Relevant bibliographies by topics / Italian drama Australia History

Academic literature on the topic 'Italian drama Australia History'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Italian drama Australia History"

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Pesman, Ros. "Modern Italian history in Australia." Journal of Modern Italian Studies 4, no. 1 (March 1999): 73–88. http://dx.doi.org/10.1080/13545719908454997.

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Crea, Teresa. "New Forms, New Relationships." New Theatre Quarterly 8, no. 29 (February 1992): 75–80. http://dx.doi.org/10.1017/s0266464x00006345.

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DID YOUR DESIRE to start up an Italian theatre in Australia arise from your visiting the town your parents came from in Calabria?No, but certainly visiting that town in Calabria influenced the type of Italian theatre I wanted to make. My desire to do Italian theatre was a desire to do something I was interested in – I'd been studying drama and also studying Italian formally, both were of interest to me, and I felt that the two could be combined. At the time, strategically, I also met Christopher Bell, who was interested in both things as well.
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Fletcher, Stella. "Review: Shakespeare's Italy: Functions of Italian Locations in Renaissance Drama." Literature & History 5, no. 1 (March 1996): 100. http://dx.doi.org/10.1177/030619739600500112.

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Papalia, Gerardo. "The Italian “Fifth Column” in Australia: Fascist Propaganda, Italian‐Australians and Internment." Australian Journal of Politics & History 66, no. 2 (June 2020): 214–31. http://dx.doi.org/10.1111/ajph.12680.

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Pascoe, Robert, and Patrick Bertola. "Italian miners and the second‐generation ‘Britishers’ at Kalgoorlie, Australia∗." Social History 10, no. 1 (January 1985): 9–35. http://dx.doi.org/10.1080/03071028508567609.

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Tompkins, Joanne. "‘Homescapes’ and Identity Reformations in Australian Multicultural Drama." Theatre Research International 26, no. 1 (March 2001): 47–59. http://dx.doi.org/10.1017/s0307883301000050.

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A consideration of identity formation in contemporary Australian multicultural theatre is offered through a re-assessment of the unsettled (and unsettling) constructions of Australia as ‘home’ in the work of three playwrights. William Yang's Sadness disrupts a localized perception of home, space, and cultural communities to amalgamate two disparate communities (the queer/homosexual community in Sydney and the Asian-Australian, or ‘Austasian’ community) into a reconfigured Australian identity. Janis Balodis's The Ghosts Trilogy uses many actors who play across the unsettled lines of history, amid numerous voices, homes, and homelands that indicate the enormity of what ‘Australia’ comes to signify. Noëlle Janaczewska's The History of Water constructs a way of locating the self by means of a metaphoric home as each character establishes herself on a psychic plane rather than choosing the strictly physical locations to which she has access. In their interrogations of home and homeland, these plays challenge assumptions regarding identity, disrupt notions of the ultimate ownership of land/culture by anyone, and problematize the idea of settlement as it is currently articulated in Australia.
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Bennetts, Stephen. "‘Undesirable Italians’: prolegomena for a history of the Calabrian ’Ndrangheta in Australia." Modern Italy 21, no. 1 (February 2016): 83–99. http://dx.doi.org/10.1017/mit.2015.5.

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Although Italian mafia scholars have recently been turning their attention to the Calabrian mafia (known as the ’Ndrangheta) diaspora in Australia, their efforts have been limited by conducting research remotely from Italy without the benefit of local knowledge. Australian journalists and crime writers have long played an important role in documenting ’Ndrangheta activities, but have in turn been limited by a lack of expertise in Italian language and culture, and knowledge of the Italian scholarly literature. As previously in the US, Australian scholarly discussion of the phenomenon has been inhibited, especially since the 1970s, by a ‘liberal progressive’ ‘negationist’ discourse, which has led to a virtual silence within the local scholarly literature. This paper seeks to break this silence by bringing the Italian scholarly and Australian journalistic and archival sources into dialogue, and summarising the clear evidence for the presence in Australia since the early 1920s of criminal actors associated with a well-organised criminal secret society structured along lines familiar from the literature on the ’Ndrangheta.
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Hajek, John, Renata Aliani, and Yvette Slaughter. "From the Periphery to Center Stage: The Mainstreaming of Italian in the Australian Education System (1960s to 1990s)." History of Education Quarterly 62, no. 4 (November 2022): 475–97. http://dx.doi.org/10.1017/heq.2022.30.

