Italian Culture Essay Example

for a Canadian audience, rather than American, British, or Australian English. The occasional appearance of Italian words disrupts the flow of the English-Canadian text.

The writer uses the term "device of the stone" or "linguistic stone" to refer to the presence of the heritage language in the English text (Loriggio 39; Padolsky 56). The Italian word within the English text is compared to a stone or obstacle. It serves as a way for the writer to depict the tension and negotiation that comes with a bicultural identity. The use of Italian can be as brief as a single word or as long as a sentence, but it always has an impact on the narrative. Italian appears in different forms, disrupting the flow of the English text. It can be a translated or untranslated word, a literal translation of an English phrase or sentence, or an English sentence with Latin structure. There are two main reasons for this contamination of Italian in the English text. Firstly, it adds an Italian flavor and highlights the Italian nature of the writing. Secondly, and more importantly for this paper's focus, it serves to illustrate the dual nature of the Italian-Canadian identity.

The presence of the Italian word within Italian-Canadian reality is significant as it signifies the difference and sometimes incompatibility between the two cultures. It also highlights the constant need for translation in this reality. Within this context, there is a noticeable tension between elements of Italian culture and Canadian society, which is particularly evident when it comes to what I refer to as "the irreplaceable Italian word." These instances exist where an English translation cannot fully capture the essence of

the original Italian word. Some examples of this phenomenon can be seen in Frank Paci's The Father with the discussion of polpi, Paci's The Italians with polenta, Caterina Edwards' The Lion's Mouth with calle and vaporetto, and Antonio D'Alfonso's Fabrizio's Passion with Ia busta.

In Paci’s The Father, the character Oreste Mancuso, representing Italy, aims to imbue his sons with a strong Italian heritage. Conversely, his wife Maddalena embraces Canadianness or the Canadian way. The passage below showcases the tension between these two characters and cultures: He [Oreste] brought a bowl of dark grapes to the table next to the polpi, a fish dish stewed in ample oil and red peppers... The dish possessed such potency that no other family member could consume it. A freshly baked loaf from the bakery accompanied his beloved dish.

In this passage, the term "polpi" disrupts both the English language and Canadian culture as it highlights Italian customs. "Polpi" is Oreste's favorite dish, symbolizing something from his homeland that he refuses to let go of, much like his tradition of making bread and wine. In this particular scene, Oreste has baked the bread in his bakery and just finished producing wine. The use of "polpi" also underscores the tension between family members - Oreste represents the traditions of the old country, while Maddalena and Stefano aspire to assimilate into Canadian society. Consequently, it is significant that only Oreste can consume the polpi because it is deemed too robust, signifying its association with the "old country." The rejection of polpi by the rest of the family symbolically implies a rejection of Oreste and the customs of the old country.

The narrator in The

Italians, speaking from Alberto's perspective, discusses Giulia's habit of making excessive amounts of food. The narrator notes, "Based on the size of the meal, it seemed she hadn't yet moved on from the days in the old country when they had to eat polenta almost every day. Meat was a rarity then..." (74). The inclusion of the word polenta serves as a disruption to the flow of the English text in two ways.

The mere presence of the Italian word causes tension within the first sentence, and the word polenta brings a shift in setting, from the overabundant Christmas meal that Giulia has prepared in the present to the poverty experienced in the Italy of the past. The Italian word juxtaposes the Italian setting with the Canadian one, highlighting that the Italian past is an undeniable component of Italian-Canadian identity. In other words, Giulia’s fear of regression is a result of the Italian past, characterized by poverty and a diet of cornmeal and bread. In Caterina Edwards’ The Lion’s Mouth, specific Italian words also transport the reader back to the Italian setting. In the subordinate narrative of Marco’s story, nouns like vaporetto and calle, which are specific to the Venetian setting, are used: Seeing the floating station for the vaporetto before him, Marco realized he had been going in the wrong direction...

(21) Looking down at the twisting calle from the top of a bridge, he spotted the last of the evening crowd... He started running, navigating his way down the calle, and then veering off onto a narrow, empty fondamento (30). He picked up his pace slightly. Calle.

