn film in prime time". "The message it sends to teenagers is destructive in educational terms," he said.


Italians Rap TV for Showing Mafia Boss as Hero

Reuters
By Stephen Brown
Thu Nov 29, 2007

ROME (Reuters) - Italian politicians and culture figures criticized a private television channel on Thursday and urged it to cancel the final episode of a series about a Mafia boss, because, they said, it portrayed the killer as a hero.

Despite the intense pressure, Channel 5, owned by ex-prime minister Silvio Berlusconi's Mediaset, said it would not cancel the last episode of "The Boss of Bosses" about jailed mobster Salvatore "Toto" Riina, scheduled for Thursday at 3:10 p.m. EST.

Mediaset spokeswoman Rossana Camana said the conclusion, recounting Riina's 1993 arrest, would go ahead. Mediaset said the show was well-researched and did "a real public service".

Similar pressure did get state network RAI to pull the series "Stolen Life", about a 17-year-old girl murdered after witnessing a Mafia crime, off the air this week -- not because it lionized the mob but because it could influence a court case.

Justice Minister Clemente Mastella said he had persuaded RAI to suspend "Stolen Life" at the request of judges trying a man for the murder. RAI has rescheduled it for early next year.

Mastella said he could not exert such influence on a private channel but hoped "the final episode of a very misleading series exalting a criminal would not be seen by millions of Italians".

The Cosa Nostra has long provided fictional anti-heroes for film and television but the portrayal of real-life mobsters like Riina is much more controversial, in a country still subjected to violence and extortion by regional versions of the Mafia.

Riina, head of the Mafia in the 1980s and early 1990s, was nicknamed "The Beast" for his brutality and has been convicted for more than 100 murders.

Best-selling novelist Andrea Camilleri, whose detective stories are set in his native Sicily but do not focus on the Mafia, called the Riina series counterproductive and said it was typical of novels and films that often glorify organized crime.

"I personally believe the only literature dealing with the Mafia should be police reports and judges' sentences," he wrote in La Stampa daily.

Youngsters in Sicily and other areas hit by organized crime like Naples have taken a brave public stance against the Mafia, inspiring some shopkeepers to refuse to pay protection money.

Antonio Marziale, head of a government-funded watchdog for the rights of children, said of the Riina mini-series that "it would be less harmful to show a porn film in prime time".

"The message it sends to teenagers is destructive in educational terms," he said.

As the debate raged, a real-life Mafia trial in Florence dug up details of the 1969 murder of six people in a Mafia turf war. One informer leveled gruesome charges at Riina, accusing him of killing his own brother-in-law and burning the body.

(Editing by Michael Winfrey)

"Ad Infinitum: A Biography of Latin" The Soul of Europe's Civilization

A fascinating recounting of how Latin became the language of Italy, and how Latin was embraced with the expansion of the Roman Empire, and how the Catholic Church perpetuated Latin after the Fall of the Roman Empire, and how Latin became the base of Romance Languages, Italian, French, and Spanish, and Latin's effect on the Renaissance.
Part of the Latin Language endurance can be attributed to it's robust adaptability. This adaptability was a Roman trademark in that the Romans preferred to imitate good things rather than envy them.
What is fascinating to me is the current resurgence of the study of Latin, and as I have always maintained, the interest of many students on any subject, it is the "manner" in which it is taught. In this case it is not the teacher, but the "contemporized" textbook!!!!!


BOOK REVIEW

'Ad Infinitum: A Biography of Latin,' by Nicholas Ostler

Tracing the rise and fall of a tremendously successful language.
Los Angeles Times
By Tim Rutten
Los Angeles Times Staff Writer
November 28, 2007

I spent a bit of Sunday night helping my 14-year-old son study for an upcoming quiz in his Latin class.

He's a freshman at a large and well-regarded school for boys. As a native Angeleno, he grew up speaking both English and Spanish, and I was interested and a little surprised that he and so many of his classmates elected Latin as their foreign language. I was still more surprised by how far Latin instruction has come from the days when it all began with a Cassell's dictionary and a copy of Caesar's "Gallic Wars" -- Gallia est omnis divisa in partes tres.

Today's beginning Latinist gets a thoroughly modern, handsomely illustrated textbook built around the lives of teenage Romans living in adjacent country villas. Students translate incidents from their protagonists' daily lives and study vocabulary and grammar lists drawn from each chapter's main anecdote -- sort of a classical soap opera. It's all very up-to-date and thoroughly engaging, which probably is why my son and many of his classmates devote a couple of after-school hours each week to their high school's Latin club and recently spent a Saturday hosting similar groups for a day's worth of Latinate activities.

I recount this bit of homey personal experience only because the spontaneity and vibrancy with which my son and his friends are pursuing their Latin stands in such contrast to the elegiac tone of Nicholas Ostler's "Ad Infinitum: A Biography of Latin." One supposes that after you've been the lingua franca of the entire Western world, anything less is a comedown, but this account of Latin's rise and fall definitely ends with a whimper that does not seem entirely deserved.

Educated in Latin, Greek and philosophy at Oxford, the British-born Ostler completed a doctorate in linguistics under Noam Chomsky at MIT. He now heads a foundation that encourages the persistence of small languages and is the author of a well-regarded work for lay readers, "Empires of the Word: A Language History of the World." In "Ad Infinitum," he has produced a book that's often informative and fascinating, sometimes wearyingly discursive and, occasionally, just plain frustrating.

Nonspecialists may find Ostler's exploration of Latin's linguistic origins, particularly its relationship to Etruscan, overly detailed -- but Ostler is particularly good on why Latin was the one language among many on the Italian peninsula that ultimately spread as it did.

The author argues that Latin triumphed over the other languages spoken in what is now Italy -- particularly Etruscan and Oscan --
because, "unlike them, Latin combined three properties: It was a farmers' language, a soldiers' language, and a city language.
Together, these gave it the victory." The Romans, moreover, "had some winning ways that were all their own: After a victory they demanded not tribute, but land, which they would sooner or later settle with their own farmers; and they levied soldiers too from the defeated powers, who would add their strength to the Roman army. The Roman army, too, with its compulsive program of road building, cumulatively and permanently improved ease of communication. . . . All these policies benefited not just the long-term strength of Rome, but also sustained the growth of the Latin language."

As Ostler points out, the Romans were secure enough to attribute their military successes to a willingness to learn from their antagonists. The historian Sallust, for example, attributed these observations to Julius Caesar himself: "Our ancestors were never lacking in strategy or boldness . . . nor were they prevented by pride from imitating others' institutions, if they were sound. . . . [W]henever anything apt was recognized among allies or enemies, they followed it up at home with the utmost zeal; they preferred to imitate good things rather than envy them."

