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In 1939, the first in a series of four comprehensive law review articles by Professor George D. Hornstein was published on the subject of the award of counsel fees in stockholders' derivative suits and corporate class actions. These articles highlighted equitable principles peculiar to such actions, previously not fully understood by either attorneys or the courts, which have made derivative and class actions extremely effective weapons in the battle for corporate democracy. Three very basic questions were posed and answered: 1) Who will pay for the attorneys fees and expenses incurred in such litigation? 2) What factors govern the award of counsel fees? 3) How are they calculated?

Frontmatter -- Inhalt -- Einleitung der HerausgeberInnen -- I. Wir sind nie monokulturell gewesen -- Formen des Kulturellen -- 0. Ibn Khaldun, Abd ar-Rahman: al-Muqaddima -- 1. Jean de Léry, L'Histoire d'un voyage fait en la terre du Brésil -- 2. Johann Gottfried Herder, Von deutscher Art und Kunst -- 3. Georg Wilhelm Friedrich Hegel, Phänomenologie des Geistes -- 4. Georg Simmel, Der Streit -- 5. Alfred Schütz und Thomas Luckmann, Strukturen der Lebenswelt -- 6. George H. Mead, Mind, Self and Society from the Standpoint of a Social Behaviorist -- 7. Peter L. Berger und Thomas Luckmann, The Social Construction of Reality -- 8. Ian Hacking, The Social Construction of What? -- 9. Richard Hamilton, Hommage à Chrysler Corp -- Ethnowissen -- 10. Marcel Mauss, Essai sur le don -- 11. Victor Turner, The Ritual Process -- 12. Margaret Mead, Coming of Age in Samoa -- 13. Bronislaw Malinowski, Argonauts of the Western Pacific -- 14. Mary Douglas, Purity and Danger -- 15. Claude Levi-Strauss, Tristes Tropiques -- II. Zeichen, Symbole, Kommunikationen -- Sprachen -- 16. Ferdinand De Saussure, Cours de linguistique générale -- 17. Karl Bühler, Sprachtheorie -- 18. Jurij Lotman, Der semiotische Raum -- 19. Jacques Derrida, De la grammatologie -- Symbolische Formen -- 20. Ernst Cassirer, Philosophie der symbolischen Formen -- 21. Erwin Panofsky, Meaning in the Visual Arts -- 22. Roland Barthes, Mythologies -- 23. Erving Goffmann, The Presentation of Self in Everyday Life -- 24. Herbert Marshall McLuhan, The Gutenberg Galaxis -- 25. Stanley Kubrick, 2001 -- III. Kulturelle Pluralismen und soziale Ungeichheiten -- Urbanität -- 26. Georg Simmel, Exkurs über den Fremden -- 27. Robert Ezra Park, The City -- 28. William Issac Thomas und Florian Znaniecki, The Polish Peasant in Europe and America -- 29. Walter Benjamin, Das Passagen-Werk -- 30. Paul Gilroy, The Black Atlantic -- Stratifikation und Herrschaft -- 31. Karl Marx, Die deutsche Ideologie -- 32. Pierre Bourdieu, La distinction -- 33. Paul Willis, Learning to Labour -- 34. Norbert Elias, The Established and the Outsiders -- 35. Heinrich Popitz, Prozesse der Machtbildung -- Das Heilige -- 36. Max Weber, Die Protestantische Ethik und der Geist des Kapitalismus -- 37. Émile Durkheim, Les formes élémentaires de la vie religieuse -- 38. Rudolf Otto, Das Heilige -- Gender -- 39. Simone de Beauvoir, Le Deuxième Sexe -- 40. Judith Butler, Gender Trouble -- 41. Gayatri Chakravorty Spivak, Can the Subaltern Speak? -- IV. Geschichte, Gedächtnis, Zeit -- 42. Giambattista Vico, Principi di una scienza nuova d'intorno alla commune natura delle nazioni -- 43. Thomas Morus, Utopia -- 44. Friedrich Nietzsche, Vom Nutzen und Nachtheil der Historie für das Leben -- 45. Jacob Burckhardt, Weltgeschichtliche Betrachtungen -- 46. Aby Warburg, Der Bilderatlas Mnemosyne -- 47. Maurice Halbwachs, Les cadres sociaux de la mémoire -- 48. Frederic C. Bartlett, Remembering -- 49. Pierre Nora, Les lieux de mémoire -- 50. Sigmund Freud, Die Traumdeutung -- 51. Jacques Lacan, L'instance de la lettre dans l'inconscient ou la raison depuis Freud -- 52. Reinhart Koselleck, Vergangene Zukunft -- 53. Hayden White, Metahistory -- V. Wege zum Wissen -- 54. Robert Musil, Der Mann ohne Eigenschaften -- 55. Karl Mannheim, Ideologie und Utopie -- 56. Clifford Geertz, Thick Description -- 57. Robert K. Merton, The Unanticipated Consequences of Purposive Social Action -- 58. Harold Garfinkel, Studies in Ethnomethodology -- 59. Everett M. Rogers, Diffusion of Innovations -- 60. Edward W. Said, Orientalism -- 61. Eva Illouz, Cold Intimacies -- 62. Albert Bandura, Self-Efficacy -- 63. Hans-Georg Gadamer, Wahrheit und Methode -- 64. Barney G. Glaser und Anselm L. Strauss, The Discovery of Grounded Theory -- VI. Handeln, Begründen, Erleiden -- 65. Aristoteles, Nikomachische Ethik -- 66. Harry G. Frankfurt, The Importance of What We Care About -- 67. Hans Jonas, Das Prinzip Verantwortung -- 68. Amartya Sen, The Idea of Justice -- 69. Georg Wilhelm Friedrich Hegel, Grundlinien der Philosophie des Rechts -- 70. Antonio Gramsci, Quaderni del carcere -- 71. John Dewey, The Public and Its Problems -- 72. Henry David Thoreau, Resistance to Civil Government -- 73. Gabriel Almond und Sidney Verba, The Civic Culture -- 74. David Riesman, The Lonely Crowd -- 75. Ted Robert Gurr, Why Men Rebel -- 76. Michel Foucault, Surveiller et punir -- 77. Joanna Bourke, An Intimate History of Killing -- 78. Stanley Milgram, Obedience to Authority -- 79. Elinor Ostrom und James Walker, Trust and Reciprocity -- VII. Die Natur des Menschen -- 80. Hesiod - Aischylos - Platon, Prometheus -- 81. Charles Robert Darwin, On the Origin of the Species -- 82. Helmuth Plessner, Die Stufen des Organischen und der Mensch -- 83. Jean Piaget, La psychologie de l'intelligence -- 84. Paul Joseph Crutzen, The »Anthropocene« -- 85. Donna Haraway, Simians, Cyborgs, and Women: The Reinvention of Nature -- 86. Gregory Bateson, Steps to an Ecology of Mind -- 87. Bruno Latour, Politiques de la nature -- 88. Julia Kristeva, Pouvoirs de l'horreur -- 89. Adam Smith, Wealth of Nations -- 90. Karl Polanyi, The Great Transformation -- 91. André Gorz, Ecologie et politique -- 92. Niklas Luhmann, Ökologische Kommunikation -- 93. Joseph Beuys, 7000 Eichen -- VIII. Vom Geist der Zeit -- 94 Homer, Odyssee -- 95. Jean-Jacques Rousseau, Discours sur les sciences et les arts -- 96. Voltaire, Poème sur le désastre de Lisbonne -- 97. Frantz Fanon, Les damnés de la terre -- 98. Jane Jacobs, The Death and Life of Great American Cities -- 99. Hannah Arendt, Eichmann in Jerusalem -- 100. Guy Debord, La Société du Spectacle -- 101. Donella H. Meadows, The Limits to Growth -- 102. Ivan Illich, Tools for Conviviality -- 103. Václav Havel, Moc bezmocných -- 104. Ulrich Beck, Risikogesellschaft -- 105. Naomi Klein, No Logo -- 106. Stéphane Hessel, Indignez-Vous! -- Statt eines Nachwortes: Orientalistik als Kulturwissenschaft -- Stichwortregister -- AutorInnenverzeichnis -- Backmatter

