January 10, 2011

The Sopranome and the Contranome

By John Stavola

A sopranome is a family nickname. In "Pan' e Pomodor, My Passage to Puglia" Ian McEwan defines the sopranome from an outsiders perspective:
Sopranome reflect some notoriety, deed, habit, tradition, or misfortune that befell a member of a family. Once applied, they stick and become the currency of recognition. pg.46
In the past where most lived in small tightly knit communities, people were much more familiar with their neighbors than we are today. Although small town people are ridiculed and looked down upon in popular culture, they had more opportunity to observe human behavior. While they may not have had much formal education their social intelligence was, no doubt, at a higher level.

They were also economically interdependent. Many shared labor during harvest time, in the construction of new homes and also in the maintenance of commonly used bridges and roads. People kept a close eye on each other because their survival could depend on it.

The bestowing of these "supernames" on families also gave play in the act of naming to humor and perhaps even maliciousness. At some point one individual coined the sopranome for a family but in order for it to "stick" others had to be complicit in it's continued use. This didn't have to be unanimous. In many cases this would have had to imply that others could understand the reason for it's bestowal or delighted in it's use, for good or bad reasons. My guess is that most sopranome were given and then accepted in a good natured, wittily humorous way. Many of them after all were also only descriptive of occupation or place of origin.

Ian McEwan also relates the origin of a sopranome from his wife's comune of Vico in the Gargano region.
M's great, great grandfather had the sopranome 'duh cazedd- of the little houses-and he earned it when he made his first visit to Vico from campagna (for in those days they lived in cazedd-una casa). According to legend , on arrival he was overcome by the number of houses and as the story goes he couldn't stop saying "Mah quant' cazedd-"Well what a lot of houses." pg.46
He also relates the existence of an old widow who's husband left her the sopranome of cazzo nero . Please refrain from asking the meaning of this one as Mr McEwan did in the interest of propriety. Feel free to look it up for yourself though.
In the small, often isolated towns of southern Italy many would have the same surname. Sopranome took on a life of their own in order to distinguish between different branches of a family sharing the same last name.
I have been informed that in my ancestral comune of Sassano there are four different branches of the family. Over time the exact connection between them has been lost, although at some point they had a common ancestor.
One branch was called the " break doors". The exact dialect word for this is unknown to me. Without knowing which branch my great-grandfather came from I would have to say it is "break door" based on  intimate knowledge of my personal family traits. (Don't even ask about this ; )
The other three branches of the family were known as  Pattanieddo, or little potatoes because of their short height, Ciriello, and Cefalo.
Contranome, on the other hand, are personal nicknames bestowed upon individuals. Given names in southern Italian families were governed by strict protocol. This may seem rigid and unimaginative to  modern folk but it served to maintain harmonious relations between families. The first male child was named after the father's father.The first female child was named after the father's mother. The second male child was named after the mother's father. The second female child was named after the mother's mother.
By adhering  to this tradition great insult, which could often lead to estrangement or disinheritance, was avoided. An interesting personal anecdote illustrates this.
While doing family history research I noticed that the census record for my father's family recorded his name as Dominic, his paternal grandfather's name. However, his birth certificate lists his first name as John, also his maternal grandfather's name
Could this have been the source of a feud that existed between the families? To complicate matters even further, Saint John the Baptist , the patron saint of Sassano, the town they emigrated from, was born on June 24. This is also my father's birthday. As I have been told, this was one of the few exceptions to the naming tradition. Perhaps my father's side didn't accept this, still called him Dominic, and the seeds of discord were sown.
Because many people had the same last names and first names it was only natural that personal nicknames would develop. My father's nickname from his old neighborhood was "jiggers". I was aware of this name but was always embarassed to ask the meaning until recently. 
One day when he was two years of age while out with his father at a gathering where music was being played he broke  into a spontaneous dance or "jig". The crowd broke out into affectionate laughter and the nickname has stuck for eighty odd years now. 
As with many traditions these days, old practices of naming seem dated. They will be scoffed at and dismissed as the product of uneducated, backward, bigoted minds but they had their function and purpose. They showed the playful, humorous, though often risque wit of the common people.
The following is my favorite passage from  the book "Old Calabria" by Norman Douglas. Although Douglas traveled extensively in southern Italy, knew the ancient history of the land, as many others who made the "Grand Tour" he seems to have totally misunderstood the nature of the people. He was also relieved of many of his expensive cigars along the way.
Sources:
Pan' e Pomodor, My Passage to Puglia, by Ian McEwan, 2007, www.lulu.com
Growing Up Under Fascism In a Little Town In Southern Italy, By Dr. Nicholas La Bianca, Xlibris Corporation, 2009
Old Calabria, by Norman Douglas, 1915, public domain