Bridge. The last narrow street was blocked off. In

this passage, the Italian words describing Marco's Venice immerse the reader in the Italian atmosphere of the novel. The vaporetto is a popular water transportation method in the city.

The word vaporetto creates an image that cannot be adequately conveyed by any English equivalent such as "boat" or "little steamer." Similarly, the word calle, which refers to a narrow street, is a unique characteristic of Venice. The Collins Concise Italian-English Dictionary defines calle as a "narrow street (in Venice)." On the other hand, fondamento refers to the platform or quay where manmade construction meets the natural element of water. The fondamento represents stability, a result of human rationality, while water symbolizes nature's uncontrollable and unpredictable aspects. This is exemplified by the recurring Venetian floods, one of which is described in Edwards' novel.

The passage above contains Italian words that are specific to Venice and contribute to the novel's depiction of the city as a crucial element in Marco and Bianca's quest for identity. These words, such as calle, vaporetto, and water, are reflective of both Marco and Bianca's identities and the instability that characterizes Marco's mental state. The author's choice to include these words creates a vivid image of Venice and highlights the vulnerability of individual identity. In the last chapter of Fabrizio's Passion, the narrator explains the significance of the busta (envelope) in Lucia Notte's wedding, which is also commonly seen in Italian-Canadian weddings. Peter and Lucia are seen struggling with these envelopes given to them by guests after handshakes.

Those renowned Italian envelopes, known as La busta, are difficult to fully describe due to their deep connection to Italian-American weddings. The seemingly unassuming object, this petite

white envelope, carries within it the significance of the relationships between families. Each of these envelopes has the potential to either strengthen bonds or ignite familial tensions, making it a ticking time bomb.

The "busta" symbolizes both friendship and hypocrisy, representing a family's unwavering loyalty while also hinting at hidden disappointment (226-7). Unlike a plain "envelope," the busta carries deeper meanings and connotations. What the narrator doesn't explicitly mention is that the busta contains a monetary gift for the newlyweds. It is the specific amount of money inside the envelope that can either celebrate a friendship or imply subtle dissatisfaction. The word "busta" in the passage above refers to more than just a regular envelope; it embodies the traditions of Italian weddings in Canada.

The text discusses how the concept of paesani brings together friends and relatives from the old country in the new country. The word paesano, or paesani in the plural, is used in the novels and has multiple meanings. In Italian, paesano refers to someone from the same town or a nearby town in Italy. For example, in the novel In a Glass House, the narrator mentions "the strange half-familiar faces of the paesani who came to visit" (3) during their initial weeks in Mersea.

The term paesani is used to describe individuals originally from Valle del Sole, which is Vittorio's hometown, or from nearby towns. For Italians living abroad, like Italian-Canadians, the term paesano has a broader meaning and refers to Italians from the same region. In regions with few Italians, paesano is a general reference to all Italians. This interpretation of paesano has also been adopted by non-Italians to express a sense of

kinship or goodwill, whether genuine or not. It is sometimes used to mock Italians as well. Mario Innocente (In a Glass House) discusses the non-Italian use of the word paesano in the following passage: "Mario," he [the German] said.

"Mario, Mario, como stai, paesano?"... "That was the guy I bought the farm from," Mario replied. "Those Germans - paesano this, paesano that, everyone's a paesano. But the old bastard just wanted to make sure I don't forget to pay him." (31) This passage highlights how Italians distrust non-Italians who use the term paesano to establish a sense of friendship or familiarity.

Although Mario Innocente is not deceived by this, his young son Vittorio is enticed into a false sense of camaraderie by the bullies on the school bus: “Italiano,” I [Vittorio] said, grasping onto the familiar word. “Ah, Italiano! ” He slammed a hand on his chest. “Me speak Italiano mucho mucho. Me paesano. ” When the other boys boarded the bus and approached the back, the black-haired boy claimed they were fellow compatriots as well, and each in succession grinned widely at me and shook my hand. (49) Vittorio quickly realizes that the feigned friendship is merely a means of ridiculing him.