(It may have been that the Romans' unshakable self-regard made them impervious to envy.)

It also seems true that their language benefited from a similarly robust adaptability. And, though Ostler seems to feel a rather irritating compulsion to apologize for the Roman's militarism and imperialism -- we get it already, their -- Latin ultimately spread because the people Rome conquered wanted to live like Romans.

Clearly Latin's claim to functional universality also benefited when Catholic Christianity adopted it as its official language rather than the Greek in which the Gospels had been written. (Say what you will about those early church fathers, but when Constantine offered them a link to state power, they recognized the main chance when they saw it.) For its part, Christianity also gave to Latin two things that promoted its utility and its centrality to our own culture. One was the "codex" or book, which gradually replaced the "volumen," or scroll as the preferred literary and informational medium. The other was silent reading, which Ostler correctly characterizes as "closer to thought itself." Neither the ancient Greeks nor Romans read silently. Indeed, the first Western reference to the practice occurs in Augustine's "Confessions." When the young North African rhetorician, newly arrived in Milan in the 380s, called on the great Ambrose, he found the bishop reading to himself and recorded his astonishment: "But when he read, his eyes were led over the pages and his heart sought out the understanding, while his voice and tongue were quiet."

Ostler's treatment of Latin as a mother to the supple vernacular tongues we call Romance languages is particularly good, and his evaluation of the Renaissance humanists and the way in which they may have loved Latin to death is provocative. But his evaluation of Latin's critical contribution to the revolutionary scientific culture so central to Western progress is sketchy, and it's here that his "biography" trails off into a dreary sequence of retreats and retrenchments, ending in irrelevance.

According to his biography, Ostler now lives in what once was a part of Roman Bath -- Aquae Sullis, as it then was known. It's one among a handful of places, found more often on the empire's periphery than at its center, where you still can feel intensely not only the Roman presence, but also what it must have meant to others to live alongside that magnetic imperialism. It's a pity that something more of that sense didn't find its way into this book.

Early on in "Ad Infinitum," Ostler shrewdly and -- to this reader's eye, at least -- rather movingly asserts that, "The history of Latin is the history of the development of Western Europe. . . . In fact, only seen from the perspective of Latin does Europe really show itself as a single story: nothing else was there all the way through. . . . Latin, properly understood, is something like the soul of Europe's civilization."

One wishes, too, that the author had evinced a bit more of the courage that ought to flow from those sentences' implication. A simple adherence to Cicero's famous insistence on plain speaking might have helped where erudition for erudition's sake and a fashionable but unexamined political correctness have muddled an inspiring story.

timothy.rutten@latimes.com

"Ad Infinitum" A Biography of Latin By Nicholas Ostler Walker & Co.: 400 pp., $27.95

http://www.latimes.com/entertainment/la-et-rutten28nov28,1,6139909.story?coll=la-headlines-calendar&ctrack=4&cset=true

Wednesday, November 28, 2007

Italy's Open Border Problem - Italy Did NOT Learn from the US Experience

While 40% of prison inmates in Italy are not Italians, and Italians are exposed to a very long list of criminal events on an almost daily basis through their media, with almost all of the perpetrators being Illegal Immigrants, although it sparks a periodic wave of outrage and anger, that quickly subsides.
It is also confusing that while Italy has Open Borders with ALL EU countries, that is not true with Non EU countries, hence the sensationalized stories of Muslims and Blacks crossing the narrow straights between North Africa and Sicily in rafts.
While Leftist governments had previously scuttled all attempts to stop "illegal" immigration, it appears the mood may be changing, with the left wing mayors of Florence and Padua have taken first steps toward "control'
Apparently, Progress has been slow, because (1) the political parties' thirst for votes from them (How can that be? Aren't only Citizens allowed to vote? Is there great vote fraud?) (2) a permissiveness generated by the fear of being accused of intolerance or, even worse, racism.


Italy’s Open Border Problem
Human Events
by Stephania Lapenna
November 27, 2007

Sardinia, Italy -- A girl verbally insulted and then killed by a Slavic-speaking person who used the tip of an umbrella as a murder weapon . Dozens of villas assaulted by a mix of Morroccans, Romanians and Albanians in northern Italy. Shop owners murdered at random. This is but a part of the very long list of criminal events Italians learn about on an almost daily basis when they turn over the pages of newspapers or watch the morning and evening news. The common thread linking these crimes is the fact that all of the perpetrators were in Italy illegally.

In some ways, Italians were used to all this, apparently even resigned to living with illegal aliens’ crimes. Those unfamiliar with this country's complex mentality wonder why it is that no Italian government has ever taken serious steps against the illegal aliens. The main answer lies in the political parties' thirst for votes from them. A secondary answer is the permissiveness generated by the fear of being accused of intolerance or, even worse, racism. No one dares to suggest that at least 40% of prison inmates are not Italians.

Open borders for everyone has been the official policy followed by all kinds of governments, from left to center to right for more than a decade. While the previous government somehow attempted to put an end to the massive flow of undocumented people into the nation through the "Bossi-Fini law" (named after two ministers of the then Berlusconi cabinet), the Left's electoral program stated that one of its priorities (yes, priorities) was to eliminate that only partially successful legislation.

Upon taking office, Prime Minister Prodi appointed a communist to lead the newly-created Ministry of the "Immigration and Social Politics." That speaks volumes on how the new policy was going to be like. It took just two months after the new minister's announced plan for the invasion to start. About 200 illegals are flooding the south-western coasts of the island of Sardinia almost every week, coming mainly from Algeria and Morocco. All claim to be fleeing poverty and persecution, but nobody explains how come they can afford paying up to $6000 to smugglers in order to come to here. I don't know of any poor of this world who can afford to pay such sums.

Authorities are now complaining about the lack of adequate means to host these people in over-crowded temporary migrant holding centers and alerted about radical Islamic infiltration. Don't hold your breath: Prodi & Company can't care less; the incompetent premier declared he has no intention of changing the failed policy. For years, Italians have been always told the old lie according to which "our economy owes foreigners so much."
Really? Our economy is on a slow but unstoppable decline, as recent statistics show, and I don't think unskilled workers can lend a hand. Quite the opposite. Nevertheless, a wide-ranging bill aimed at allowing immigrants to settle here without first getting a job and holding a residency permit, was unveiled in March after months of preparation and was approved by the cabinet.

Ignoring public opinion at home, Prodi was the only European chief of government to allow Romanian citizens to enter Italy without visas. Not even dhimmi Spanish PM Josй Luis Rodriguez Zapatero has ever had such an absurd idea. Following a spike in criminal offences by Romanian nationals that sparked a wave of outrage and anger all over the country, exasperated Italians are demanding firmness against immigrants in order for general security to be granted.