Dentsu Inc. -- Foote, Cone & Belding Communications, [Inc.] -- Interpublic Group Inc. -- JWT Group Inc. -- Leo Burnett Company, Inc. -- The Ogilvy Group, Inc. -- Omnicom Group Inc. -- Saatchi & Saatchi Plc -- Young & Rubicam Inc. -- G.I.E. Airbus Industrie -- Avions Marcel Dassault-Breguet Aviation -- The Boeing Company -- British Aerospace Plc -- N.V. Koninklijke Nederlandse Vliegtuigenfabriek Fokker (Fokker Royal Netherlands Aircraft Factories) -- General Dynamics Corporation -- Grumman Corporation -- Lockheed Corporation -- Martin Marietta Corporation -- McDonnell Douglas Corporation -- Messerschmitt-Bolkow-Blohm Gmbh. -- Northrop Corporation -- Rockwell International -- Rolls-Royce Plc -- United Technologies Corporation -- American Airlines -- British Airways Plc -- Continental Airlines -- Delta Air Lines Inc. -- Eastern Airlines -- Japan Air Lines Company Ltd. -- Koninkluke Luchtvaart Maatschappu, N.V. (Klm Royal Dutch Airlines) -- Deutsche Lufthansa A.G. (Lufthansa German Airlines Incorporated) -- Northwest Airlines, Inc. -- Pan American World Airways, Inc. -- People Express Airlines, Inc. -- Scandinavian Airlines System -- Swiss Air Transport Company, Ltd. (Swissair) -- Texas Air Corporation -- Trans World Airlines, Inc. -- United Airlines -- USAir Group -- American Motors Corporation -- Bayerische Motoren Werke A.G. -- Bendix Corporation -- Chrysler Corporation -- Cummins Engine Corporation -- Daimler-Benz A.G. -- Dana Corporation -- Eaton Corporation -- Echlin Inc. -- Federal-Mogul Corporation -- Fiat Group -- Ford Motor Company -- Fruehauf Corporation -- General Motors Corporation -- Honda Motor Company Limited(Honda Giken Kogyo Kabushiki Kaisha) -- Mack Trucks, Inc. -- Navistar International Corporation -- Nissan Motor Company, Ltd. -- Paccar Inc. -- Peugeot S.A. -- Regie Nationale Des Usines Renault -- Robert Bosch Gmbh. -- Rolls-Royce Motors Ltd. -- Saab-Scania A.B. -- Sealed Power Corporation -- Sheller-Globe Corporation -- Toyota Motor Corporation -- Volkswagen A.G. -- A.B. Volvo -- Beverages -- Allied-Lyons Plc -- Anheuser-Busch Company, Inc. -- Asahi Breweries, Ltd. -- Bass Plc -- Brown-Forman Corporation -- Carlton and United Breweries Ltd. -- Cerveceria Polar -- The Coca-Cola Company -- Adolph Coors Company -- Distillers Company Plc -- E & J Gallo -- General Cinema Corporation -- Grand Metropolitan Plc -- Guinness Plc -- G. Heileman Brewing Company, Inc. -- Heineken N.V. -- Heublein, Inc. -- Hiram Walker Resources, Ltd. -- Kirin Brewery Company Ltd. -- Labatt Brewing Company Ltd. -- Miller Brewing Company -- Moet-Hennessy -- Molson Companies Ltd. -- Pepsico, Inc. -- Pernod Ricard S.A. -- Sapporo Breweries, Ltd. -- The Seagram Company, Ltd. -- South African Breweries Ltd. -- The Stroh Brewing Company -- Whitbread and Company PLC -- Chemicals -- Air Products and Chemicals, Inc. -- American Cyanamid -- Atochem S.A. -- Basf A.G. -- Bayer A.G. -- Betz Laboratories, Inc. -- BOC Group Plc -- Celanese Corporation -- The Dexter Corporation -- The Dow Chemical Company -- DSM, N.V. -- E. I. Du Pont De Nemours & Company -- Ecolab, Inc. -- Ethyl Corporation -- G.A.F. -- Great Lakes Chemical Corporation -- Hercules Inc. -- Hoechst A.G. -- Huls A.G. -- Imperial Chemical Industries Plc -- Koppers Inc. -- L'Air Liquide -- Lubrizol Corporation -- Mitsubishi Chemical Industries, Ltd. -- Monsanto Company -- Montedison SpA -- Morton Thiokol, Inc. -- Nalco Chemical Corporation -- National Distillers and Chemical Corporation -- Olin Corporation -- Pennwalt Corporation -- Perstorp A.B. -- Rhone-Poulenc S.A. -- Rohm and Haas -- Solvay & Cie S.A. -- Sumitomo Chemical Company, Ltd. -- Union Carbide Corporation -- Vista Chemical Company -- Witco Corporation -- Conglomerates -- Aeg A.G. -- Alco Standard Corporation -- Allied-Signal Inc. -- Amfac Inc. -- Archer-Daniels-Midland Company -- Barlow Rand Ltd. -- Bat Industries Plc -- BTR Plc -- C. Itoh & Company, Ltd. -- Colt Industries Inc. -- Elders Ixl Ltd. -- Farley Northwest Industries, Inc -- FMC Corporation -- Fuqua Industries, Inc. -- Greyhound Corporation -- Gulf & Western Inc. -- Hitachi Ltd. -- Ic Industries, Inc. -- Instituto Nacional De Industria -- International Telephone & Telegraph Corporation -- Istituto Per La Ricostruzione Industriale -- Jardine Matheson Holdings Ltd. -- Katy Industries, Inc. -- Kidde, Inc. -- Koc Holding As? -- Lear Siegler, Inc. -- Litton Industries, Inc -- Loews Corporation -- LTV Corporation -- Marubeni K.K. -- Mckesson Corporation -- Minnesota Mining & Manufacturing Company -- Mitsubishi Corporation -- Mitsui Bussan K.K. -- Nissho Iwai K.K. -- Ogden Corporation -- Samsung Group -- Sumitomo Corporation -- Swire Pacific Ltd. -- Teledyne, Inc. -- Tenneco Inc. -- Textron Inc. -- Thorn Emi Plc -- Toshiba Corporation -- Transamerica Corporation -- TRW Inc. -- Veba A.G. -- Whittaker Corporation -- W.R. Grace & Company -- Construction -- A. Johnson & Company H.B. (since 1988: Axel Johnson Group AB -- Barratt Developments Plc -- Bechtel Group, Inc. -- Bilfinger & Berger Bau A.G. -- Bouygues -- Dillingham Corporation -- Fairclough Construction Group Plc -- Fluor Corporation -- John Brown Plc -- John Laing Plc -- Kajima Corporation -- Kumagai Gumi Company, Ltd. -- Linde A.G. -- Mellon-Stuart Company -- Ohbayashi Corporation -- The Peninsular & Oriental Steam Navigation Company (Bovis Division) -- Taylor Woodrow Plc -- Wood Hall Trust Plc -- Containers -- Ball Corporation -- Continental Group Company -- Crown, Cork & Seal Company -- Metal Box Plc -- National Can Corporation -- Owens-Illinois, Inc. -- Primerica Corporation -- Toyo Seikan Kaisha, Ltd. -- Abbott Laboratories -- American Home Products -- A.B. Astra -- Baxter International -- Becton, Dickinson & Company -- Ciba-Geigy ltd. -- Fujisawa Pharmaceutical Company, Ltd. -- Genentech, Inc. -- Glaxo Holdings Plc -- F. Hoffmann-La Roche & Company A.G. -- Eli Lilly & Company -- Marion Laboratories, Inc. -- Merck & Company -- Miles Laboratories -- Mylan Laboratories -- Novo Industri A/S -- Pfizer Inc. -- Pharmacia A.B. -- Rorer Group -- Roussel Uclaf -- Sandoz Ltd. -- Sankyo Company, Ltd. -- Sanofi Group -- R.P. Scherer -- Schering A.G. -- Schering-Plough -- G.D. Searle & Company -- Sigma-Aldrich -- Smithkline Beckman Corporation -- Squibb Corporatio -- Sterling Drug, Inc. -- Syntex Corporation -- Takeda Chemical Industries, Ltd. -- The Upjohn Company -- Warner-Lambert -- The Wellcome Foundation Ltd.