The word paesano serves as a unifying force between Italians and non-Italians, regardless of whether the connotation is positive or negative, sincere or insincere. For Italian-Canadians, this term establishes a connection between their new country and Italy by identifying and uniting those with a shared origin. Simultaneously, it allows non-Italians or Canadians to engage with Italian culture, albeit through false pretenses. The term paesano unifies and encompasses both the authentic meaning and the adopted meaning

by non-Italians within Italian-Canadian identity. In all the aforementioned examples, the presence of this Italian term highlights an intrinsically Italian aspect of Italian-Canadian reality, underscoring that this component cannot be erased or substituted within a Canadian context. By including translations of Italian words or sentences, the author makes the text accessible to readers who do not speak Italian, indicating a willingness to reach beyond a minority audience.

Alternatively, without the translation, certain parts of the novel may become inaccessible to non-Italian readers. This could potentially result in alienating these individuals and creating a perception of elitism surrounding the novel. Arun Mukherjee categorizes readers as either "cultural insiders" or "cultural outsiders" (44) to differentiate between those who understand and those who do not. However, in some cases, the meaning of an Italian word can still be understood even without its translation.

In some cases, translation is necessary to comprehend the allusion and subtleties of the action. For example, in The Italians, understanding the meaning of the words "ero ubriaco" (20; "I was drunk") is crucial to grasp Lorenzo's justification for raping his wife. Another instance occurs in The Lion's Mouth: "Stasera mi butto" is the title of a "silly pop song" Marco and his future wife had danced to before their wedding (30). The reference to the pop song carries various implications that non-Italian readers will miss. The English equivalent of "Stasera mi butto" is "Tonight I throw myself" or "I abandon myself tonight."

The importance of the meaning lies in Marco's marital status. By marrying Paola, a wealthy but demanding and controlling wife whom he does not love, Marco sacrifices his own identity to improve his social standing.

Simultaneously, this reference to the song foreshadows Marco's affair with Elena, his childhood love. That same night, Marco surrenders himself to Elena, unintentionally becoming entangled in a terrorist plot and risking his marriage and reputation. For the Italian-Canadian author, translating is an essential part of the writing process. Joseph Pivato emphasizes this in his book Echo: Essays on Other Literatures, stating that regardless of the language used, Italian writers are always translating.

The importance of the translation process often overshadows the distant Italian reality it represents (125). Translation serves as a means of bridging the gap between the two worlds that comprise Italian-Canadian existence. In The Lion's Mouth, Bianca, the narrator, is acutely aware of the act of translation inherent in both storytelling and her Italian-Canadian identity. Edwards' novel brings attention to the complexity of incorporating Italian words and their English equivalents. Bianca finds herself simultaneously reading her aunt's letter in Italian and providing a personal translation into English: "Bianca, se sapessi, Se sapessi," if you knew, if you knew, "Que [sic, Chel disgrazia di Dio." God's disgrace? I must be translating incorrectly, a disgrace from God. "Barbara scossa."

"Barbara has been shocked? it? shaken?... Worse, Marco (you, you) suffered a nervous breakdown." Esaurimento nervoso, the words translated literally as an exhaustion of the nerves. (9-10) This passage exemplifies the interaction between different text levels and the complexities arising from the existence of Italian as well as the negotiation between the narrator's Italian-Canadian reality's "Italian" and "Canadian" components.

The narrator perceives translation as a personal tool, using it to ensure she comprehends the written Italian word and finds its English equivalent. This exemplifies her continuous endeavor to

reconcile the two aspects of her own reality in order to gain a deeper understanding of herself. The narrator emphasizes the significance of translation when the Italian word, such as her aunt's letter, enters her Canadian environment. She approaches her role as a translator with great dedication, demonstrating that the Italian-Canadian existence is characterized by perpetual translation.