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AbstractThis article examines the complex drivers of change in language education that have resulted in Australia having the highest number of students learning Italian in the world. An analysis of academic and non-academic literature, policy documents, and quantitative data helps trace the trajectory of the Italian language in the Australian education system, from the 1960s to the 1990s, illustrating the interaction of different variables that facilitated the shift in Italian's status from a largely immigrant language to one of the most widely studied languages in Australia. This research documents the factors behind the successful mainstreaming of Italian into schools, which, in addition to the active support it received from the Italian community and the Italian government, also included, notably, the ability of different Australian governments to address societal transformation and to respond to the emerging practical challenges in scaling up new language education initiatives in a detailed and comprehensive manner.
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Baldassar, Loretta. "Migration Monuments in Italy and Australia: Contesting Histories and Transforming Identities." Modern Italy 11, no. 1 (February 2006): 43–62. http://dx.doi.org/10.1080/13532940500492241.

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Rather than focusing on how Italians share the neighbourhood with other groups, this paper examines some of the intra-group processes (i.e. relations between Italians themselves) that produced various monuments to Italian migration in Australia, Brazil and Italy. Through their distinct styles and formulations, the monuments reflect diverse and often competing elaborations of the migrant experience by different generations at local, national and transnational levels. The recent increase in the construction of such monuments in Australia is linked to the gradual disappearance of ‘visibly’ Italian neighbourhoods. These commemorations effectively transform Italian migrants into Australian pioneers and, thus, resolve moral and cultural ambiguities about belonging and identity by de-emphasizing difference (ethnic diversity) and concealing intergenerational tensions about appropriate ways of expressing Italianness. Similarly, the appearance of monuments in Italy is linked to an emergent ‘diasporic’ consciousness fuelled by Italian emigrants’ growing ability to travel to Italy, but also to the attempt to obscure potentially destabilizing dual identities by emphasizing (one, Italian) ‘homeland’.
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Langenbacher, Eric. "The Drama of 2005 and the Future of German Politics." German Politics and Society 24, no. 1 (March 1, 2006): 1–10. http://dx.doi.org/10.3167/104503006780935289.

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I recall a conversation from a while back with a colleague. He wasdisdainful of German politics, stating that they are ponderous, lackluster,even boring. He prefers to follow Italian politics because ofthe intrigue, emotion, and, most of all, the drama. Although forcedto agree at the time that the contrast between the two countriescould not be greater, I was also immediately reminded of the old(apocryphal) Chinese curse, “may you live in interesting times.”
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Dissertations / Theses on the topic "Italian drama Australia History"

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O'Donnell, David O'Donnell, and n/a. "Re-staging history : historiographic drama from New Zealand and Australia." University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.

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Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama. In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms. Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.
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D'Ermo-Tenaglia, Doria. "Calandro, un personaggio nella storia della critica, 1788-1980 : saggio di bibliografia critica." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65467.

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Iuliano, Susanna. "Constructing Italian ethnicity : a comparative study of two Italian language newspapers in Australia and Canada, 1947-1957." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22595.

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This thesis is broadly concerned with how an ethnic group defines itself through the medium of the press. It contends that newspapers do more than simply 'reflect' the experience of ethnic groups, they in fact help to 'construct' ethnic identity.
The specific focus of this study is the Italian language press and its attempts to shape the ideals of italianita of Italian migrants in Canada and Australia in the immediate post-war period. This work is based on two newspapers, Montreal's Il Cittadino Canadese and La Fiamma published in Sydney, New South Wales. All available editions from the decade 1947 to 1957 are examined in order to determine which symbols and causes were used to promote Italian ethnic cohesiveness.
In the course of this thesis, it is argued that La Fiamma used religion as the basis of its ideal of italianita, while the Italo-Canadian paper Il Cittadino Canadese made the issue of Italian political representation in Canadian government structures the basis of its quest to unite Italian migrants into an ethnic 'community'. Some possible reasons for the difference in focus between the two newspapers are presented in the conclusion. Also, suggestions are made for future comparative research between Italian ethnic communities in Canada and Australia which may help to better explain the differences laid bare in this paper.
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Totaro, Genevois Mariella. "Foreign policies for the diffusion of language and culture : the Italian experience in Australia." Monash University, Centre for European Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8828.