Over two weeks ago, on the aftermath of the horrific assassination of a navy officer's wife who was walking along a secluded avenue in Rome, an emergency decree signed by the President of the Republic Giorgio Napolitano was issued, in which the police chief was instructed to identify aliens deemed a threat to national security because of their record and past convictions. Despite official propaganda showing buses full of Romanian gypsies leaving Italy, only two hundred people were deported of the thousands previously listed for expulsion. How about every single foreigner continuously breaking the law by living here illegally?

With State authorities failing to defend scared Italian citizens, local governors started taking matters into their own hands. The center-left wing mayor of Florence risked losing communist support for imposing fines on unlicensed window cleaners, after drivers complained about harassment and veiled threats. Padua's leftist municipality built a fence to isolate groups of drug traffickers from a residential area. The most significant decision of all has been the one taken by the mayor of a north-eastern town (a militant of the Northern League, a movement not to proud of) who bravely issued a legislation that literally says: "Those who have no work and housing permit aren't welcome and are urged to leave our town." You need to have guts to say these things in Italy.

I am following the American presidential debates and thus far I have not seen any Republican candidate willing to commit himself to a radical, not soft, reform of the immigration policy. Worse, some are either in favor of amnesty for illegals, or they have been so in the recent past. It seems to me that both Democrats and Republicans, with the exception of few, have no clue of how future is going to be like as consequence of a lack of concrete action.

The US has always been example of a nation that holds law breakers accountable and this has contributed very much to keep social peace. On the other side, not only millions of Mexican aliens were allowed to settle with little or no opposition over the last few decades, but they're imposing their traditions, culture and heritage, as well. What will remain of our countries?

I think America is still in time to rescue herself, but it takes more than mere electoral promises.

Are US politicians scared at the idea of fueling social tension by imposing the respect for the law? I wish they could carefully look at the Italian situation, hoping that it could teach them a lesson: on the long term, coddling illegal aliens will pave the way for civil unrest and the loss of sovereignty to criminals, who will ultimately rule our cities. Italy's likely to become a Third World country in the not so distant future. Even if its leaders wake up now (I doubt they will) it's probably too late. America can make it. I’m still betting that it will, but the 2008 election may be its last chance.

Ms. Lapenna is an Italian freelance columnist and blogger presently living in Sardinia, Italy. She has been published in the Jerusalem Post, Real Clear Politics, Town Hall and is current contributor to TCS Daily and the American Thinker.

Tuesday, November 27, 2007

Cittadella: 40 miles from Venice; Sets Own Immigration/Residency Requirements

What the pompous englishman Peter Popham calls xenophobia, I would call Sound Policy.
Cittadella's Mayor is requiring every resident within the city, (1) to have no criminal record (2) have regular work with an income per family member of at least Ђ5,000 (Ј3,600) ($10,000) per year, and (3) had a home conforming to standards set down by the town.
Just as our Immigrant forefathers/mothers had to establish when they came through Ellis Island (1) no criminal record (2) that they had a job, or a patron that would assure that they would not become burden on the welfare system (3) AND they had to pass a MEDICAL EXAM, and if they had any communicable diseases, or even deformities (including minor ones like glaucoma, cataracts) (they were Not permitted entrance, and were sent back home).
The Housing Codes are in effect in every city and is nothing new, and even here in Los Angeles "Cardboard Box" or "Tent" Cities have routinely been raided and destroyed by the Police.
An additional note: The hue and cry emanating from those quick to criticize Italy at the slightest whim, regarding Italy's recent decision to deport Romanians,....... the only ones deported are those with Criminal Records, which is the Policy in most "civilized" countries, including the US, (although not often enforced).
Further, the reason that Italy has a problem, is that it was the only EU country to admit Romanians despite their acceptance in the EU.
Italy's critics are Hypocrites!!!!!!


Xenophobia in Italy: a Fortress Fights to Keep out Poor
...............No Actually the Criminals, and those who have no means of support, and would become criminals or a burden on the System....
Independent - London,England,UK
Peter Popham
November 27, 2007

The name fits the place. Cittadella, a town 40 miles inland from Venice, is a true citadel, one of only three cities in Europe which preserve their medieval walls intact. The historic centre is enclosed in a perfect circle of high 13th-century masonry, with battlements, towers, entrance gates at the four points of the compass, and a moat.

But while medieval walls give a powerful sense of protection and enclosure, and make for excellent picture postcards, they no longer keep unwanted people out. And keeping unwanted people out is very much on Italians' minds just now, less than a year after Romania joined them in the European Union.

Now Cittadella has become the first town in Italy to lay down who may not live in it: namely the poor, the unemployed and the homeless.

This is Italy's second spasm of xenophobia in a month. At the beginning of November, after the nasty mugging-murder of a middle-class housewife allegedly by a Roma youth on the outskirts of Rome, the capital's mayor, Walter Veltroni, forced through a diktat giving the central government the power to expel foreigners for reasons of "public security". All foreigners, including those from the EU, were covered by the new decree; no trial was required, only a decision by the local prefect that the people in question were a menace.

For a couple of weeks the expulsion idea was all the rage. Mr Veltroni is a former communist but in no time the post-Fascists had taken up the cry, demanding that tens of thousands of foreigners be summarily booted out. At least 200,000 should be expelled from Rome alone, according to Gianfranco Fini, the former deputy prime minister under Silvio Berlusconi and the acceptable face of Italy's far right. In practice the expulsion idea has so far proved a damp squib: mass expulsions were quickly ruled out, with Pope Benedict one of a chorus of voices warning Italy not to go down the road of racism and paranoia. So far those expelled nationwide number in the low hundreds.

But now, from the opposite end of the country, comes a different idea for tackling the problem: don't let the immigrants into your citadel-city to begin with. "The people feel insecure," says Cittadella's mayor, Massimo Bitonci, by way of explanation for the rules he has imposed on foreigners who might fancy moving to his town. Aged 42, an accountant by profession with an open countenance, a reassuring smile and friendly manners, Mr Bitonci has, for the past three weeks, been collecting a silly number of headlines and television appearances for a man who is the mayor of a pretty little town with a population of barely 20,000 where nothing much happens.

It all began on 16 November when his office published an ordinance spelling out the rules of residence in Cittadella for Italians, non-Italian members of the EU, and others. The novelty of this resided in the idea that the mayor of a small town might assert the right to say who could and could not live within his town's borders. Cittadella has never in its history had that right. When the walls were built in the 13th century, it was already a fraction of the city of Padua, 20 miles to the south. From 1405 it came under the sway of Venice - for centuries one of the most cosmopolitan cities in Europe.