In Fabrizio’s Passion, Fabrizio, the narrator, demonstrates the same attention to detail when it comes to translating. For example, "When I finish the pasta, faccio la scarpetta. Literally, this translates as ‘to wet one’s shoe,’ that is, to soak a piece of bread in the tomato sauce, and wipe clean one’s plate!)" (65). In both instances mentioned, translation serves as a means to bridge the gap between the two worlds that make up the narrator's reality: the Italian-Canadian world. This is achieved in two ways simultaneously. First, by expressing in Italian those elements that originate in the Italian world (such as the aunt's letter or using bread to clean the plate). Second, by providing the English equivalent, so that non-Italian readers can feel connected rather than alienated from the Italian world being depicted.

The tension between the Italian and Canadian languages runs deep, permeating the very structure and texture of the writing. The English sentence, though grammatically correct, bears a resemblance to Italian due to its latinate structure, distinct from the anglo-saxon or germanic structure. It is essential to emphasize that the stilted sentence differs from a literal translation. In Infertility Rites, for example, Nina is asked “When are you going to buy your baby?” (11), which directly translates the Italian idiom meaning “when will you have a baby.”

This literal translation is intentionally used to preserve the Italian essence and demonstrate that the words were spoken in Italian.

The passage demonstrates the use of direct translations from Italian into English without capturing the nuances of each language. For example, the phrase "coloured water" is how Italian refers to American coffee. Similarly, the Italian term "esaurimento nervoso" is literally translated as "exhaustion of the nerves" in English, meaning a nervous breakdown. These translations aim to convey the Italian idioms into English words while acknowledging their origin in the Italian language.

The Italian-Canadian novel is often criticized for featuring stilted sentences that include latinate structures. Some argue that these structures are examples of badly written English or simply poor writing. However, I believe that these latinate structures actually represent the immigrant culture and reflect the reality of the Italian-Canadian experience, as Pasquale Verdicchio suggests. In Black Madonna, for example, there is a conversation between Assunta and Marie, who represent contrasting aspects of the Italian-Canadian duality. The passage includes a latinate structure when Marie abruptly announces, "Ma, I'm going to Toronto."

She was unable to find the Italian word for "accepted." [sic] "They took me. But I have to leave," she said. "The more times I go to school, the better job I will get."

"You tell to your father... These things, I don't understand... You go to school—good. You smart—good. But you crazy.

Your head is in the clouds as you get older and crazier. I don't understand you. You want to go to Toronto? (70-1) Marie is forced to speak like her mother in order to communicate with her. Although Marie's "More times I go to school, better

job" is not correct English, the structure is correct in Italian. Similarly, Assunta's "These things, I don't understand."

The text discusses the different sentence structures used in Italian and English. Sentences like "To Toronto you want to go?" follow an Italian structure where the (in)direct object comes before the verb. On the other hand, the sentence "You tell to your father" is a direct translation from Italian. The subject of their conversation reflects the conflict between tradition and modernity: the traditional Italian mother wants to hold on to her daughter, while Marie wants to experience the freedom of Canadian society. In Fabrizio's Passion, Fabrizio uses an Italian sentence structure when he says "I am fourteen years old but am thirty in my head" (72).

This sentence structure is grammatically incorrect in English, but it is commonly used in Italian. Similarly, in The Lion's Mouth, the sentences "But where have you been?... We waited an hour, but since you didn't have the courtesy to even phone..." (37-38) and "So loud you have to have that record?" (42) have an Italian sentence structure. This structure is suitable here because these sentences are spoken by Marco's mother, who is Italian.

Both Bianca and Barbara are guilty of using the latinate sentence structure. Bianca describes her bedroom as sparse and cell-like when the narrator visited in the evening (116). The Epilogue of The Lion's Mouth features a passage where Barbara arrives and the narrator must assume the role of a wise aunt, providing distractions from her unfamiliar surroundings. As the narrator writes, Barbara stands in the living room, gazing out at the bare trees and muddy garden, wondering about her new surroundings.