Máster Universitario en Ingeniería Industrial ; El sector de la automoción engloba un mercado muy exigente, donde los clientes poseen expectativas de calidad muy altas y donde las empresas proveedoras de vehículos están sometidas a grandes presiones y regulaciones. En los años ochenta, las empresas conocidas como "The Big Three", Ford, Chrysler y General Motors (en aquel momento entre las tres se repartían la gran mayoría de la cuota del mercado de la automoción), unieron sus fuerzas en busca de un objetivo común, y nominaron a una comisión de expertos para hacer frente a la amenaza que suponía la creciente expansión de la industria automovilística japonesa. Además, estas tres empresas crearon el AIAG ('Automotive Industry Action Group'), una asociación sin ánimo de lucro que se compone de un diverso grupo de profesionales y actores interesados de este sector, que incluye, por ejemplo, proveedores de todos los tamaños de piezas y material, fabricantes, proveedores de servicios, e incluso el mismo gobierno, además de las propias empresas automovilísticas. Esta asociación vela por la existencia de un trabajo colaborativo entre todos los miembros, buscando sinergias y apoyos mutuos para que todas las partes salgan beneficiadas. En el contexto actual, las empresas proveedoras del sector de la automoción deben cumplir con los estándares definidos por el AIAG con relación al APQP. El APQP ('Advanced Product Quality Planning'), es, como su propio nombre indica, una planificación avanzada de la calidad del producto. Se trata de un proceso que sigue una metodología totalmente estructurada, orientada hacia el cumplimiento de los requisitos del cliente sobre el producto final, involucrando para ello en el proceso a proveedores y al cliente final. La estructura del proceso se basa en cinco grandes etapas, que incluyen entradas y salidas en cada una de ellas. Las salidas se generan a partir de una combinación de las entradas, y en ocasiones directamente a partir de otras salidas. La clave reside en que se trata de un ciclo sin fin de mejora continua, donde se busca en todo momento mantener la calidad del producto fabricado por encima de unos mínimos, que corresponden siempre a los requisitos especificados por el cliente. Al ser un ciclo, las salidas de una etapa, son las entradas de la siguiente, y cuando se llega a la última etapa se vuelve a comenzar (de ahí el término de mejora continua). De esta manera, se consigue establecer un proceso estándar y reproducible, mediante el cual se asegura cierto rigor en cuanto a la calidad del producto, que es aplicable a cualquier proceso de producción de cualquier producto (en este caso vehículos), donde lo único que cambia de uno a otro es la particularización de las entradas para cada caso en concreto, siendo los factores los mismos. El APQP se basa en el 'ciclo de Deming', también conocido como 'círculo PDCA' (de sus siglas en inglés, 'plan, do, check, act'). O lo que es lo mismo, "planear, hacer, verificar y actuar". En el caso del APQP, este ciclo se divide en cinco etapas, ya que la fase de "do" se parte en dos. Las etapas son las siguientes: 1) Planificación y definición del programa: se produce la traducción de las necesidades y expectativas del cliente en especificaciones y objetivos de calidad del producto. 2) Diseño y Desarrollo del Producto: se produce una revisión crítica de los requisitos de diseño y de la información técnica del producto. Tiene lugar el desarrollo y verificación del diseño, evaluando los problemas potenciales de éste en relación a la posterior fabricación y su factibilidad. 3) Diseño y Desarrollo del Proceso: se asegura que el proceso será efectivo de cara a cumplir con las necesidades y expectativas del cliente. 4) Validación del Producto y del Proceso: el proceso de fabricación es validado mediante la evaluación de una tirada de producción piloto de prueba. 5) Retroalimentación, Evaluación y Acciones Correctivas: etapa final, en la cual se recoge todo lo analizado y aprendido en las etapas anteriores, y se hace uso de ese conocimiento adquirido para corregir las partes que han dado un resultado negativo y han hecho que el rendimiento del producto no sea el óptimo y el requerido, así como para añadir los detalles y partes que faltan para conseguir un mejor resultado final. Es la etapa más importante y en la que reside el sentido del APQP. El problema es que la implementación y aplicación del APQP es una tarea ardua y muy complejo, que conlleva numerosos retos que deben ser superados y donde las herramientas tradicionales no sirven, ya que su uso para la gestión del APQP provocaría retrasos y bloqueos en el proceso de producción y en el suministro. Sin el uso de una herramienta tradicional que dé soporte al APQP, las empresas proveedoras son incapaces de hacer un buen seguimiento del proceso para así reutilizar y aprovechar datos del producto en el paso de un programa al siguiente. La consecuencia es que los beneficios del APQP se ven reducidos o incluso eliminados. Es en este contexto precisamente donde nace la aplicabilidad, utilidad y practicidad del sistema PLM. PLM ('Product Lifecycle Management') es un enfoque estratégico de negocio para la gestión eficaz y el uso del capital intelectual corporativo (CIC). El CIC es la suma de todo el conocimiento que una organización acumula a lo largo de sus actividades para alcanzar sus objetivos. Esto incluye: la definición del producto, el historial del producto y la experiencia adquirida por la organización respecto al producto. el PLM es una solución informática a nivel empresarial que busca implementar una estrategia de gestión de toda la información que se genera a lo largo de la vida de un producto, también denominada CIC. No obstante, es importante destacar que, en esencia, PLM no es un sistema informático o una tecnología, sino más bien la estrategia que hay detrás, que se apoya en esa tecnología para poder ser aplicada. De manera muy sintetizada, se puede decir que existen dos funciones que son implícitas al PLM: 1) Gestión eficaz del CIC: Garantizar la precisión, integridad y seguridad de toda la información. 2) Uso eficaz del CIC: Hacer que la información esté disponible de forma inmediata en el lugar y formato adecuados, para los usuarios adecuados (ya sean personas o programas), y para las tareas adecuadas. Un sistema PLM se basa en un flujo de información global y común a todos los actores que intervienen en el proceso, de forma que todos puedan interactuar entre ellos en tiempo real y de manera segura y práctica. El pilar de la estructura que hace esto posible es una base de datos en la que cada persona que interviene en el desarrollo del producto puede volcar la información que considere que debe quedar registrada para que otros puedan hacer uso de ella. Esta idea es una de las bases de todo sistema PLM: la reutilización del conocimiento. En esencia, lo que se está consiguiendo a través del uso de un sistema PLM es optimizar el proceso. Esta es la meta que se persigue en todo momento y el objetivo final que subyace en cada acción de PLM: que con menos esfuerzo y menos tiempo invertido se alcancen mejores resultados. En este documento se ha estudiado la aplicabilidad y utilidad de emplear un sistema PLM para la gestión del proceso APQP. Estos son los beneficios principales que se han observado:  Se proporciona un excelente cimiento para cualquier empresa automovilística a través de flujos de trabajo integrados, una base de datos común, accesible y de gran capacidad, la gestión eficaz de proyectos, la creación de informes y de la capacidad de integración con otras herramientas.  Es una solución "todo en uno", que sustituye la necesidad de la coexistencia de varias herramientas.  Se llega a mejores tomas de decisión, al tener visibilidad de las tareas en proceso y de los ítems asociados, por ejemplo, el conocimiento de los múltiples proyectos donde es empleada una misma pieza.  Se puede gestionar el desarrollo de productos complejos para vehículos y de todos los requisitos de documentación asociados a ellos.  Reducir los costes de los cambios de diseño, gracias a detectar antes los cambios necesarios e implementarlos con un efecto más positivo y generando menos coste. También poder comunicar esos cambios a los distintos departamentos y equipos, mejorando así la calidad del producto y, consecuentemente, la satisfacción del cliente.  Aumentar o posibilitar la reutilización del conocimiento a través del acceso rápido y sencillo a proyectos previos APQP.  