But Mr Bitonci is demanding that right now. He belongs to the Northern League, the party led by the demagogic Umberto Bossi whose original slogan was Roma ladrona! (Big thief Rome!) and which campaigned for the secession of northern Italy from the south. Now, in a few pages laden with legal cavils, the mayor spelled out that foreigners coming from within the EU have the right to live in Cittadella only if they had no criminal record, were in regular work with an income per family member of at least Ђ5,000 (Ј3,600) per year, and had a home conforming to standards set down by the town.

For the first time in 800 years, Cittadella was making an attempt to live up to its name.

Reaction to the ordinance was swift and harsh. "A decidedly racist and discriminatory measure which violates civil and constitutional rights," said the government's minister for social solidarity, Paolo Ferrero, of the regulations. The rules evoked "a climate of medieval obscurantism" , according to Andrea Martella, a centre-left MP from Venice. "This ordinance is merely an act of propaganda which takes us back centuries, with the aggravating factor that, like a dangerous virus, it is poised to spread to other towns governed by the centre-right and the Northern League."

Events quickly proved Mr Martella right. When I visited Mr Bitonci in his gleaming modernised town hall within Cittadella's walls, four days had passed since the publication of the ordinance and he was aglow with the applause of other Northern League mayors from the region. "The idea I launched was immediately taken up by the mayors of many other small towns like ours in the region," he said. "So far 40 mayors from Veneto and Lombardy have phoned in to say they support me."

The townspeople, he said, were right behind him, too. "There is a great popular consensus on this proposal, which I consider to be an obvious, almost banal thing: in any democratic state a foreigner can move from one place to another but he should have a minimum of financial wherewithal, a respectable place to live, and above all he should not have a criminal record."

Racism had nothing to do with it, he insisted. "This is a small town, and until a few years ago there were hardly any immigrants here. There were one or two Moroccans who had been here for decades. They were well integrated; they had families; some were married to Italians without any problem. But this is a difficult moment."

Italy's new mood dates from the accession of Romania and Bulgaria to the EU in January. "Now we have 15 new applications for residency per week, 60 per month, 600 per year, and 80 per cent of them foreign," said the mayor. "It's a real invasion. The great majority are Romanian: of 1,423 immigrants who are regular residents, 416 are Romanian. And I'm only talking about people who are legally resident: there are another 40 or 50 per cent who are here illegally, and they certainly do not have proper places to live. And all the other towns around here have the same problem."

The immigrants, he claimed, had brought a crime wave. "This used to be an island of happiness. Thirty years ago here in the countryside, people didn't even lock their doors at night. There were problems connected to drugs but it was very limited. But there has been an increase in crimes against property, especially in recent months."

Walking the elegant lanes of Cittadella's ancient centre, "island of happiness" didn't seem too bad a description for it now: signs of crime and degradation were hard to spot. A visitor unaware of the controversy would conclude that this was a wealthy, complacent little place, with all the charms of small Italian towns, the trattorias and osterias, the boutiques offering panetone and liqueur chocolates. And if the locals really do back Mr Bitonci's ordinance, they were coy about admitting it. "I'd really rather not talk about it," said one woman. "Not interested," said a bearded man, who then called back: "I don't think the ordinance is going to work, anyway."

"Not efficacious": that is also the view from Padua, Cittadella's big brother to the south. "The decision taken by Cittadella will have no effect," said the mayor, Flavio Zanonato.

A rhetorical solution for an imaginary problem? Not as far as Mr Bitonci is concerned. "According to a recent opinion poll, three Italians out of four these days feel insecure," he said. "The public mood is one of grave disquiet."

In another attempt to calm that mood - or milk it for political advantage, take your pick - Mr Bitonci's administration in September set up vigilante patrols in the town with more than 60 volunteers taking turns in small teams to cruise through the town. They soon plan to add two teams of armed security guard patrols to the roster, though they have yet to catch any criminals in the act.

Less than a week after the publication of the ordinance, the Italian state had its say: the new rules were illegal, a usurpation of public functions which the mayor does not possess, and he received notice that he risked being put on trial for the offence.

It was a red rag to the Northern League bull: last weekend more than 40 mayors and some 4,000 supporters poured into Cittadella to roar their support for Mr Bitonci. The effulgent mayor was there in the front line, complete with the Italian tricolour sash which mayors wear as their badge of office adorned with a black cockade - a sign of mourning, he said, " for the death of the Italian state".

From the platform, Flavio Tosi, mayor of Verona, roared: "[The Interior Minister] Giuliano Amato says Cittadella cannot be a republic in its own right. Dimwit Amato, come here and see how the people in Veneto live! [The Prime Minister Romano] Prodi cannot command in our house: only the mayors can decide who they want in their towns."

Amid the bilious rhetoric, a few obvious facts had difficulty making themselves heard.

Such as the fact that the overwhelming majority of immigrants move to Italy in a state of poverty because they want to become less poor. That Italy's very low birth rate means that its economy is dependent on a constant flow of new arrivals to survive. That a large proportion of immigrants work in the illegal sector and live in lousy accommodation - but not from choice.

And that within living memory, millions of Italians were poor immigrants in North and South America. And that they had to contend with exactly the sort of poisonous attitudes Mr Bitonci is encouraging as they struggled to make good, far from home.

Sunday, November 25, 2007

Forgotten "Antonio Mancini" is About to be Rediscovered

Antonio Mancini proves how fleeting artistic fame can be. A contemporary of Claude Monet and Vincent van Gogh, Mancini was the toast of Italy, England, and the United States during the late 19th and early 20th centuries.

He appeared in at least 15 Venice Biennales between the first one, in 1895, and 1924; in 1920 his paintings were given an entire gallery. He won a medal for painting at the 1900 Paris exposition and a gold medal at the St. Louis exposition of 1904. John Singer Sargent promoted his talent, and famed American collector Isabella Stewart Gardner acquired two oils and a pastel for her Boston museum.

Today? Outside the art world he's a stranger. But he is about to be rediscovered.

Antonio Mancini Worthy of a New Look

An Art Museum exhibition is the first U.S. show of the forgotten Italian painter in a century.

Philadelphia Inquirer By Edward J. Sozanski Inquirer Art Critic Sunday, Nov. 25, 2007

Antonio Mancini proves how fleeting artistic fame can be. A contemporary of Claude Monet and Vincent van Gogh, Mancini was the toast of Italy, England, and the United States during the late 19th and early 20th centuries.

He appeared in at least 15 Venice Biennales between the first one, in 1895, and 1924; in 1920 his paintings were given an entire gallery. He won a medal for painting at the 1900 Paris exposition and a gold medal at the St. Louis exposition of 1904. John Singer Sargent promoted his talent, and famed American collector Isabella Stewart Gardner acquired two oils and a pastel for her Boston museum.