(Reprinted with permission from Southern Italian History, Culture & Genealogy)

January 7, 2011

New Books for 2011


Vico and Naples
The Urban Origins of Modern Social Theory
Barbara Ann Naddeo

$49.95s cloth
Available in March, 312 pages, 6.125 x 9.25
ISBN: 978-0-8014-4916-1

Vico and Naples is an intellectual portrait of the Neapolitan philosopher Giambattista Vico (1668–1744) that reveals the politics and motivations of one of Europe’s first scientists of society. According to the commonplaces of the literature on the Neapolitan, Vico was a solitary figure who, at a remove from the political life of his larger community, steeped himself in the recondite debates of classical scholarship to produce his magnum opus, the New Science. Barbara Ann Naddeo shows, however, that at the outset of his career Vico was deeply engaged in the often-tumultuous life of his great city and that his experiences of civic crises shaped his inquiry into the origins and development of human society.

With its attention to Vico’s historical, rhetorical, and jurisprudential texts, this book recovers a Vico who was keenly attuned to the social changes transforming the political culture of his native city. He understood the crisis of the city’s corporate social order and described the new social groupings that would shape its future. In Naddeo’s pages, Vico comes alive as a prescient judge of his city and the political conundrum of Europe’s burgeoning metropolises. He was dedicated to the acknowledgment and juridical remedy of Naples’ vexing social divisions and ills. Naddeo also presents biographical vignettes illuminating Vico’s role as a Professor of Rhetoric at the University of Naples and his bid for the prestigious Morning Chair of Civil Law, which foundered on the directives of the Habsburgs and the politics of his native city. Rich with period detail, this book is a compelling and vivid reconstruction of Vico’s life and times and of the origins of his powerful notion of the social.

Reviews
"Barbara Ann Naddeo makes a powerful new case for Vico's originality as a social thinker; and she does so with fine historical craftsmanship, setting his work back into the Naples he knew and the circles of lawyers and noblemen for whom he wrote. This is high scholarship, as precise as it is imaginative."—Anthony Grafton, Princeton University

"A book such as Vico and Naples is long overdue. Barbara Ann Naddeo places Vico squarely within both the intellectual debates and the historical and political circumstances of eighteenth-century Naples. Naddeo treats Vico as a politically engaged individual, and the result is a fascinating and very believable argument about one of the most innovative thinkers of his time. It is also an illuminating explanation of what Vico meant by what he said. This is intellectual history at its best."—Helena Rosenblatt, The Graduate Center, CUNY

About the Author
Barbara Ann Naddeo is Associate Professor of History at CUNY: The City College of New York.

(Reprinted from Cornell University Press)


Representing the
King's Splendour

Communication and reception of symbolic forms of power in Viceregal Naples
Gabriel Guarino

Compensating for a general neglect of Iberian civilization in Southern Italy, this book seeks to shed light on the viceregal court of Spanish Naples in the seventeenth century, a time when this European metropolis reached the zenith of its splendour.

It looks at the cultural projection of Spain and its values, either via the direct visual representations of power of the viceregal court, or the public policies and actions that fostered Spanish attitudes. It explores cultural and social manifestations as court ceremonial, state festivities, and fashion. Each of these issues also takes into account the social and political structure of the city, and the various pressure groups that interacted with the Spanish government.

Aimed at students and scholars of early modern Europe, the Spanish Empire, and the princely courts of Europe, this study will also be of interest to scholars of communication and cultural studies, and to readers interested in cultural history during the Baroque era.