Se consigue la introducción de nuevos productos en el mercado en el tiempo programado y respetando el presupuesto disponible. Por tanto, se puede concluir que una solución PLM que dé apoyo al proceso APQP y a todos sus requisitos, es una poderosa herramienta de negocio que conlleva numerosos e importantes beneficios, los cuales ya han sido probados en el sector de la automoción. Sin embargo, se debe puntualizar que el PLM no debería de ser el fin en sí. El uso de un sistema PLM suele actuar de catalizador para un cambio en el negocio de manera conceptual y profunda. Para poder aprovechar todo el potencial del PLM y su máximo beneficio, deben revisarse todos los procesos y estructuras de la organización, y aplicar cambios que impulsen la tecnología PLM allí donde se necesiten. Esto hará que se optimicen a nivel global los procesos internos del negocio, así como la forma en la que las empresas automovilísticas se relacionan con sus socios, proveedores y clientes. En el mundo actual y el sector de la automoción, donde el entorno empresarial es cada vez más global, exigente y hostil, la tecnología PLM es el vehículo necesario para crear y mantener un negocio innovador que pueda competir eficazmente en todos sus mercados. ; The automotive industry involves a very demanding market, where the clients possess very high expectations regarding quality and where the supplying companies of vehicles are under big pressures and have to follow strict regulations. During the 1980s, the companies known as "The Big Three", Ford, Chrysler and General Motors (at that moment they shared between them most part of the automotive market share), joined their strengths in the search for a common target, and they nominated an expert committee to face the threat that the increasing expansion of the Japanese industry represented. Moreover, there three companies created the AIAG ('Automotive Industry Action Group'), a nonprofit association made up of a diverse group of professionals and stakeholders of this sector, which includes, for example, suppliers of materials and parts of all sizes, manufacturers, service providers, and sometimes, even the government itself, as well as the automotive companies. This association supports the existence of a collaborative environment within all members, searching for synergies and mutual support so that every party can benefit from this alliance. In the actual context, the supplying companies of the automotive sector must comply with the standards defined by the AIAG with respect to APQP. APQP is, as its names states for itself, a way of anticipating a plan for the product's quality. It consists of a process which follows a highly structured methodology, focused on the compliance of the client's requirements over the final product, involving the suppliers and the final client in this process. The structure of the process is based on five big phases, which include inputs and outputs in each one of them. The outputs are generated by a combination of the inputs, and occasionally directly from other outputs. The key resides on the fact that it is never-ending cycle of continuous improvement, where the target is always to maintain the product's quality over certain minimum level, which always corresponds to the requirements specified by the client. As it is a cycle, the outputs of a phase are the inputs of the next one, and once you fulfill the last phase, you start over again from the beginning (that is why it is said to be a continuous improvement). This way, standard and repeatable procedure is successfully established, through which certain level of rigor is assured in terms of the product's quality, which is applicable to any kind of production process of any kind of product (vehicles in this case), where the only thing that changes from one to another is the group of inputs for that case in particular (the factors remain constant). APQP is based on the Deming cycle, also known as the PDCA circle (Plan, Do, Check, Act). In the case of APQP, this cycle is divided into five phases, since the second phase ("do") is split into two. These are the APQP phases: 1) Program planning and definition: translation of the client's expectations and needs into the product's specifications and objectives. 2) Product design and development: there is a critical revision of the designing requirements and the technical information of the product. The design's verification takes place, evaluating its potential issues towards the future manufacturing and its viability. 3) Process design and development: it is assured that the process will be effective regarding the compliance of the client's needs. 4) Product and process validation: the manufacturing process is validated through the evaluation of a test production run. 5) Feedback, evaluation and corrective action: final phase in which everything that has been analyzed and learnt from the previous phases, and that acquired knowledge is used in order to correct the parts which have performed negatively and which have avoided the performance form being the optimal and expected, as well as to add the details which are missing, so as to achieve a better result. This is the most important phase and on which the purpose of APQP lies. The problem is that APQP's implementation and application are very arduous and complex tasks, which involves multiple challenges which must be overcome and where traditional tools are not enough, since their use for APQP would cause serious delays and even blockades in the production and supplying process. Without the use of a tool which supports APQP, the supplying companies are incapable of satisfactorily monitoring the process, in order to reuse the product's information from one program to the next. The consequence is that the benefits of APQP are seriously reduced or even eliminated. It is in this context precisely in which the PLM system becomes applicable, practical and very useful. PLM ('Product Lifecycle Management') is a strategic approach of the business for the effective management and use of the corporative intellectual capital (CIC). The CIC is the sum of all the knowledge that an organization accumulates throughout its activities in order to reach its targets. This includes: the product's definition, the product's history and best practices. PLM is a technological solution at a business level that tries to implement a management strategy for all the information which is generated throughout the whole product's lifecycle, also called CIC. However, it is important to point out that, essentially, PLM is not a computing system or a technological tool, but the strategy which lies beyond, which finds in that technology the path in order to be applied. In a very summarized way, it can be said that two main functions are implicit to PLM:1) Effective management of CIC: guaranteeing the precision, integrity and safeness of all the information. 2) Effective use of CIC: making the information be readily available, at the right place and format, for the right users, and for the right tasks. A PLM system is based on a global information flow, common to all actors who take part in the process, so that all of them can interact among themselves in real time and in a practical and safe manner. The structure's pillar which makes this possible is a data base into which each person who intervenes in the product's development can enter the information which they consider should be registered so that other can make use of it. This idea is one of the basis of every PLM system: the recycling of knowledge. Essentially, what is being achieved through the use of a PLM system is the optimization the process. This is the goal that is pursued at all time and the final target which lies under every action of PLM: achieving better results with less effort and less time waste. In this document, the applicability and usefulness of implementing a PLM system for the management of the APQP process have been studied. These are the main benefits which have been observed:  An excellent basis is provided towards any automotive company throughout the use of integrated workflows, a common data base, accessible and of great capacity, the effective management of projects, reports creation and the capacity of integration with other tools.  It is an "all in one" solution, which substitutes the need for the coexistence of several tools.  There is better decision making, having better visibility of the tasks in process and the associated items, for instance, the knowledge of the multiple projects in which a same component is being used.  It is possible to manage the development of complex products for vehicles and all of its associated documentation requirements.  Minimizing the costs caused by changes in the design, by detecting earlier the necessary changes and implementing them with a more positive effect. Also being able to communicate those changes to the different departments and teams, improving thus the product's quality and, consequently, the client's satisfaction.  Increasing or making it possible to reuse the knowledge through quick and simple access to previous APQP projects.  The introduction of new products into the market respecting the planned schedule and the available budget. Henceforth, it can be concluded that a PLM solution which supports the APQP process and all its requirements, is a powerful business tool which involves multiple and significant benefits, which have already been proved in the automotive industry. However, it must be remarked that PLM should not be the end itself. The use of a PLM system usually acts as a catalyzer for a change in the business in a conceptual and transcendent way. To be able to make the best use of PLM's potential and its maximum benefit, all of the processes and the organization's structures must be revised, so that the necessary changes to boost PLM technology can be applied. This will optimize the internal business processes, as well as the way in which the automotive companies interact with their partners, their suppliers and their clients. Nowadays, in the automotive industry, where the business environment is each time becoming more globalized, demanding and hostile, PLM technology is the necessary tool in order to create and maintain an innovative business which will be able to compete effectively in all its markets.