Who knows his name today? Outside the art world he's a stranger, even though several major American museums besides the Gardner own examples, including, since 2004, the Philadelphia Museum of Art.

Thanks to a bequest several years ago from the late New York collector and art dealer Vance N. Jordan, the Art Museum owns 15 oils and pastels by Mancini. These form the core of an exhibition devoted to the artist, his first show in America in more than a century, that also includes 28 loans from American and European museums such as the National Gallery, London, and the Musee d'Orsay in Paris.

The exhibition reveals Mancini to be a conventional painter of his time in some respects, particularly subject matter, but an adventurous technician, a realist who reveled in the physicality of pigment and sometimes piled it onto the canvas like cake frosting. Subjects that in other hands might be mundane, such as a young boy posing with toy soldiers or an old woman drinking tea, sparkle, not only because of surface animation but because the artist has somehow made his sitters project a mysterious inner light.

Mancini is a fascinating artist because he combines attributes that should be contradictory. He was part academic, part genre painter, part Old Master, part realist and part romantic. Had he been French, he might have been a Salon painter turning out slick narratives. But he was also more than a bit idiosyncratic.

He was obsessed with poverty, which he experienced in childhood and consequently portrayed through its effect on children. Yet he wasn't sentimental, which gives his genre subjects a nervous edge. As a paint-handler he was as modern as any of the impressionists or post-impressionists.

The emotional frisson in Mancini's work, which can at times feel almost mystical, distinguishes him from the Salon painters. Even his portraits, often of rich people conventionally posed, suggest a combination of psychological and visual tension. A few paintings are otherworldly - I'm thinking particularly of The Statue Seller, a nude boy, recumbent on a patterned textile, holding a small sculpture. One hardly knows what to make of this bizarre genre nude - or is the painting supposed to be symbolic or metaphorical?

Mancini is hard to pin down, in part because, even when measured against stereotypes of artists, he was an odd duck. You will notice that some paintings, especially portraits such as The Seamstress and Signora Pantaleoni, display a textured quilted pattern across the pigment surface.

These grid patterns result from his painting through a netlike frame, strung horizontally, vertically and sometimes diagonally, that he placed in front of the canvas. Its unclear what purpose this device, which he called a graticola, served, or why he retained the evidence of its use.

The grids tend to attenuate the illusion of three-dimensional space; they also disrupt the viewer's ability to scan the painting and pull together its component passages.

Even allowing for this peculiarity, Mancini was capable of dazzling brushwork. He used a lot of brilliant white, so his light tends to be chilly, like Constable's, but he produced sensuous effects that no other painter of his time surpassed. These can be fully appreciated in the pink-and-white efflorescence of The Seamstress and also in the portrait called Lady in Red, among others. In Old Woman Drinking Tea, Mancini achieves a gravity and introspection worthy of Rembrandt.

Mancini's life story, which guest curator Ulrich W. Hiesinger reconstructs in the show catalog, adds to his appeal. Like van Gogh, he appears to have lived exclusively for his art, in which he was magnificently proficient. As for the rest of life, such as keeping himself decently clothed and managing money, he appears to have been incompetent in a childlike way. Confinement in a mental hospital for a few months during the early 1880s also suggests that he might have been emotionally fragile.

Still, he's a fascinating painter who demonstrates that France wasn't responsible for all the visual excitement during the 19th century. He's also sufficiently enigmatic that one can't effectively absorb and analyze his work in a single visit, so plan on at least two.


Art | Forgotten Master

"Antonio Mancini: Nineteenth-Century Italian Master" continues in galleries 153 and 155 at the Philadelphia Museum of Art, 26th Street and the Parkway, through Jan. 20. Hours are 10 a.m. to 5 p.m. Tuesdays through Sundays and to 8:45 p.m. Fridays. Admission is $12 general, $9 for visitors 62 and older, and $8 for students with ID and visitors 13 to 18. Pay what you wish Sundays. Information: 215-763-8100, 215-684-7500 or www.philamuseum.org.


Contact contributing art critic Edward J. Sozanski at 215-854-5595 or esozanski@phillynews.com. Read his recent work at http://go.philly.com/edwardsozanski.

http://www.philly.com/inquirer/columnists/edward_j_sozanski/20071125_Art__.html

"The Glorious Ones" Glorifies 'Commedia Dell'arte': at Lincoln Center's Newhouse

Abbott & Costello did. So did Cyrano. Montgomery Burns, Homer Simpson's boss on "The Simpsons," does it to this day

They all borrowed character traits developed in a 16th-century style of Italian theater known as "commedia dell'arte, " which is now on display, to a degree, in "The Glorious Ones" at Lincoln Center's Mitzi Newhouse Theater, the Off-Broadway musical, by Stephen Flaherty and Lynn Ahrens ("Ragtime," "Seussical"), is loosely based on the life of Flaminio Scala, an early practitioner of the form.

Commedia dell'arte (Italian: "play of professional artists") was a popular form of improvisational theatre that began in Italy in the 15th century and maintained its popularity through to the 18th century, although it is still performed today. All of their performances were outside with few props, unscripted, and were free to watch, funded by donations. A troupe consisted of 10 people: 7 men and 3 women. Outside Italy, it was also known as "Italian Comedy".

The performances were around a repertory of stock, conventional situations: adultery, jealousy, old age, love, some of which can be traced in the Roman comedies of Plautus and Terence, These characters included the ancestors of the modern clown. The dialogue and action could easily be made topical and adjusted to satirize local scandals, current events, or regional tastes, mixed with ancient jokes and punchlines.

The classic, traditional plot is that the innamorati are in love and wish to be married, but one vecchio (elder) or several elders, vecchi, are preventing this from happening, and so they must ask one or more zanni (eccentric servant) for help. Typically it ends happily with the marriage of the innamorati and forgiveness all around for any wrongdoings. There are countless variations on this story, as well as many that diverge completely from the structure, such as a well-known story about Arlecchino becoming mysteriously pregnant, or the Punch and Judy scenario.

Characters were identified by costume, masks, and even props, such as the slapstick. Previously rehearsed Lazzi and Concetti are other tools used by a commedia troupe. The article below focus on the masks, and their characteristics.

A student of commedia dell'arte

By PETER D. KRAMER
THE JOURNAL NEWS

Abbott & Costello did.
So did Cyrano.
Montgomery Burns, Homer Simpson's boss on "The Simpsons," does it to this day.

They all borrowed character traits developed in a 16th-century style of Italian theater known as "commedia dell'arte," which is now on display, to a degree, in "The Glorious Ones" at Lincoln Center's Mitzi Newhouse Theater.

The Off-Broadway musical, by Stephen Flaherty and Lynn Ahrens ("Ragtime," "Seussical"), is loosely based on the life of Flaminio Scala, an early practitioner of the form, and plays through Jan. 6.