Starting

anew in this city and land, I embark on my life once more (my italics, 178). The italicized words highlight the impact of Bianca's Italian heritage and her newfound clarity on both aspects of her cultural identity through storytelling. Notably, the initial phrase "wondering what place is this" is attributed to Barbara, the visiting Italian girl from Venice, as she experiences the novelty and disparity of western Canada.

The use of the heritage language in the "ethnic text" has resulted in accusations of poor writing and the stilted sentence structure may be seen as a lack of proficiency in English. However, these linguistic features are intentionally employed by the writer to portray the tension and negotiation inherent in a bicultural identity. Pasquale Verdicchio argues that Italian-Canadian writers have altered the meaning of English through their emphasis on Latin vocabulary, incorporation of Italian syntax, and inclusion of linguistic elements reflecting immigrant culture. The interruption of the English text with Italian words serves to illustrate the symptoms of otherness in Italian-Canadian reality, rather than acting as a barrier between the two cultures.

The meshing of Italian words with English words is not just a blending, but a necessary negotiation to unite two cultures. According to Arun Mukherjee, ethnic minority texts reveal the multicultural and multilingual nature of Canadian society through the presence of other languages (46). Italian-Canadian writers use fiction to suggest that individuals with a bicultural identity must reevaluate their heritage culture to reconcile the inherent "schizophrenia" they experience. They employ the "device of the stone" to illustrate the continuous transition between cultures and languages. Licia Canton further elaborates on this concept.

(2004). "The Clash of Languages in the

Italian-Canadian Novel." Adjacencies: Minority Writing in Canada. Ed. Lianne Moyes et al. Toronto: Guernica.

Works Cited D’Alfonso, Antonio. Fabrizio’s Passion. Toronto: Guernica, 1995. Edwards, Caterina. The Lion’s Mouth. Edmonton: NeWest, 1982.

Loriggio, Francesco. "History, Literary History, and Ethnic Literature." Literatures of Lesser Diffusion. Eds.

Joseph Pivato et al. published Edmonton: University of Alberta Press, 1990. Mary Melfi published Infertility Rites in Montreal: Guernica, 1991.

Mukherjee, Arun. (1996). "Teaching Ethnic Minority Writing: A Report from the Classroom." Journal of Canadian Studies, 31(3), 38-47. Paci, Frank.

Black Madonna. Ottawa: Oberon, 1982. The Father. Ottawa: Oberon, 1984.

The book "The Italians" written by Enoch Padolsky was published in Ottawa in 1978. In the book, Padolsky discusses Canadian minority writing and acculturation options, focusing on literatures of lesser diffusion.

Joseph Pivato et al. published in Edmonton by University of Alberta Press in 1990. Joseph Pivato also published Echo: Essays on Other Literatures in Toronto by Guernica in 1994. Nino Ricci is another notable author.

The text mentions a book called "In a Glass House" by McCleltand and Stewart, published in 1993. It also references an article titled "Subalterns Abroad: Writing Between Nations and Cultures" by Pasquale Verdicchio. This article is part of a larger work called "Social Pluralism and Literary History" which has been edited by someone unnamed.

Francesco Loriggio. Toronto: Guernica, 1996. 206-226. Getting Weird and Ugly with Nino Ricci By Brian Gorman "Are you suggesting that my book is wholesome?" Nino Ricci challenges.

The author's feigned outrage is in response to a tactful query regarding Canadian storytellers' inclination towards unconventional and morally questionable themes. The latest book, Where She Has Gone, nominated for the Giller Prize, broaches the taboo subject of incest between the protagonist and his

half-sister. One may surmise that such content would fit seamlessly into a Canadian film, given the predilection of our filmmakers for the bizarre and unwholesome. The author cites Freud's proposition that taboos serve as the bedrock of civilization. It is plausible to argue that civilization originated from the establishment of this taboo, and the subsequent guilt it generated played a role in its development. Moreover, the incest taboo possesses a formative quality.