Acknowledgements
List of figures
List of abbreviations
List of Spanish viceroys of Naples
1. Introduction
2. The ritual power of viceroys
I. The viceregal institution
II. Court ceremonial
III. The viceregal public image
3. The power of precedence: social and political hierarchies of civic processions
I. The hierarchical structure of cavalcades in early modern Naples
II. Extraordinary cavalcades and conflicts of precedence
4. State celebrations
I. The festive system of early modern Naples
II. Management, patronage, and reception of civic celebrations
III. Spanish tournaments in Neapolitan state festivities
5. Spanish fashion and the governance of appearances in viceregal Naples
I. Regulating appearances: Spanish fashion and the Catholic Reformation, 1517-1648
II. Successes and limitations of Spanish fashion
III. Governing appearances and luxury
6. Political utilisation of imprese in viceregal Naples
I. The uses of imprese in tournaments
II. Neapolitan imprese for the obsequies of the Habsburg monarchs
7. Conclusions
8. Bibliography

Gabriel Guarino is Lecturer in Early Modern History at the University of Ulster

234x156mm 272pp
hb 9780719078224 01 January 2011 £60.00
16 b&w illustrations

(Reprinted from Manchester University Press)

January 4, 2011

Spotlight on the Met: Saints Peter and Andrew by Giuseppe Picano


Saint Peter and Saint Andrew by Giuseppe Picano

On a recent visit to the Metropolitan Museum of Art I was pleasantly surprised to discover two works by Giuseppe Picano: statuettes of the brother apostles, Saint Peter and Saint Andrew.

Originally there to view the terracotta model for a silver statue of Saint Vincent Ferrer attributed to the great Neapolitan sculptor Giuseppe Sanmartino (1720-1793) I couldn't help but notice Picano's adjoining work.

Located in the Museum's European Sculpture and Decorative Arts department, the figures stand approximately 13 inches tall and are made of terracotta with traces of ground white wash. Each Saint, naturally posed, is draped with flowing robes and holds his own distinctive icon: St. Peter bears the key to the Kingdom of Heaven given to him by Christ, while St. Andrew, as a "fisher of men," carries fish.

Intended to be viewed from the front, the pair's backsides remain unfinished. They served as models for statues later carved by the Neapolitan sculptor Francesco Verzella (an apprentice of Picano) for the Chiesa dei Girolamini in Naples.

Giuseppe Picano was born in 1732 in Sant`Elia Fiumerapido in the Terra di Lavoro (now Frosinone) province of the Kingdom of Naples. He worked primarily in stucco and wood, excelling in the latter, and is best remembered for his half-length polychromed carving of Saint Joseph with the Christ Child. Picano was a follower of Giuseppe Sanmartino and like so many of the period’s top artists, he also modeled crèche figures for the Regno's wealthy patrons and religious orders.

Picano worked primarily in Naples and his hometown, adorning many churches with his sacred art. The exact date of his death is unknown, but its generally believed he died around 1810, although one source puts the date as late as 1825.

Saint Vincent Ferrer by Giuseppe Sanmartino*
The winged Saint, known as the "Apocalyptic Angel" for his fiery sermons, is depicted with flames above his head, symbolizing his divine gift of tongues.
(Photos courtesy of New York Scugnizzo)

[* Giuseppe Sanmartino, of course, is most famous for his Veiled Christ at the Museo Capella Sansevero in Naples. In my humble opinion, this relatively unknown masterpiece is one of the greatest works of art of all time, easily deserving the same adoration lavished on Michelangelo's more famous David and Pietà. Sanmartino will be featured at a future date.]

January 3, 2011

New Music


Fra' Diavolo: Street Music From the Kingdom of Naples
By Accordone

Audio CD
Release January 11, 2011
Number of Discs: 1
Label: Arcana

Item Details
Debut album on Arcana! Accordone has many prize-winning recordings on Alpha and Cypres to its credit, and now inaugurates its collaboration with Arcana. This landmark recording was launched in 1998 and was finally recorded in October 2009, after 11 years of concerts all over the world.