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Dewhirst, Catherine Marguerita-Maria. "Ethnic identity in Italo-Australian family history : a case study of Giovanni Pullè, his legacies and his transformations of ethnicity over 125 years." Thesis, Queensland University of Technology, 2003.

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In the second half of the nineteenth century, Australia became a destination for hundreds and thousands of Italians as a result of Italy's first modem diaspora. Those who immigrated between the 1850s and 1914 came from diverse backgrounds - socially, culturally, politically, economically, regionally and linguistically. For a minority group, their regional diversity was still quite vast. While in Australia this earlier group was numerically minute in terms of those received by other countries and in comparison with the second half of the twentieth century, these Italians represented a strongly visual and vocal presence in colonial and post-Federation society. Indeed, increasing demographically at a higher rate than any other migrant group after the British (Anglo-Celtic immigrants) at the tum of the twentieth century, Italian migrants offered a new social and economic component in Australia, becoming entwined into the fabric of a developing nation (Castles et al. 1992; Jupp 1988c; Templeton 1998). More than a century since, Australian society has undergone numerous transformations from its development as a nation and in response to world events. The lives of Italian migrants and their descendants bear witness to many of these changes. But, both historical and theoretical approaches fail to explain the significance of the inheritances from a migrant past. This research project takes up the task of examining the legacies of the Italo-Australian presence during the late nineteenth and early twentieth centuries, as well as the impact these migrants made on, and their response to, the trajectories of Australian migration history since the 1870s until today. In the process, it reflects the evolution of Italian ethnicity.
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Battiston, Simone. "History and collective memory of the Italian migrant workers' organisation FILEF in 1970s Melbourne /." Access full text, 2004. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20070823.143852/index.html.

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Thesis (Ph. D.)--La Trobe University, 2004.
Research. "A thesis submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy, [to the] School of European and Historical Studies, Faculty of Humanities, La Trobe University, Bundoora, Victoria." Includes bibliographical references (leaves 187-197). Also available via the World Wide Web.
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Davis, Laurel F. "Voyage to Terra Australis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1648.

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This thesis in Writing is composed of two parts, a creative work for stage, and an essay that both informs the writing of the drama and reflects upon it. The creative work, entitled Ann Flinders Remembers, a musical drama based on the life and journals of Matthew Flinders, navigator and cartographer, and his wife, Ann Flinders. The drama consists of lyrics, letters, extracts, dialogue, monologue, and stage directions, the story told from the point of view of Ann Flinders remembering, and by the all-knowing Chorus, of early Greek theatre. The essay, entitled 'Reflections on and of the Pastoral', traces the genre from the early Greek plays through to more recent theatre, and precedes the creative work to show how I came to the point of writing a musical drama based on the Pastoral genre, and what literature and theory might have been an influence. In the essay, I challenge some widely held conceptions of the Pastoral, at the same time re-acquainting myself with the techniques used by dramatists throughout history. Such a course enables me to reveal the habit of mind that lies at the source of the ancient genre.
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Battiston, Simone, and SBattiston@groupwise swin edu au. "History and Collective Memory of the Italian Migrant Workers� Organisation FILEF in 1970s Melbourne." La Trobe University. School of European and Historical Studies, 2004. http://www.lib.latrobe.edu.au./thesis/public/adt-LTU20070823.143852.