Mace Perlman, of Greenwich, Conn., an actor and former Purchase College instructor, has made a study of commedia - and its signature characters and masks - since working with Giorgio Strehler, one of Italy's foremost opera and theater directors in the late '80s and early '90s.

Perlman, a cousin of Westchester-based actor Kevin Kline (to whom he bears a striking resemblance), also studied under master mime Marcel Marceau. He appeared recently in Shakespeare's "Much Ado About Nothing," at the Red Monkey Theater Group in Dobbs Ferry.

But it's commedia and its rich characters that inspire him most.

"These are stock characters, but they appear in the American musical, in Dickens, in opera," Perlman says. "They're definitely larger than life.

"I think life is large and our entertainment today tends to make life small. Real life is larger than life. We all meet outrageous people all the time."

Perlman has a trunk full of custom-made leather masks crafted in Italy and representing an accumulated cast of characters: the clown, the captain, the professor, the rogue.

All have a tradition in theater that stretches back to 1500s Italy. At the height of commedia - when there were competing troupes presenting their scenarios all across Europe - townsfolk would gather to see a show of short plays, certain to be entertained and surprised, even though they knew the characters already.

"What's interesting to me is that these characters often get short-changed nowadays," Perlman says. "People say they're comic stereotypes, they're one-dimensional characters.

"But what fascinates me about these characters is that they're really human, no less so than Shakespeare's characters, or 'Seinfeld' characters or even 'The Simpsons' or Bugs Bunny. When they are treated with sensitivity and artistry, they are enormously human."

For example, Perlman says, the character Pantalone gets the reputation of being a cuckolded foolish old miser while Arlecchino ("Harlequin" in English) gets the reputation of being a stupid, gluttonous, lazy servant.

"The reality is actually more interesting. Pantalone is a capitalist and he's amassed a great deal of wealth and that wealth isolates him and makes him frightened of being taken advantage of.

"Arlecchino is a servant and will never be a master. He may dress up as a master, but he's a servant. Pantalone is a master and is somehow born into that.

"He's a merchant. Actually, he's middle class. After the commedia, there develops a merchant character. Venture capitalism starts in Venice in the West and so Pantalone could be on Wall Street today. He's not a nobleman. He's basically, the merchant of Venice."

The Captain is another unique character.

"He's called the captain and he's a wannabe lover," Perlman says. "He's a military man, but it's not clear if he's a first-into-battle-and-first-in-retreat sort of guy. But there's a sense of vanity. The captain often has a vain quality."

In these characters, audiences saw all the vices.

"Arlecchino is lazy, Pantalone is a miser, the Captain is vain, full of himself," Perlman says. "We tend to stop there and dismiss them. But there are many sides to the captain."

The Dottore, or doctor, is the geek, full of all kinds of jargon, Perlman says.

"He speaks 868 languages, but he's foolish, too, because nobody can understand what he's saying. He likes to show off his specialized learning. Does it mean that he's wise? Probably not."

There is also a class struggle going on on the commedia stage. The zanni, lower class, are always conniving to get the better of the vecchi, the upper class.

Arlecchino and Brighella, the servants, are the forebears of Abbott & Costello.

"The buddy movies are based on this: Brighella is the servant with the upper hand, the Bud Abbott. Arlecchino is Costello, the little brother," Perlman says.

"Gomer Pyle is the Arlecchino and Sgt. Carter is Brighella."

The captain has his place in popular culture, too: Col. Klink from "Hogan's Heroes" is the captain, Perlman says. So, too, is Cyrano, being played on Broadway this season by Perlman's cousin, Kevin Kline.

"Cyrano is a fascinating outsider in a way, another captain character."

The richness of the characters was borne out in remarkable scenarios, or stories.

"The stories are surprising. They're not predictable," Perlman says. "Otherwise, why would Europe have put up with them for 250 years?"

After seeing "The Glorious Ones," which stars Marc Kudisch, at Lincoln Center, Perlman was unimpressed, saying that the writers glossed over the characters without giving them their due.

"These characters are incredibly Italian and incredibly Mediterranean. At the same time, you can find them in China and in our culture. They're very universal."

For six years, Perlman studied under Strehler, "the Laurence Olivier of Italy," returning in 1993.

"He was like a god in Italy," Perlman says. "He still looms in the popular imagination." (Strehler died in 1997.)

More than a dozen years later, the student is still learning.

"I hate the idea of reproducing something," he says. "It's not about that at all. In my education, I was able to begin to become familiar with material that is so vibrant, so powerful that every time I go back to the original, I get more. It's a little like Shakespeare."

Like Shakespeare, commedia had its Promethean promoters, its Edwin Booths.

"Francesco Andreini played Captain Spavento, who was enormously imaginative, larger than life," Perlman says. "He was like Paul Bunyan, tall tales, and Don Juan and Cyrano and Don Quixote, most of all. A great dreamer and poet and funny, able to quote Dante, Cicero and Aristotle. He was a Renaissance man.

"He was in a tradition of blowhard soldiers - Milos Gloriosus from Roman comedy - but what Francesco added to that was a brilliant ability to make metaphor, a dreamer."

Seeing "The Glorious Ones" makes Perlman burn to share what he knows with students. He has taught at Purchase College and is pursuing teaching positions at Juilliard and at Fordham's Lincoln Center campus, a stone's throw from the stage that "The Glorious Ones" calls home.

http://www.nyjournalnews.com/apps/pbcs.dll/article?AID=/20071125/ENTERTAINMENT/711250311

''Pilgrims of War'' Italians on Cruise Ship Interred When US Declares War on Italy in WWII

Carl Veno of Allentown PA, a long time journalist has turned to writing a historical novel about World War II entitled ''Pilgrims of War.'' While the book tells the tale of a fictional Italian woman, Dr. Magdalena Russo, the story is based on historical record.
Veno's research revealed 40 or 50 American camps that held Germans aliens during the war. He read accounts describing a case of an actual Italian cruise ship that was seized by the American Navy. The nightmare that followed for many of the families aboard became the source for the tale of Dr. Russo.