Nella letteratura specializzata il concetto di crisi risulta variamente definito. Alcuni autori utilizzano tale termine come sinonimo di insolvenza, considerando un'impresa in stato di crisi solo nel caso in cui la stessa non fosse in grado di poter fronteggiare le proprie obbligazioni, altri definiscono la crisi come momento puntuale e conclusivo di un ciclo gestionale negativo, identificandola nella mancanza di profitti o nella perdita del capitale; altri ancora, con orientamento giuridico, considerano un'impresa in crisi, quando questa giunge al fallimento o approda ad un'altra procedura concorsuale. In ogni caso quale che sia la definizione di crisi adottata, ciò che appare rilevante è il fatto che quest'ultima sia generalmente considerata come un fenomeno patologico, che si manifesta comunque con pesanti squilibri di natura economica, patrimoniale e finanziaria. Più di trent'anni fa, in un articolo intitolato "La crisi d'impresa e suo risanamento" pubblicato sulla rivista "Banche e Banchieri", Pellegrino Capaldo individuava le cause tipiche della crisi: crisi finanziaria: quando l'azienda non ha la possibilità di procurarsi i mezzi finanziari adeguati per quantità e qualità alle esigenze di una gestione che altrimenti sarebbe economicamente equilibrata; crisi economica: quando vi è una scarsa domanda di beni e servizi oggetto della produzione dell'impresa, oppure in presenza di costi di produzione più alti della concorrenza; crisi economico-finanziaria: si verifica quando le caratteristiche del dissesto non permettono di ricondurla in particolare a nessuna delle due casistiche precedenti. Ci si trova di fronte ad uno squilibrio economico imputabile a un soverchiante carico di oneri finanziari dovuto a pesante indebitamento su investimenti che non si sono rivelati produttivi e che hanno portato a perdite negli esercizi precedenti. Le modalità di superamento della crisi assumono caratteristiche diverse a seconda delle cause che la generano ed a seconda che si parli di impresa privata o pubblica. Tralasciando le modalità di risanamento dell'impresa pubblica poiché intervengono ragioni di diverso ordine: politico, sociale, strategico-economico, giuridico, e tralasciando altresì, le norme di legge volte a facilitare il superamento delle difficoltà di imprese in crisi, nell'impresa privata il risanamento è possibile quando vi siano i presupposti per suscitare l'interesse di un nuovo capitale che intervenga in quanto percepisce la convenienza a prendere in carico la crisi poiché si intravede la possibilità di una gestione efficiente, sia dal punto di vista economico che finanziario. In presenza di una crisi finanziaria, nell'impresa privata, il risanamento appare conveniente se l'impresa è in grado di remunerare, ai saggi di mercato, il capitale occorrente per riequilibrare la struttura finanziaria o per realizzare alcuni investimenti; chiaramente questa situazione comporterà modifiche dell'assetto proprietario dell'azienda, in quanto chi si dà carico del risanamento vuole essere in condizione di controllare l'impresa e spesso accade, infatti, che l'attuale gruppo di controllo si apra in varie forme ad altri portatori di capitale, oppure rinunci al controllo (ponendosi in posizione di minoranza) o ceda addirittura l'impresa a chi è in grado di trarla dalla crisi. Nell'ipotesi di crisi economico-finanziaria, il superamento richiede che i creditori rinuncino in tutto o in parte ai loro crediti o alla prestabilita remunerazione, tali crediti infatti sono da ritenersi già interamente o in parte perduti e quindi non recuperabili. Di norma la rinuncia dei creditori risulta essere la strada più vantaggiosa perché consente sia un maggiore recupero del credito, sia l'avvio di proficui rapporti di fornitura una volta che l'impresa sia stata risanata. Nel caso di crisi economica, infine, i presupposti per il risanamento ricorrono quando, anche attraverso forme di integrazione con altre imprese, si ritiene soddisfatta una condizione minima e cioè che il risanamento consenta di recuperare, sugli investimenti in essere, più di quanto sarebbe possibile mediante lo scioglimento dell'impresa. All'interno delle diverse forme di integrazione tra imprese, una che assume una certa rilevanza ai fini del risanamento di una situazione di crisi è sicuramente quella dell'appartenenza ad un gruppo, dove con la parola gruppo si fa riferimento ad un complesso di due o più aziende esercitate da distinte società, aventi, quindi, ognuna un proprio soggetto giuridico, ma controllate tutte dallo stesso soggetto economico, ovvero vi è la presenza di una persona o di un gruppo di persone che hanno il potere di determinare l'indirizzo di gestione su più imprese che si presentano autonome sotto il profilo giuridico. In questi casi l'economicità aziendale, cioè la capacità dell'impresa a remunerare congruamente i fattori della produzione (condizione indispensabile per durare nel tempo), non va più vista in riferimento alla singola impresa, ma va considerata in relazione al contributo che essa da e/o riceve in un contesto economico più ampio ma economicamente unitario. Non sono rari i casi in cui imprese precedentemente in perdita vengono mantenute in vita per i vantaggi che esse arrecano al gruppo cui appartengono o che, isolatamente considerate, non sono economiche e invece lo diventano entrando a far parte di un gruppo per i vantaggi che ne traggono. In dottrina si esprime questo concetto parlando di: economicità in seno al gruppo; economicità in funzione del gruppo; economicità collettiva o macroeconomicità. Con la prima espressione si intende fare riferimento a quelle imprese che fuori dal gruppo non sono economiche (e quindi sarebbero destinate alla liquidazione o, peggio, al fallimento) e diventano economiche entrando a far parte di un gruppo di imprese con le quali creare sinergie operative, o altri vantaggi gestionali ed organizzativi, con risparmio di risorse e miglioramento dei risultati. Le imprese del secondo tipo, invece, sono imprese che, nonostante i vantaggi, neanche dentro il gruppo riescono ad essere economiche ma vengono ugualmente mantenute in vita per i vantaggi che esse creano alle altre aziende del gruppo e l'eventuale loro anticipata liquidazione creerebbe al gruppo maggiori danni della perdita da essa periodicamente sofferta. In questi casi è conveniente per il gruppo accollarsi ogni anno la perdita di detta impresa compensata dalle utilità che ne traggono dal suo mantenimento in vita. Analogo ragionamento può essere fatto riguardo all'economicità collettiva o macroeconomicità. Qui ci troviamo di fronte analogamente ad imprese non economiche ma che vengono mantenute in vita, o addirittura costituite, in virtù delle utilità arrecate alla collettività di una determinata zona, di una regione o dell'intero paese. Si parla, a tale proposito, di economie esterne all'impresa o all'azienda valutata ed evidenziata dall'Ente pubblico (Stato, Regione, Comune.) che le controlla e che contribuisce a mantenerle in vita. Con l'analisi effettuata sull'andamento del Gruppo Fiat nel periodo compreso tra il 1998 ed il 2006 si è studiata la situazione di un gruppo che nel periodo oggetto di studio si è trovato ad affrontare tematiche del tipo delineato e si è voluto dimostrare come il Gruppo sia riuscito a porre fine ad uno dei periodi più neri della sua storia pur trovandosi in uno stato di profonda crisi al termine degli anni novanta, culminata poi con le perdite rilevate negli anni tra il 2001 ed il 2004 a causa della mancata sostituzione di prodotti ormai obsoleti e dell'incalzante competitività dei concorrenti giapponesi; tuttavia il Gruppo è riuscito a tornare all'utile nel 2005, proseguendo il trend positivo negli anni successivi fino al 2009, anno negativo per tutto il settore auto. Dall'analisi del bilancio di Fiat Auto S.p.A., società capogruppo, è emerso come l'andamento economico/finanziario della holding abbia ricalcato quello complessivo di gruppo. Il risultato positivo ottenuto da Fiat Auto S.p.A. nel 2005 non è frutto dell'attività industriale (tanto che l'utile operativo è risultato ancora negativo anche se migliore degli anni precedenti) ma è dovuto principalmente a fattori straordinari, come, accordi presi dal management negli anni precedenti; è sufficiente ricordare il mancato esercizio dell'opzione Put con la quale Fiat avrebbe potuto vendere a General Motors la residua partecipazione in Fiat Auto Holdings BV e che invece ha reso alla casa torinese un indennizzo di 1.550 milioni di euro. Ciò nonostante, Fiat Auto S.p.A. è stata mantenuta in vita per le sinergie con le altre aziende del gruppo e per i vantaggi d'immagine per l'intero gruppo di appartenenza, al punto che è notizia di questi giorni che il 2010 per Fiat è stato l'anno del ritorno all'utile ed ha superato tutti i target e le previsioni degli analisti. Il consiglio di amministrazione del gruppo ha annunciato che gli utili netti si sono attestati a 600 mln. di euro contro gli 848 persi nel 2009, mentre i ricavi sono