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This doctoral dissertation seeks to investigate the reasons that lay behind the rise, success and decline of the Italian-run migrant workers� organisation FILEF during the 1970s in Melbourne by reviewing and discussing some significant historical events. It does so in light of the existing literature, archival data and a string of oral accounts gathered from former and current key FILEF members and collaborators. It is hereby offering a better understanding of an otherwise poorly researched area of the Italian-Australian left-wing grassroots organisations in post-war Australia. The thesis has been divided into two parts, including introduction and conclusion. Part One (Chapters 1-5) reviews the historical and political background (in both Italy and Australia) that favoured the establishment of FILEF in Australia, including Melbourne, in the early 1970s; Part Two (Chapters 6-9) presents an analysis of the historical development and socio-political role of FILEF Melbourne between 1972 and 1980. Chapter One reviews the theoretical context, the representation of the history of FILEF in previous publications, primary and secondary sources, the research strategy and methodology. Chapters Two and Three anchor the history of FILEF Melbourne to their respective background in Italy and Australia. That is, Chapter Two examines the post-war Italian emigration and its politicising by the Italian Left; Chapter Three focuses on the postwar emigration of Italians to Australia and outlines a profile of the Italian-Australian community. Chapter Four maps the route of the Italian-Australian Left in the 1950s and 1960s, that is from Italia Libera to the Lega Italo-Australiana. Chapter Five reviews the circumstances that led the establishment of the PCI in Australia respectively. Chapter Six examines the origins and grassroots activism of FILEF in Melbourne in the 1970s, especially by looking at three areas of activity: migrant press, migrant welfare and migrant politics. Chapter Seven researches the vulnerability of FILEF to the pressures of conservative quarters by recounting the �Italian communist move in� (1975) and the federal funding cut (1976) episodes. Chapter Eight, thoroughly revisits the Salemi case (1977), while Chapter Nine explores the effects of the case and Salemi�s deportation on FILEF towards the end of the 1970s.
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Montanari, Anna Maria. "'A heart in Egypt' : Cleopatra on the Renaissance stage in Italy and England." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709112.

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Pratt, John L. "Grey hair." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/294.

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Books on the topic "Italian drama Australia History"

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Buongiorno Australia: Our Italian heritage. Richmond, Vic., Australia: Greenhouse Publications, 1987.

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Cresciani, Gianfranco. Migrants or mates: Italian life in Australia. Sydney, Australia: Knockmore Enterprises, 1988.

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Clubb, Louise George. Italian drama in Shakespeare's time. New Haven: Yale University Press, 1989.

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Images & industry: Television drama production in Australia. Sydney: Currency Press, 1985.

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Mascitelli, Bruno. Il Globo: Fifty years of an Italian newspaper in Australia. Ballan, Vic: Connor Court Pub., 2009.

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Feste d'Oltrarno: Plays in churches in fifteenth-century Florence. Firenze: L.S. Olschki, 1996.

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Galliadi, Laura. Il teatro dialettale dopo Govi: (a Genova e in Liguria). Genova: Compagnia dei librai, 1995.

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Bernardi, Claudio. Carnevale, Quaresima, Pasqua: Rito e dramma nell'età moderna, 1500-1900. Milano: Euresis, 1995.

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Flori, a pastoral drama. Chicago: University of Chicago Press, 2004.

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Lucchesi, Flavio. Walk for me, Elsie: The epic of an Italian migrant to Australia. Macleod, Vic: Italian Australian Institute at La Trobe University, 2007.

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Book chapters on the topic "Italian drama Australia History"

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Carlson, Marvin. "1. The Italian Romantic Drama in Its European Context." In Comparative History of Literatures in European Languages, 233. Amsterdam: John Benjamins Publishing Company, 1993. http://dx.doi.org/10.1075/chlel.ix.16car.

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Johansson, Clare, and Simone Battiston. "News Reporting of Italian Organised Crime in Australia: Examining Il Globo’s Editorial Commentary." In Palgrave Studies in the History of the Media, 189–208. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43639-1_10.

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Alessi, Angela A. "Reimagining Italian Spaces: La Fiamma as a Lens to Explore the Development of the Italian Community in Adelaide, South Australia, Between 1947 and 1963." In Palgrave Studies in the History of the Media, 107–25. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67330-7_6.

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Mascitelli, Bruno. "Reflections and Transition of Old and New Italian Media in Australia: The Case of Il Globo." In Palgrave Studies in the History of the Media, 127–45. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67330-7_7.

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"Italian Epic, Spanish Drama, and German Poetry." In A History of Western Literature, 145–71. Routledge, 2017. http://dx.doi.org/10.4324/9781315083445-9.