The doctor is on a pleasure cruise sipping drinks and resisting the flirtations of the captain when suddenly US naval officers come aboard and start asking questions of the Italian passengers. She is guilty of no crime but is treated like a criminal. She is separated from her family and forced to spy for the Americans. She is held in a barracks under confinement, like thousands of Italians and Germans actually were at that time.
Veno says that one of the chapters in his previous book, 2005's ''Invisible Ink,'' discussed the internment of Germans and Italians in the United States during World War II. This chapter drew a lot of attention, including e-mails sent from German families in Allentown interested in learning more about this often-untold aspect of American history. He decided to expand on that subject in fictionalized form for his newest book.
''It's probably one of the best kept secrets in America,'' Veno says of the internment of Germans and Italians.
The reasons is that all Documents relative to the Internments were Classified "Secret", and the Japanese petitioned almost immediately after the end of WWI for the release of Documents regarding the Japanese Internment I, in part to elicit some sympathy to deflect the "negativity" of the Japanese "sneak attack" and the Japanese Army "atrocities", where the Italians and Germans felt "shamed" by having their "patriotism" questioned, and didn't petition for the release of the "Secret" Documents until the 1990s.
Further, while the Japanese attempt to maximize their "sympathy" factor, they seldom ever mention the internment of Germans and Italians. This despite 600,000 Italian Americans, 300,000 German Americans , and only 120,000 Japanese Americans were forced to register as "Enemy Aliens", and suffer the numerous Restrictions, Relocations, Confiscations, Internments etc, that went with it.

Allentown Author Explores WWII Plight of Seized Italian Travelers

Allentown Morning Call - Allentown,PA,USA By Josh Berk Special to The Morning Call November 25, 2007

Carl Veno of Allentown worked for many years chasing breaking news as a journalist for daily papers including The Orlando Sentinel, The Newark News and The Quakertown Free Press. Now he has turned his pen to the past, writing a historical novel about World War II entitled ''Pilgrims of War.'' The book tells the tale of a fictional Italian woman, Dr. Magdalena Russo. But while Russo is a creation of the author's mind, much of the rest of the story is based on the historical record.

Veno says that one of the chapters in his previous book, 2005's ''Invisible Ink,'' discussed the internment of Germans and Italians in the United States during World War II. This chapter drew a lot of attention, including e-mails sent from German families in Allentown interested in learning more about this often-untold aspect of American history. He decided to expand on that subject in fictionalized form for his newest book.

''A lot of people are not aware that German and Italians were interned in this country,'' Veno says. ''In 1942, the Germans seemed unstoppable and a lot of Americans were nervous. They started searching for people who would harm this country. We were not even at war yet, but the Germans, Italians and Japanese became our enemies.''

The federal government began rounding up aliens of German and Italian descent, Veno explains. These immigrants were in the country legally but had not become citizens. ''They were yanked from their homes with no trials, and no hearings,'' Veno says. ''They started sending them to Army camps.''

Veno's research revealed 40 or 50 American camps that held Germans aliens during the war. He read accounts describing a case of an actual Italian cruise ship that was seized by the American Navy. The nightmare that followed for many of the families aboard became the source for the tale of Dr. Russo.

The doctor is on a pleasure cruise sipping drinks and resisting the flirtations of the captain when suddenly naval officers come aboard and start asking questions of the Italian passengers. She is guilty of no crime but is treated like a criminal. She is separated from her family and forced to spy for the Americans. She is held in a barracks under confinement, Veno says, like thousands of Italians and Germans actually were at that time.

''It's probably one of the best kept secrets in America,'' Veno says of the internment.

''It's a fast read. A lot of people aren't reading as much and they're afraid of long books, so I shortened the novel up quite a bit.''

Veno is currently producing a film, ''Little Chicago,'' based on another chapter in ''Invisible Ink.'' It's a prohibition-era tale that takes place in Veno's native region of western New York. While Veno's tales focus on the past, he says his stories say something about contemporary America.

''It gives us a sense of how we react,'' Veno says of studying World War II. ''And it is happening today. You look at a Muslim, you look at them and we start wondering. But they're not different than anybody else. I think that applies to the human race. Until we understand that, just because there are certain people who do things, it doesn't mean everybody does that. And we're definitely like that in America. We still have a fear of foreigners.

''During war we become very, very different people,'' he says. ''And we do a lot of crazy things.''

Josh Berk is a freelance writer.
Jodi Duckett, Arts and Entertainment Editor, jodi.duckett@mcall.com

http://www.mcall.com/entertainment/all-carlveno.6148011nov25,0,525574.story

Saturday, November 24, 2007

Columbus Still Widely Admired; Let's Keep It That Way !!! # 9 Most Important in World History

Decades after revisionist historians and Native Americans began to question history's account of the reputation of Christopher Columbus, 85 percent of Americans still describe him in positive and traditional terms, according to a U-M study.
The overall pattern lately has been curvilinear, with characterizations of Columbus starting off as predominately positive (in 91 percent of books published between 1944-59), moving to much more negative characterizations in the 1970s (only 17 percent showing positive evaluations of Columbus) and then recovering a more positive view in the 1980s and 1990s (with 40 percent and 80 percent, respectively, showing positive characterizations).
Schuman concludes that criticisms of Columbus have reached the larger public in reduced form, without the full negative force found in revisionist writings and American Indian protests. Strong countervailing forces, including Columbus Day celebrations and recognition by schools, continue to sustain his positive reputation,
It is important to our Italian Heritage to Support and Defend Columbus against every attack.
Let us NOT Forget :
The Experts say: Columbus is among the TEN Most Important People in History, #9, ahead of Einstein
The 100; A Ranking of the Most Influential Persons in History, Columbus again #9


Thanks to Walter Santi
Columbus Day Study: Explorer Still Widely Admired
University of Michigan
University Record Online
By Diane Swanbrow
October 12, 2007

Decades after revisionist historians and Native Americans began to question history's account of the reputation of Christopher Columbus, 85 percent of Americans still describe him in positive and traditional terms, according to a U-M study.

Most respondents in a national representative sample of Americans view Columbus in positive historical terms—"He discovered America." Another 6 percent characterize the Genovese explorer as a hero.

Two percent of those surveyed say that Columbus could not have discovered America because Native Americans already were here. And 4 percent characterize Columbus as a villain who brought slavery, disease and death to indigenous peoples.

"The inertia of collective memory has sustained Columbus's reputation in the face of criticisms," says Howard Schuman, a research scientist and professor emeritus at the Institute for Social Research (ISR) and the lead author of "Elite Revisionists and Popular Beliefs: Christopher Columbus, Hero or Villain?" published in the Spring 2005 issue of Public Opinion Quarterly.

The research was supported, in part, by the National Science Foundation.

For the study, Schuman and co-authors Barry Schwartz and Hannah D'Arcy analyzed results of several national surveys and the content of American high school history textbooks to assess the general public's beliefs about Columbus.

The surveys were conducted by ISR in 1998, 2000 and 2002, and included more than 2,000 Americans age 18 and older.

Schuman and colleagues found that older people were more likely than younger ones to view Columbus as a heroic figure, suggesting some decrease over time in a glorified view of his reputation. But Schuman notes there has been a general erosion of the historic reputations of past U.S. leaders, so the trend could reflect a wider disillusionment with historical heroes rather than a reassessment of Columbus's specific contributions.