Featured Artists
Accordone
Guido Morini:
harpsichord, director
Marco Beasley:
voice, castagnette
Fabio Accurso:
lute, chitarra battente
Stefano Rocco:
archlute, guitar
Franco Pavan:
theorbo
Mauro Durante:
voice, frame drums, violin
Boëmienne Consort
Luciana Elizondo:
viola da gamba, soprano
Guisella Massa:
viola da gamba, tenor
Denise Mirra, Noelia Reverte Reche:
viola da gamba, bass
Pino De Vittorio:
voice, castagnette, chitarra battente

Track Listing
TRAD.: Como sencza la vita • Madonna della grazia • Tarantella di Sannicandro • L’Angiulillo • Pizzica tarantata • Marcia delle truppe Sanfediste • Canto per Montevergine • Canto del carrettieri • Pizzica di San Vito • ‘O Guarracineo • DE VITTORIO: Stornello • Stu pettu è fattu cimbalu d’amuri • Sona a battenti • Primo discanto • Cori miu • ‘Na via di rose • Seconto discanto • Fronni d’alla • Stu pette è fattu cimbalu d’amuri II • CORNETI: Pigliate l’alma mia • DURANTE: Carataranta

(Reprinted from Allegro Media Group)

December 31, 2010

Top Ten Posts of 2010

Faust by Rembrandt Harmenszoon van Rijn
Jumping on the "Top Ten" bandwagon, here's our list of the most popular posts of 2010:

Close, but no cigar:
The Mustard Gas Disaster at Bari Harbor and The Patriotic Gangster deserve honorable mentions. If these pieces were posted longer they may have made the Top Ten list.

Still making the rounds from 2009:

We've had a good year and are looking forward to an even better 2011. Happy New Year!

December 26, 2010

From Chaos to Crèche

Inside the Guggenheim Museum
Culture is often best represented through art. New York City houses some of the greatest museums and Italian institutes devoted to an unending range of famous to little known masters who capture the important traditions and time periods in Southern Italian history unbeknownst to mainstream Italian Americana. A lifelong Brooklyn native, I recently set aside time from my day job for what I like to call "A Day of High Culture," to explore some of these hidden gems.

My day began with a visit to the Solomon R. Guggenheim Museum to see the highly touted Chaos and Classicism: Art in France, Italy, and Germany, 1918-1936. Billed as "the first major exhibition in the United States to explore the classicizing aesthetic that followed the immense destruction of World War I," this collection spans the interwar period when European artists were rejecting the various pre-war avant-garde styles of art (Cubism, Futurism, etc.) for more traditional, classical forms of expression. I couldn't miss this golden opportunity to see so many works I've only read about online and in books and journals. Unfortunately, no photographs were allowed.


The exhibit begins with a selection of prints from Otto Dix's Der Krieg (The War), a gruesome portfolio of the horrors he experienced as a soldier during the Great War. His graphic images of mutilated bodies obviously represent the chaos of post-war Europe. In stark contrast to Dix's illustrations stand several life-sized, idealized bronze figures, including the allegorical Ile-de-France by Aristide Maillol and a sublime representation of the Sicilian Nereid, Galatea, by Neapolitan sculptor, Amleto Cataldi. These statues, of course, exemplify the classicism that emerged from the chaos.

Stormtroops Advancing Under Gas by Otto Dix

On a personal note, Dix's Stormtroops Advancing Under Gas was inspiration for an art project I had in high school and was a thrill (if one can say that about such a dreadful subject) to finally see in person.

Detail from my high school assignment inspired by Dix's suite, Der Krie

As you continue to ascend the circular ramp, which winds its way to the museum's various galleries, one is treated to an eclectic array of paintings and sculptures from the period. There are roughly 150 works by more than 80 artists on display. Among them are familiar names like Pablo Picasso (Woman in White and The Source) and Henri Matisse (Large Seated Nude), but more interestingly (to me) are the pieces by lesser-known artists like Georg Scholz (Female Nude with Plaster Bust), Leon-Ernest Driver (Bust of Madame X), and Leo Breuer (The Coal Man).


Highlights include Renato Bertelli's Continuous Profile of Mussolini, Antonio Donghi's Circus, and Arturo Martini's The Stars, a beautiful bronze sculpture depicting a man and woman standing next to a truncated tree staring upwards.


In addition to the many paintings, sculptures and photographs, the exhibit also includes avant-garde director Jean Cocteau's bizarre film Le sang d'un poète or The Blood of a Poet. Loaded with surreal imagery, the movie was the first installment of Cocteau's "Orphic Trilogy," loosely based on the myth of Orpheus and Eurydice.