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Piperoglou, Andonis. "“Dirty Dagoes” Respond." In Redirecting Ethnic Singularity, 23–45. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9780823299720.003.0002.

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During the early twentieth century in the United States and Australia, Italian and Greek migrants were often labelled as “dirty dagoes.” The term “dago” was a derogatory racial slur that situated Italian and Greek migrants as precarious racial inclusions within each nation. Drawing on historical studies on whiteness and migration, this chapter explores the origin, use, and contested meaning of the slur dago, as well as how the use of the term was discussed by Greek and Italian migrants in the pages of popular presses. It will be revealed that the slur dago had a transnational circulation and that its prejudicial connotations mediated how Italian and Greek migrants were racialized and racialized themselves. By transnationalizing the history of dago, this analysis extends the geographical terrain of migrant racialisation in the United States, while also revealing that the routine uses of the slur generated migrant-specific articulations of difference, belonging, and solidarity.
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Sergi, Anna. "‘Ndrangheta City And Spiderwebs." In Chasing the Mafia, 193–224. Policy Press, 2022. http://dx.doi.org/10.1332/policypress/9781529222432.003.0008.

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What do you do when you see spiders? Do you kill them straight away or do you capture them and take them outside? In the frame of the sumptuous Marconi Club in Sydney, Lillo Foti and Vince Foti had dinner in April 2015 to celebrate the partnership between the Marconi Stallions and the Reggina Calcio, two football teams recognizing their connection to Reggio Calabria, Italy, and soccer pride. The two Foti are not related. Vince is the president of the Marconi Club and a successful businessman in Sydney, owner of a firecracker industry. Lillo (Pasquale) has at times been the president of the Reggina Calcio in Reggio Calabria and is an entrepreneur in the fashion industry. Among Lillo Foti’s merits is the promotion of the Reggina team to the Italian Premier League (Serie A) for the first time in the history of the club. Lillo Foti, reported the newspapers, spent over a week in Australia on that occasion, in April 2015. He spent time in negotiations and formal or informal meetings with entrepreneurs of Italian origin in Sydney, Melbourne, Canberra; some of them were interested in investing in the football club in Calabria and in formalizing some sort of stable contact with the region that, from Australia, is at times difficult to maintain. Six Australian businessmen were interested in the deal promoted by Nick Scali – that Nick Scali of Scali furniture we have met in previous chapters, from San Martino of Taurianova, province of Reggio Calabria. The partnership between Reggina Calcio and Marconi Stallions is the first step.
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Stenport, Anna Westerstahl, and Arne Lunde. "The Serpent’s Egg: Ingmar Bergman’s Exilic Elsewheres in 1970s New German and New Hollywood Cinema." In Nordic Film Cultures and Cinemas of Elsewhere, 341–59. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0026.

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This chapter focuses on Ingmar Bergman’s historical drama The Serpent’s Egg (1977), made in West Germany during the director’s 5-year self-imposed exile over a tax scandal in Sweden. Set during the hyper-inflationary Weimar Berlin of the early 1920s, the film retells in an expressionist mode the rise of German Nazism. Produced by Italian-born film mogul Dino DeLaurentiis and filmed on set in Munich with an international cast, The Serpent’s Egg was meant to provide an English-language European art film for American audiences, situating Bergman for Hollywood exposure. It simultaneously engaged with a silenced, repressed part of German history that New German Cinema directors had not yet begun to address by the mid-1970s. The massive exterior sets were re-used for Rainer Werner Fassbinder’s Berlin Alexanderplatz (1980) and served a central role in that episodic TV-miniseries. Thus The Serpent’s Egg becomes not only an ‘elsewhere’ of Bergman’s production and New German Cinema, but also of New Hollywood.
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Conference papers on the topic "Italian drama Australia History"

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Saulini, Mirella. "Twenty-Five Years of Research on Jesuit Drama: an Italian Contribution to the History of Theatre." In Új eredmények a színház- és drámatörténeti kutatásban (17-19. század). Eszterházy Károly Katolikus Egyetem Líceum Kiadó, 2022. http://dx.doi.org/10.17048/ujeredmenyekaszinhaz.2022.145.

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