Examining the views of American minorities, the researchers found that 42 percent of Native Americans believe Columbus was a villain, compared to less than 4 percent of white, Hispanic and Black respondents. But fully 50 percent of Native Americans express the traditional view that Columbus discovered America. About 2 percent of African Americans view Columbus as a hero, compared with 6 percent of whites and 11 percent of Hispanics.

The researchers also analyzed statements about Columbus from 55 high school history textbooks dating from the mid-1940s through the 1990s, coding the passages as positive or negative. The overall pattern was curvilinear, with characterizations of Columbus starting off as predominately positive (in 91 percent of books published between 1944-59), moving to much more negative characterizations in the 1970s (only 17 percent showing positive evaluations of Columbus) and then recovering a more positive view in the 1980s and 1990s (with 40 percent and 80 percent, respectively, showing positive characterizations).

Schuman concludes that criticisms of Columbus have reached the larger public in reduced form, without the full negative force found in revisionist writings and American Indian protests. Strong countervailing forces, including Columbus Day celebrations and recognition by schools, continue to sustain his positive reputation, Schuman says.

Ultimately, the narrative of his voyage in 1492 taps into the power of creation stories, Schuman says, and illustrates the gap that exists in many dimensions between the beliefs of the general public and the views of elite groups and minority activists.

Italians Need to Teach British How to Flirt

Britain, Marco Gambino says, is a nation in crisis and self-esteem, or rather our lack of it, is the main culprit. ''I've lived in London for 20 years and I've seen gorgeous women and very handsome men walking about, carrying their bodies like sacks of potatoes,"
First and foremost, Make an effort with your appearance There is no shame in a bit of grooming, as any Italian will tell you.
Then, Carry yourself with confidence This will help to make you look more attractive.
Thereafter, Good eye contact and a winning smile go a long way, and thereafter a few important additional points

An Amorous Offer You Can't Refuse

Telegraph.co.uk - United Kingdom Casilda Grigg November 24, 2007

  • What can Italians tell us about Love? Casilda Grigg learns how to flirt, Italian-style

    Flirting has acquired something of a bad name in this country. In our puritanical British culture, we're worried about sending out the wrong signals, causing offence, or making fools of ourselves.

    Yet, according to recent research, good eye contact and a winning smile are often all it takes. Can it really be that easy?

    Determined to find out, I seek the advice of Marco Gambino, a 45-year-old Sicilian actor and self-appointed flirting guru, who performs cabarets at parties demonstrating how to do it the Italian way.

    Just back from Rome, where he has been filming a television series... Marco agrees to pass on some of his tips in time for the Christmas party season.

    Britain, he says, is a nation in crisis and self-esteem, or rather our lack of it, is the main culprit. ''I've lived in London for 20 years and I've seen gorgeous women and very handsome men walking about, carrying their bodies like sacks of potatoes," he says, in thickly-accented English, eyes blackening with disapproval.

    Super-smooth and dressed in a black suit and startling green tie, Marco is not remotely my type. But as we settle down to tea and cakes in a suite at Claridge's, I find myself rapidly reviewing my first impression.

    Eloquent, charming and happy in his skin, Marco, who was brought up by an English nanny called Mavis, has a gift for making a woman feel desirable.

    As I pour him lapsang souchong and offer him a tiny Marie Antoinette cake, I realise I'm going all doe-eyed. I have an awful feeling I'm doing what friends describe as my "Princess Diana thing", gazing up at him geisha-like from under downcast eyelids.

    It's hard to pinpoint where the crackling electricity is coming from. Is it the teatime hour, what the French describe as le cinq а sept, that unaccounted-for window of the day when illicit liaisons flourish?

    Is it the contrast between the quaint tea tray and the thrilling hint of danger presented by the half-open door with its glimpse of a very large bed? Or is it simply that Marco is looking at me with interest and appreciation, holding my gaze with manly vigour?

    Remarkably, the man is stone-cold sober. ''Of course," he beams. ''Flirting is much better without the hallucinations that drink gives you. It means you can really perceive the other person."

    So what is the secret of a good flirt? Marco, who has collaborated on a book on Italian gestures, says the most important thing is eye contact and the ability to maintain it.

    ''Gazing is one of our weapons as Italians," he says, fixing his cappuccino eyes on me. ''But British men and women avoid eye contact because they're scared."

    Another common error is talking too much. ''Body language is less open to misunderstandings," he says, tilting his head towards me and lowering his voice huskily. ''Words can be misinterpreted, especially by women."

    So too, alas, can gestures. As a hot-blooded Sicilian, Marco is hell-bent on teaching the British to flirt using Italian derived signals that are second nature to Italians....

  • But can these moves really work on a tinsel-strewn Friday night at The Slug and Lettuce, when Mark (from Accounts) is trying to chat up Juliet (from Marketing)?

  • Some things just don't travel well and Italian gestures he shows me seem preposterous when viewed against a backdrop of Claridge's chintz and swagged curtains.

    Surely it's better to keep gestures out of it, I say laughing uncontrollably, as Marco extends his little finger in a snappy tipping motion, as if downing a shot of industrial-strength espresso. The invitation to join him for a coffee is unmistakable but it's also rather sinister. If somebody did that to me in Starbucks I'd run a mile.

    ''You're right," he says modestly. ''It is possibly too much, but combined with prolonged eye contact it would have been perfect."

    Whether or not we follow his advice, unconfident British males should take comfort from Marco's first boss, a gallery owner who married a beautiful English rose. ''Was he handsome? Not in the classic way," says Marco, laughing delightedly. ''He was short and even a little bit fat. But he had great manners. And he was, of course, a terrific flirt."

    MARCO'S TOP 10 FLIRTING TIPS

  • Use your eyes Fix the object of your desire with a steady, unwavering gaze.
  • Carry yourself with confidence This will help to make you look more attractive.
  • Keep your body language open and responsive Crossing your arms is a definite no-no.
  • Be gently tactile. Just the brush of a hand is enough.
  • Listen and be receptive There's nothing more heady than someone else's full, undivided attention.
  • Be light-hearted and playful Don't mention train delays or problems at work.
  • Make an effort with your appearance There is no shame in a bit of grooming, as any Italian will tell you.
  • Be brave The British, says Marco, get ''overattached to their lonely nests".
  • Avoid cracking jokes ''British men often have a very restricted humour that only functions through mates and jokes," says Marco. ''This means women feel ostracised."
  • Don't talk too much The fewer words the better, says Marco (but don't try his gestures either).

    For details of Marco Gambino's one-to-one flirting sessions (price Ј80) and cabarets, email marco@marcogambino.com.

  • Giuseppe Garibaldi: Unifier of Italy; 200th Birthday Celebrated by Hofstra's "Garibaldi's Gotham"