saliti del 12,35% a 56,3 miliardi. Netta riduzione, quasi un dimezzamento, per l'indebitamento: da 4,4 a 2,4 miliardi. La casa torinese, inoltre, ha confermato gli obiettivi finanziari previsti nel piano 2010 – 2014 che erano stati anticipati in aprile. Il consiglio di amministrazione proporrà all'assemblea degli azionisti il pagamento di un dividendo complessivo pari a 155,1 mln. di euro. Nel 2010, per quanto riguarda il settore auto, sono stati conseguiti ricavi per 27,9 miliardi, in crescita del 6%. L'effetto della contrazione dei volumi delle vetture è stato compensato dall'incremento delle vendite dei veicoli commerciali leggeri (+27%). Complessivamente sono state 2.081.800 le auto ed i veicoli commerciali leggeri consegnati, con un calo del 3,2%. Le consegne 2010 includono circa 13.500 unità di prodotti Chrysler, Jeep e Dodge: l'avvio dell'attività di distribuzione di questi marchi attraverso la rete commerciale europea del gruppo è stato completato. Nel quarto trimestre il mercato dell'auto ha proseguito la riduzione in Europa (-8,9%) e in Italia (-23,8%) rispetto al 2009. In particolare la quota del gruppo è stata in Italia del 28,5% (-3%) e in Europa del 6,8% (-1,5%). A dimostrazione che il risultato ottenuto è frutto esclusivamente dell'attività industriale, l'amministratore delegato ha sottolineato che Fiat non sta lavorando a cessioni di asset, ma non esclude operazioni del genere in futuro.

This article will review recent legislation and judicial decisions in Virginia affecting owners, contractors, and design professionals in the construction context. The discussion will include legislative amendments to the Code of Virginia ("Code") by the General Assembly promulgated in 1990 and the first half of 1991, as well as important cases on construction law decided by Virginia's state and federal courts for the last half of 1989, 1990, and the first half of 1991.

The Supreme Court of Virginia, the United States Court of Appeals for the Fourth Circuit, and the Circuit Court of Fairfax County have decided a number of important property law cases over the past year. Part I of this article discusses the most significant of those cases. Legislation passed by the Virginia General Assembly with respect to property is discussed in Part II of this article.

Aus der Einleitung: 'Zusammenkommen ist ein Beginn, Zusammenbleiben ein Fortschritt, Zusammenarbeiten ein Erfolg.' (Henry Ford, amerikanischer Industrieller, 1863 – 1947). 1.1., Problemstellung: Mit diesem Zitat von Henry Ford möchte ich die vorliegende Arbeit eröffnen. Es ist sinnbildlich für die Abschnitte einer Fusion und verkörpert die wichtigen Meilensteine, die bis zum erfolgreichen Abschluss eines solchen Vorhabens erreicht werden müssen. Die Liste gescheiterter Fusionen ist lang. Beispielhaft sind hier Daimler und Chrysler, Time Warner und AOL, oder nicht zuletzt BMW und Rover zu nennen. Es ist die Wichtigkeit dieser Meilensteine 'zusammenkommen', 'zusammenbleiben' und 'zusammenarbeiten', die oftmals unterschätzt wird und aufgrund deren eine Fusion scheitern kann und somit unter Umständen nicht nur existenzielle Probleme hervorrufen kann. (Im Original Grafik) In der global vernetzten Wirtschaftswelt von heute stehen Fusionen an der Tagesordnung. Zwar stagniert die Anzahl der Fusionen in den vergangenen Jahren. Bei der immens hohen Anzahl an Wettbewerbern erscheint der Gedanke jedoch häufig als strategisch sinnvoll, einen direkten oder indirekten Wettbewerber zu übernehmen. Die Ziele einer Fusion reichen hierbei von der sinnvollen Nutzung von Synergieeffekten bis zu persönlichen Machtmotiven. (Im Original Grafik) Die Problematik einer Fusion besteht darin, dass der Prozess nicht einfach unternommen werden kann und sich der Erfolg bei weitem nicht von selbst einstellt. Es werden verschiedene Phasen durchlaufen, in denen jedem einzelnen Kriterium ein hohes Maß an Wichtigkeit zugemessen werden muss. In der Praxis scheitern Fusionen oft bereits vor Beginn oder während des eigentlichen Merger-Prozesses an vermeintlichen soft skill Faktoren, wie zum Beispiel an unterschiedlichen, vorherrschenden Unternehmenskulturen, die als Erfolgsfaktor von nicht zu unterschätzender Bedeutung sein können. Diese entwickeln sich individuell durch das Kollektiv der Mitarbeiter. Fusionierende Unternehmen unterschätzen die Kulturproblematik und gehen nur in ungenügendem Umfang auf diese ein. Unterschiedlichen Wertesystemen und Unternehmenskulturen wird also zu wenig Aufmerksamkeit geschenkt. Beispielhaft hierfür ist die Tatsache, dass im Rahmen einer Fusion zwei verschiedene Belegschaften aufeinander treffen. Aus einem Unternehmen A und einem Unternehmen B soll nun das Unternehmen C gebildet werden. Beide sind jedoch in ihrer eigenen, individuellen Unternehmenskultur verankert. Das Ziel des Top-Managements jedoch ist, dass die beiden fusionierenden Unternehmen auch gemeinsam harmonieren und gemeinschaftlich miteinander arbeiten. Allerdings treffen nun zum ersten Mal im Rahmen der Integration zwei unterschiedliche Kulturauffassungen aufeinander und man stellt oftmals fest, dass sich eine grundsätzlich vorherrschende Abneigung gegenüber steht. Für ein Unternehmen können hieraus Konflikte entstehen. Beim Zusammenbringen zweier Unternehmenskulturen geschieht dies aus verschiedensten Gründen: zum einen beispielsweise aufgrund von Verteilungskämpfen. Hierbei geht es um die persönlichen Ressourcen, also um die Anzahl der Mitarbeiter, die Zuteilung von Arbeitsgütern und Betriebsstoffen. Weiterer Auslöser für einen Konflikt im Rahmen der Zusammenführung zweier Unternehmenskulturen stellt die neue Machtverteilung dar. Man stelle sich vor, das eine Unternehmen besitzt eine 6-Ebenen-Hierarchie, das andere zu fusionierende Unternehmen eine 9-Ebenen-Hierarchie und daraus soll nun eine neue Hierarchiestruktur mit lediglich noch vier Ebenen entstehen. Hierbei wird jedes Individuum, also jedes Mitglied der Organisation, versuchen seine persönlichen Ziele und den jeweiligen Status im Unternehmen zu behaupten und zu unterstreichen. Da jeder sein persönliches Ziel verfolgt, liegt es auf der Hand, dass es zwangsläufig zu Konflikten kommen wird. Für fusionierende Unternehmen stellt diese persönliche Komponente eine äußerst ungünstige Konstellation dar, da Konflikte für ein Unternehmen der Verlust von barem Geld darstellt. Anstatt sich auf die Kernkompetenzen und –aufgaben des Unternehmens zu konzentrieren, beschäftigen sich die Mitarbeiter eher mit der Sicherung ihrer persönlichen Egoismen. Diese Egoismen sind auch der Grund für die Tatsache, dass sich die Mitarbeiter der fusionierenden Unternehmen nicht aufeinander einlassen und versuchen, gemeinsam – zum Wohle des Unternehmens – zusammen arbeiten. Ein weiterer Grund ist die mangelnde Kommunikation zwischen dem Top-Management und den Mitarbeitern eines Unternehmens. Unterschiedliche herrschende Informationspolitiken führen so gegebenenfalls zu falschen Versprechungen gegenüber Kunden und Mitarbeitern. Zudem werden Letztere teilweise nicht in den Fusions-Prozess einbezogen, was zum Verlust von Erfahrungswerten und Know-How führen kann. Ausschlaggebend für das Scheitern einer Fusion ist meist die mangelnde Erfahrung mit einem solchen Veränderungsprozess. Unternehmen neigen zur Überschätzung des eigenen Know-Hows und unterschätzen zudem den hohen Umfang an Aufgaben, sowie die Wichtigkeit der detaillierten Informationen über das Unternehmen, mit dem eine Fusion angestrebt wird. Die Folgen dieser Aufzählung führen für ein Unternehmen meist zu einer Schmälerung des Gewinnes und gefährden somit dessen Hauptziele: Das Überleben am Markt, die Sicherung der Wettbewerbsfähigkeit und die Weiterentwicklung des Unternehmens. Es wird also deutlich, dass eine Integration der Unternehmen, ihrer unterschiedlichen Bereiche und ihrer u. U. verschiedenen Unternehmenskulturen wichtig ist. Neben der Integration dieser Bereiche, bedarf es zusätzlich der Integration der Informationstechnologie. Fusionen finden mitunter Länder übergreifend statt. Um an dieser Stelle eine, für das operative Geschäft äußerst wichtige, Vernetzung zu gewährleisten, muss auch dieser Bereich möglichst schnell und umfänglich integriert werden. Oftmals findet eine Integration (gemäß der theoretischen Literatur) im Rahmen der Post-Merger-Integration, der dritten Phase einer Fusion statt. Durch die späte Initiierung des Integrationsprozesses können jedoch unerwartete Probleme entstehen, die eine Fusion und die dazugehörige Integration scheitern lassen. Diese Nennung von Gründen, die zu einem Scheitern von Fusionen führen können ist beispielhaft und kann beliebig erweitert und ergänzt werden. Es soll somit gleichwohl ein erster Eindruck der Komplexität eines solchen Fusionsprozesses vermittelt werden. Es ist notwendig, eine Integration frühzeitig zu planen und zu initiieren. Vor welchen Herausforderungen Unternehmen bei einer Integration stehen und welche Ziele mit ihr verfolgt werden, soll hier verdeutlicht werden, um die Wichtigkeit der rechtzeitigen Planung und Durchführung der Integration zu unterstreichen. 