Anthropologists have discovered that incest was one of the earliest taboos in society. However, despite the strong societal taboo, incestuous relationships occur frequently, often in abusive scenarios where one person is not willing. It is evident that people are driven to engage in incestuous relationships due to the taboo associated with it. This particular incestuous relationship is depicted in a trilogy of novels called Lives of the Saints, In a Glass House, and Where She Has Gone. The trilogy explores a vast and ambitious immigrant saga influenced by Ricci's Italian heritage (as his parents were immigrants) and his upbringing in Ontario with Calvinist beliefs.

"I initially had no intention of writing an immigrant saga," he explains. "My initial intention was to write anything except an immigrant saga. My original concept was to delve into a passionate relationship between a brother and a sister. It initially began as an erotica piece."

A friend informed me about the opportunity to write and sell erotica for $200 per piece in New York. In terms of literary influences, I was more drawn towards British literature rather than discussing ethnicity. Luckily, my older siblings excelled in school and sparked my interest in reading. I did not inherit this passion from my

parents, although they did support education on a broader scale.

"Which leads us to the intersection of Canadianness, film, and the strange and unsettling. He suggests that perhaps it is a reaction to the restraints forced upon us by our "strict Calvinist heritage." This irony is not lost - Ricci, a Catholic, discussing "our strict Calvinist heritage" with another Catholic. The detached, unfeeling, and introspective nature of our storytelling could simply be attributed to living in a cold climate," he dismissively remarks. "Perhaps it is far more ordinary than we believe."

Brian Gorman discusses his unconventional and unattractive approach toward Nino Ricci on the website, "Getting Weird and Ugly With Nino Ricci."

Canoe.ca/JamBooksFeatures/ricci_nino.html. This book by Nina Ricci, titled Magical Complexity, has gained well-deserved recognition from writers both in Canada and internationally. I can only agree with the praise it has received.

Lives of the Saints, the first novel by any writer, is a book that is highly commendable. The story takes place in Valle del Salle, a poverty-stricken Appenine village in the year 1960. Despite the time period, the village lacks modern amenities such as electricity, and traditional methods like using scythes to cut grain are still practiced. A snake bite is seen as a sign of being cursed by the evil eye. The narrative is told from the perspective of Vittorio Innocente, who is an adult reflecting on his childhood. The story begins when Vittorio is turning seven years old. His father had previously left to seek his fortune in "America," leaving Vittorio and his mother, Cristina, to live with her father who was Valle del Salle's former mayor. Despite the circumstances, they enjoy a

relatively comfortable life.

But Vittorio’s parents are estranged by more than just distance, and although Vittorio serves as the storyteller, it is actually Cristina who plays the central role in the novel. It is Cristina who gets bitten by a green snake while meeting her nameless blue-eyed lover in the barn. It is Cristina who fights against the pride of her birth village. And it is Cristina who, eight months into her scornful pregnancy and the ensuing battle, manages to escape to Canada, taking her son with her. As is typical in first-person narratives, there is a delicate balance between what can be shared and how it is presented. Vittorio is a skilled listener and as a child during the events of the story, he offers minimal interpretation. Thus, the novel appears simple, but it is not. Maintaining a balance between an adult's perspective on their childhood and the intuitive knowledge and fantastical distortions of their younger self is exceptionally challenging. Nonetheless, Ricci skilfully manages to bridge the gap between these voices with elegance.

The tension in the novel is cleverly constructed and the language used is exquisite. The symbolism is easily understood and is not presented in a flirtatious or overtly patriotic manner. We acquire knowledge about the village, its inhabitants, its vividness, its beliefs in magic, and the jealousy, known as "invidia," that separates one villager from another through the perspective of Vittorio. The village life and the unfolding drama in Vittorio's home are described with great accuracy, caution, and a child's keen attention to detail. Additionally, the dialogue is incredibly authentic, capturing the unique language and expressions of the people in Valle del Solle.

Reading this book felt as though I were reading in Italian and translating it myself, similar to the experience of watching a captivating foreign movie with subtitles and understanding the spoken words. It could be argued that this novel has a cinematic quality.

In conveying the magical wisdom of childhood, this text uses colour, place, and time to tell the story not just of Vittorio and his family, but also of an entire village.