The exposition concludes with the so-called "Dark Side of Classicism," showing how art in Italy and Germany became heavily propagandized with the advent of Fascism. The gallery displays the "collusionist" work of Italian artists Mario Sironi (Soldier and Leader on Horseback), Arturo Martini (Athena) and Giorgio de Chirico (Gladiators). Also on view are Georg Kolbe's Young Warrior and Adolf Ziegler's triptych, The Four Elements. Ziegler, it should be remembered, was instrumental in the Third Reich's crusade against "degenerate" art. His attempt to denigrate the confiscated work backfired when the Entartete Kunst (Degenerate Art) spectacle became one of the most popular modern art shows ever. This portion of the exhibit culminates with Leni Riefenstahl's Olympia, a documentary film about the 1936 Berlin Olympics. Fittingly, Franz Würbel's Berlin Olympics poster stands adjacent to the mini theater.


The exhibit will be running until January 9, 2011.


Two Women by Isabella Dionisio
Afterward, I made my way from the Guggenheim to the Italian Cultural Institute on 686 Park Avenue (next to the Italian Consul General's office) to attend Nativity in the World / from Naples to New York, a celebration of the presepio—a Neapolitan Christmas tradition. Several dignitaries and artists (Luciano Testa and Gino Baia) from Naples were on hand to help kick-off the festivities.

The presepio, or crèche, is a model Christmas crib displayed in homes or public places. The figures are typically made with polychromed wood or terracotta and clothed with fabric. In Naples this ancient custom (credited to St. Francis of Assisi) has been wholeheartedly embraced and developed into a legitimate art form.


A Herdsman
by Gianluca Buonocore
Originally the diorama just included the Holy Family (Mistero), but over time additional characters were added—first the Magi, Angels and shepherds then later more exotic figures, like Orientals and Saracens. In fact, the presentations can be so elaborate that sometimes the actual birth of Christ appears incidental. It should also be noted that often times the Nativity is set in a ruined temple instead of a manger, representing Christianity's triumph over paganism.

Technically, as "popular art" the Neapolitan presepio doesn't exactly meet the definition of "high culture," however, the pieces presented at the institute represent some of the more extraordinary examples of the genre and, in my humble opinion, can easily be classified as high art.


Figure by Giovanni Sinno
Traditionally Naples’ leading artists, including the great Baroque sculptors Salvatore di Franco and Giuseppe Sanmartino, made the figures. Although not on display here, examples of their exquisite work can be seen at the Metropolitan Museum of Art's annual Christmas Tree and Neapolitan Baroque Crèche.

Under the patronage of the Bourbons, the custom spread among the Neapolitan nobility and grew ever more elaborate and dramatic. During Christmas time the aristocracy would welcome the populace into their palaces to showcase the tableau. According to Goethe it was a "hobby for people in high places." Luckily, an 18th century cart from the Bourbon collection from Reggia di Caserta is included in the show.


Cart with riders from the Reggia di Caserta
The presepio exhibit at the Italian Cultural Institute will be running until January 21, 2011.

Also, one of the Institute's pieces will be on loan to the Italian American Museum in Little Italy. It will accompany Anita Sanseverino’s photographs from the Via San Gregorio Armeno—Naples' Mecca of presepio shops and stalls—currently on view. Ms. Sanseverino recently held an informative lecture and presentation at the museum entitled Presepio Napoletano and her pictures detail the intricate building process as well as capture the charm and beauty of these miniature masterpieces.
Anita Sanseverino and her photos at the Italian American Museum

In spite of their obvious differences, the installations at the Guggenheim Museum and Italian Cultural Institute honor the history and traditions of Southern Italian culture encapsulated through vast mediums of art. It is a fortunate thing to be living in New York City, where such exhibits can exist in relatively close range. If you have access to the city, I urge you to visit these events while they are still in session. Some things should not be missed.


By Giovanni di Napoli


Further reading:

• Chaos and Classicism: Art in France, Italy, and Germany, 1918-1936 by Kenneth E. Silver, Guggenheim Museum, 2010

• New York—The Art of the Neapolitan Crèche/Nativity in the World at i-Italy.org

• The Angel Tree: A Christmas Celebration by Linn Howard and Mary Jane Pool, Abrams, 1993

• A Neapolitan Christmas Crib by Olga Raggio, The Metroploitan Museum of Art Bulletin, December 1965