1.2, Ziel der Arbeit und Vorgehensweise: Was muss unternommen werden, um den komplexen Prozess einer Fusion erfolgreich zu gestalten? Welche Einflussgrößen spielen bei Fusionen und der Integration eine wichtige Rolle und welche Bereiche werden von der Integration erfasst? Welche Methoden gibt es für das Top-Management, um eine Integration zu ermöglichen und diese erfolgreich umzusetzen? Gibt es integrationsfördernde Maßnahmen? Um passende Antworten auf diese Fragen zu finden, bedarf es einer umfassenden Beleuchtung des gesamten Merger-Prozesses. Ausgangspunkt hierbei ist die Frage, welche Ziele mit einer Fusion verfolgt werden und welche Teilschritte zunächst unternommen werden müssen, um eine Fusion anzukurbeln. Dabei werden die unterschiedlichen Meilensteine veranschaulicht und auf die Bedeutung der Unternehmenskultur eingegangen. Wie bereits dargestellt, spielt diese eine nicht hoch genug einzuschätzende Rolle für das Scheitern oder den Erfolg einer Fusion. Folglich wird der Begriff der Unternehmenskultur ausführlich beschrieben und die unterschiedlichen Formen beleuchtet. Des Weiteren werden verschiedene Instrumente vorgestellt und bewertet, die das Scheitern eines Zusammenschlusses bereits frühzeitig verhindern können und mit einem Katalog geeigneter Maßnahmen ein solcher erfolgreich gestaltet und der Erfolg nachhaltig gesichert werden kann. Kapitel 2 befasst sich zunächst mit der Bestimmung der Begriffe Fusion, Integration und Integrationsmanagement. Hierzu werden die allgemeinen Definitionen gemäß dem Wortlaut herangezogen, sowie der Gebrauch der Begriffe in den verschiedenen Bereichen erläutert. Zudem wird verdeutlicht welche Formen von Fusionen möglich sind. Anschließend wird die Bedeutung des Wortes Fusion begrifflich abgegrenzt, da die Literatur bisher weitestgehend lediglich von sog. MA-Transaktionen spricht, jedoch den Bereich der Fusionen nicht ausreichend abgegrenzt behandelt. In Kapitel 3 werden die Gründe, Motive und Ziele einer Fusion dargestellt. Gemäß den Motivtheorien nach Trautwein, werden den sieben Theorien die möglichen Motive zu einer Fusion zugeordnet. Es sollen die Ansätze beleuchtet werden, die das Top-Management dazu bewegen, die Entscheidung zu einer Fusion zu fällen. Hierzu werden zudem die konkreten Ziele einer Fusion, die gleichzeitig als Ausgangspunkt für die erfolgreiche Gestaltung des Fusionsprozesses zu betrachten sind, entwickelt. Kapitel 4 befasst sich mit dem wichtigen Thema der Unternehmenskulturen. Hierzu wird zunächst eine begriffliche Annäherung unternommen um schließlich eine Definition zu erhalten. Da Unternehmenskulturen ganz verschiedene Merkmale aufweisen, sollen diese dargestellt werde. Dazu gehören sogleich auch die unterschiedlichen Typologien von Unternehmenskulturen. Im weiteren Verlauf werden Instrumente zur Bestimmung der Kulturen zunächst kurz definiert und anschließend evaluiert. Anhand des Ergebnisses der Auswertung, werden sodann die relevantesten Instrumente erläutert. Zudem wird an-schließend noch das Thema der Kulturkollision, speziell bei Fusionen, erläutert und hierzu die Akkulturation näher thematisiert. Abschließend wird kurz dargestellt, warum die Unternehmenskultur zu einem Erfolgsfaktor werden kann. Kapitel 5 behandelt den gesamten Ablauf einer Fusion. Hierbei werden die einzelnen Schritte der drei Phasen erläutert und veranschaulicht. Der erste Abschnitt befasst sich mit der Vision einer Fusion, also der ausgehenden Frage, welche Vor- oder Nachteile eine Fusion zur Folge haben könnte. Abschnitt zwei – die sog. Merger-Phase – wird in zwei Sub-Phasen untergliedert. Notwendigerweise werden hier die jeweiligen Arbeitsschritte entsprechend zugeordnet und erläutert. Abschließend wird im dritten Abschnitt die Post-Merger-Phase beleuchtet. Sie ist für diese Arbeit von großer Bedeutung, da sie als Integrationsphase bezeichnet wird und die Hauptaktivitäten des Integrationsmanagements liegen. An dieser Stelle soll allerdings gleich erwähnt sein, dass im Rahmen dieses Kapitels eine prozessuale Darstellung anhand der gängigen Literatur erfolgt. Unterschieden wird im Rahmen der Erläuterung der Phasen zwischen den tatsächlichen Aktivitäten, die für eine erfolgreiche Fusion grundlegend sind und den eigentlichen Ergebnisse, die aus solchen Aktivitäten resultieren. Kapitel 6 beschäftigt sich mit den Einflussgrößen, die die Integration grundsätzlich, aber auch im Rahmen einer Fusion, prägen können. Zu diesem Zweck werden kurz die stärksten Einflussfaktoren und deren Auswirkungen erläutert. Ausgehend von den vorangegangenen Kapiteln wird in Kapitel 7 beleuchtet, wo das Integrationsmanagement seinen Ansatz findet und vor welcher konkreten Herausforderung es steht. Hierfür erfolgen zunächst einige Grundlagen, die bzgl. des Integrationsmanagements und des Integrationsprozesses berücksichtigt werden sollten. Zu diesem Zweck werden die allgemeinen Integrationsziele im Rahmen einer Fusion erläutert und im weiteren Verlauf dargestellt, welche Aufgaben erfüllt werden müssen, um eine Fusion erfolgreich durchführen und abschließen zu können und welche Bereiche vom Integrationsprozess erfasst werden. Zudem werden Ansätze entwickelt, mit denen eine Integration erleichtert wird und bereits präventiv Spannungen vermieden werden können. Des Weiteren wird beschrieben, welche Maßnahmen konkret die Integration fördern und wie Akzeptanz geschaffen werden kann. Um diese Fragen ausführlich zu beantworten, werden zusätzlich eigene Gedanken und Ansatzpunkte entwickelt. Abschließend werden die erarbeiteten Erkenntnisse nochmals überprüft und in Kapitel 8, als Fazit, zusammengefasst.Inhaltsverzeichnis:Inhaltsverzeichnis: Eidesstattliche ErklärungII InhaltsverzeichnisIV AbbildungsverzeichnisVIII TabellenverzeichnisIX AbkürzungsverzeichnisX 1Einführung1 1.1Problemstellung1 1.2Ziel der Arbeit und Vorgehensweise5 2Begriffsbestimmung und -abgrenzung8 2.1Fusion, Integration, Integrationsmanagement8 2.2Arten von Fusionen11 2.2.1Horizontale Fusionen11 2.2.2Vertikale Fusionen12 2.2.3Laterale / Diagonale Fusionen12 2.3Abgrenzung12 3Motive, Gründe, Ziele14 4Unternehmenskultur20 4.1Definition20 4.1.1Unternehmen20 4.1.2Kultur20 4.1.3Unternehmenskultur21 4.2Elemente und Merkmale22 4.2.1Artefakte23 4.2.1.1 Machtkultur24 4.2.1.2 Rollenkultur25 4.2.1.3 Aufgabenkultur25 4.2.1.4 Personenkultur25 4.2.2Werte und Normen26 4.2.3Grundannahmen26 4.2.4Weitere auftretende Unternehmenskulturen27 4.2.4.1 Unterstützungsorientierte Unternehmenskultur27 4.2.4.2 Regelorientierente Unternehmenskultur27 4.2.4.3 Innovationsorientierente Unternehmenskultur27 4.2.4.4 Zielorientierte Unternehmenskultur28 4.2.4.5 Traditionsorientierte Unternehmenskultur28 4.2.4.6 Reaktionsorientierte Unternehmenskultur28 4.2.4.7 Stagnationskultur29 4.3Bestimmung der Unternehmenskulturen30 4.3.1Ziele der Kulturbestimmung31 4.3.2Gesprächspartner31 4.3.3Methoden zur Bestimmung von Unternehmenskulturen32 4.3.4Auswertung35 4.3.4.1 Fragebögen36 4.3.4.2 Gruppeninterviews37 4.3.4.3 Persönliche Interviews37 4.3.4.4 Beobachtung38 4.3.4.5 Facettenmodell nach Köbi und Wüthrich39 4.3.4.6 Firmenrundgang40 4.4Kulturkollision bei Fusionen41 4.4.1Akkulturation42 4.4.2Phasen der Akkulturation42 4.4.3Formen der Akkulturation45 4.5Unternehmenskultur als Erfolgsfaktor für Integrationen46 5Prozessuale Phasen einer Fusion50 5.1Pre-Merger (Planungsphase)50 5.1.1Entscheidungsrelevante Fragen51 5.1.1.1 Das 'Ob'51 5.1.1.2 Das 'Wann'52 5.1.1.3 Das 'Wie'52 5.1.2Pre-Merger-Instrumente53 5.1.2.1 Screening53 5.1.2.2 Vorfeldsondierung54 5.1.2.3 Transaktionsstruktur55 5.1.2.4 Simulation55 5.1.2.5 Grobbewertung55 5.1.3Geheimhaltungsvereinbarungen56 5.1.4Verhandlungsprotokolle57 5.1.5Letter of Intent (LoI)57 5.1.6Vorvertrag59 5.2Merger (Durchführungsphase)60 5.2.1Due Diligence und Pre-Acquisition Audit60 5.2.1.1 Legal Due Diligence (Rechtliche Due Diligence)61 5.2.1.2 Financial Due Diligence (Finanzielle Due Diligence)62 5.2.1.3 Marketing Due Diligence62 5.2.1.4 Tax Due Diligence(Steuerliche Due Diligence)63 5.2.1.5 Strategic und Market Due Diligence64 5.2.1.6 Environmental Due Diligence (Umwelt Due Diligence)66 5.2.1.7 Human Resource Due Diligence67 5.2.1.8 Cultural Due Diligence (Kulturelle Due Diligence)68 5.2.1.9 Organizational und IT Due Diligence70 5.2.2Signing (Vertragsabschluss)70 5.2.3Closing (Eigentumsübertragung)71 5.3Post-Merger (Integrationsphase)72 5.3.1Initiierung der Integration72 5.3.1.1 Integrationsteam72 5.3.1.2 Kommunikation73 5.3.2Verknüpfung der Unternehmensführung74 5.3.3Festlegung der Unternehmensstrategie74 5.3.4Besetzung der Führungsebene75 5.3.5Personalwirtschaftliche Ausrichtung76 5.3.6Operatives Geschäft koordinieren76 6Einflussgrößen auf die Integration77 6.1Einflussgröße Unternehmenskultur77 6.1.1Distanz der Unternehmenskulturen77 6.1.2Stärke der Unternehmenskulturen78 6.1.3Dominanz einer Unternehmenskultur79 6.2Einflussgröße Unternehmensstruktur79 6.2.1Ausmaß der organisatorischen Zusammenlegung79 6.2.2Größe der Unternehmen80 6.3Einflussgröße Mensch81 6.3.1Angst als individueller Faktor81 6.3.1.1 Angst vor Arbeitsplatzverlust81 6.3.1.2 Angst vor finanziellen Einbußen82 6.3.2Angst als strukturbedingter Faktor82 6.3.2.1 Angst vor Ressourcenverteilung82 6.3.2.2 Angst vor Machtverlust82 7Integrationsmanagement84 7.1Die Herausforderung84 7.2Integrationsziele85 7.3Grundlagen der Integration86 7.3.1Integrationsgrad87 7.3.2Zuständigkeiten im Rahmen der Integration88 7.3.2.1 Integrationsführung88 7.3.2.2 Integrationsmanager88 7.3.2.3 Integrationsteams89 7.4Integrationsbereiche90 7.4.1Strategische Integration91 7.4.2Strukturelle Integration91 7.4.3Operative Integration92 7.4.3.1 Integration des Bereichs Einkaufs93 7.4.3.2 Integration des Bereichs Produktion93 7.4.3.3 Integration des Bereichs Vertrieb94 7.4.3.4 Integration des Wissensmanagements94 7.4.3.5 Integration der Verwaltung95 7.4.4Technologische Integration95 7.4.5Personelle Integration95 7.4.6Kulturelle Integration96 7.4.7Externe Integration97 7.5Integration in den Fusionsphasen98 7.5.1Pre-Merger99 7.5.1.1 Bildung einer Vision100 7.5.1.2 Machbarkeitsstudie und Szenario-Entwicklung100 7.5.1.3 Strategieentwicklung und Umsetzungsplan102 7.5.1.4 Relationship-Management104 7.5.2Merger105 7.5.2.1 Kommunikation105 7.5.2.2 Personalwirtschaftliche Maßnahmen durchführen111 7.5.2.3 Umgestaltung der Aufbau- und Ablauforganisation113 7.5.2.4 Verknüpfung der IT117 7.5.3Post-Merger117 7.5.3.1 Integration der Kulturen118 7.5.3.2 Akzeptanzmanagement119 7.5.4Öffentlichkeitsarbeit119 7.6Integrationscontrolling120 8Fazit122 LiteraturverzeichnisXII InternetverzeichnisXIX AnhangverzeichnisXXITextprobe:Textprobe: Kapitel 4.3.4.1, Fragebögen: Bei der durchgeführten Untersuchung bzgl. der Methoden zur Bestimmung von Unternehmenskulturen, erhielt die Methode Fragebögen einzusetzen mit '17' den höchsten Wert der Untersuchung. Fragebögen gehören zur Gattung quantitativer Befragungen. Grundlage eines Fragebogens sind eine vorherige Dokumentenanalyse, sowie ein Firmenrundgang und die Durchführung einer Beobachtung. Auf den ersten Eindruck erscheint diese Methode somit sehr zeit- und kostenintensiv, jedoch wird hier lediglich die Durchführung einer Befragung mittels Fragebögen betrachtet. Um die Ergebnisse qualitativer Befragungen statistisch abzusichern, besteht die Möglichkeit eine quantitative Befragung durchzuführen. Hierzu wird ein Fragebogen schriftlich festgelegt, anhand dessen (vorab strukturierte) Antworten beispielsweise angekreuzt werden können. Die Auswertung solcher quantitativen Befragungen gibt Aufschluss über die Meinungsverteilung und kann prozentual genau bestimmt werden. Mit nur durchschnittlichem Zeitaufwand und eher geringen Kosten wird dieses Modell vor allem aufgrund seiner Befragungstiefe sehr interessant und findet in der Praxis häufig Anwendung. Quantitative Befragungen als Analysemethode zur Erfassung von Unternehmenskulturen stellen sich als äußerst hilfreiches Mittel dar. Sie erfassen unter Berücksichtigung der Ergebnisse der qualitativen Befragungen wichtige Kulturmerkmale und liefern wichtige Erkenntnisse bezüglich der Verhaltensmuster, Werte und Normen der Organisationsmitglieder. Durch die Auswertung und Interpretation der Ergebnisse erhält man ein exakteres Bild der herrschenden Unternehmenskultur und kann zugleich erkennen, 'welche Aspekte der Kulturveränderung für das Unternehmen die größte Bedeutung haben oder in welchen Bereichen […] der größte Handlungsbedarf besteht'. 4.3.4.2, Gruppeninterviews: Eine weitere Methode ist die Anwendung von Gruppeninterviews. In diesen werden mehrere Organisationsmitglieder gemeinsam interviewt. Unter der Annahme, dass Unternehmenskultur ein gemeinsamer Lernprozess ist und gleichzeitig durch diesen entwickelt wird, können hier wichtige Erkenntnisse, z.B. zur Ausprägung der Kommunikation entnommen werden. Mit einem Ergebniswert von '16' im Rahmen der durchgeführten Untersuchung unterstreicht diese Methode ihre Einsetzbarkeit. Vor allem hinsichtlich der Befragungstiefe dieses Instruments ist zu erkennen, dass hieraus weitreichende Erkenntnisse zu ziehen sind. Dennoch ist bei kritischer Würdigung dieser Anwendungsmethode festzustellen, dass vor allem durch die Gruppeninterviews subjektive und unter Umständen irrelevante Einzelmeinungen ausgeblendet werden. Auch hier ist auf die Unternehmenskultur, die durch einen gemeinsamen Lernprozess entsteht, abzustellen. 4.3.4.3, Persönliche Interviews: Neben den Gruppeninterviews stellen persönliche Interviews zusätzliche Informationen bereit. Als zugehörige methodische Ansätze stehen hierzu Gruppen-interviews und Fragebögen in Form von quantitativen Befragungen zur Verfügung. Bei der Untersuchung der Methoden zur Bestimmung von Unternehmenskulturen erhielten persönlichen Interviews einen Wert von '15'. Es ist hierbei vor allem wieder auf das Kriterium der Befragungstiefe hinzuweisen. Dieser Bestwert zeigt, dass neben den Gruppeninterviews und dem Einsatz von Fragebögen sich die Durchführung persönlicher Interviews hinsichtlich der Befragungstiefe am meisten lohnt. Im Rahmen der persönlichen Interviews (qualitative Befragung) werden Organisationsmitglieder zu möglichst vielen relevanten Themen befragt. Zwar wird die Befragung anhand eines Interviewkataloges organisiert, dennoch besteht aber die Möglichkeit, die Befragung nicht statisch, sondern flexibel und variabel durchzuführen. Hiermit wird sichergestellt, dass ein breites Spektrum an Informationen durch das jeweilige Organisationsmitglied bereitgestellt wird und über alle relevanten Bereiche Auskünfte zur Verfügung gestellt werden. Bei genauerer Betrachtung der qualitativen Befragungsmethode wird deutlich, dass diese Alternative ebenfalls äußerst gewinnbringend eingesetzt werden kann. Durch die Filterung der Informationen, die während des Einzelgesprächs preisgegeben werden, können Rückschlüsse auf die Unternehmenskultur gezogen werden. Dies ist vor allem der Tatsache geschuldet, dass jedes einzelne Organisationsmitglied für die Unternehmenskultur von prägendem Charakter ist. 4.3.4.4, Beobachtung: Eine Methode zur Erfassung der Unternehmenskultur ist die Beobachtung. In der oben durchgeführten Untersuchung erhält sie einen Wert von '15'. Ähnlich wie bei der bereits vorgestellten Methode der Fragebögen, befinden sich Zeitaufwand und Kosten in einem moderaten und annehmbaren Bereich. Dennoch können gerade bei dieser Methode große Rückschlüsse auf die Organisationsmitglieder und ihr Verhalten gezogen werden. Hierbei werden vor allem die von den Organisationsmitgliedern angewendeten Problemlösungsmethoden betrachtet und das Ermitteln der herrschenden Unternehmenskultur als Lernpro-zess verstanden. Es wird hinterfragt, aus welchen Gründen bei der individuellen Problemlösung jeweils unterschiedliche Handlungsalternativen gewählt werden und warum diese zugleich innerhalb des Unternehmenskollektivs akzeptiert werden. Zudem wird die Methode der Beobachtung im Rahmen von Sitzungen eingesetzt. Hierbei kann eine sich entwickelnde Dynamik erfasst, sowie vorherrschende Werte analysiert werden. Voraussetzung für diese Beobachtungsmethode ist zum einen Beobachtungskompetenz. Das bedeutet, dass in den Prozessabläufen Beobachter (also die handelnden Organisationsmitglieder) beobachtet werden. Daher wird die Beobachtungskompetenz auch als 'Kompetenz der Beobachtung zweiter Ordnung' bezeichnet. Eine weitere Voraussetzung ist auf der anderen Seite das Vorliegen von Beobachtungstoleranz. Diese spiegelt sich in der Akzeptanz der Beobachtung durch Beobachter seitens der agierenden Organisationsmitglieder wieder. Unterzieht man diese Methode einer kritischen Würdigung, ist jedoch festzustellen, dass nicht nur diese zwei Voraussetzungen alleine ausschlaggebend für die Bestimmung der Unternehmenskultur sind. Vielmehr ist zusätzlich die Tatsache zu berücksichtigen, dass interne Beobachter ebenfalls von der herrschenden Unternehmenskultur geprägt sind und diese entsprechend bewerten. Wird die Unternehmenskultur allerdings durch externe Experten ermittelt, so wenden diese die in ihrem externen Unternehmen vorherrschende Unternehmenskultur an.

AbstractThe title of this thesis is An Analysis of Language Style Used in the Slogan of AdvertisementThat Found in the Internet. It aims to determine the type of language style that used in eachkind of slogans. The writer examines for the meaning contained. Descriptive method used toexplain the data. Four steps exercised by the author, who has to determine the sources, collect,analyze & present the data. The writer used Agih method (Sudaryanto: 1993). The authoremploys An Introduction to Sociolinguistics theory by Holmer, Janet. (1992), Metode andTeknik Analisis Bahasa theory By Sudaryanto (1993). The writer found the different oflanguage style used in the same categories of slogan. The writer make an analysis about thedata with divided the data one by one in the same categories of product.Key words: Language Style, Slogan, Advertisement, InternetINTRODUCTIONAdvertising or advertisementis a form of communication used to persuadean audience (viewers, readers or listener) totake some action with respect to products,ideas, or services. Most commonly, thedesired result is to drive consumer behaviorwith respect to a commercial offering,although political and ideological advertisingis also common. Advertising messages areusually paid for by sponsor and viewed viavarious traditional media; including massmedia such as newspaper, magazines,television commercial, radio advertisementoutdoor advertising or direct mail; or newmedia such as websites and text messages.Beside, Crabtree, et al(1991:237) say that:"Advertising is a business inwhich language is used to persuadepeople to do things, for examples tobuy some product or vote someone,and / or believe thing, for example, thatsome one corporation is trustworthy orsome political philosophy is good one"Like other advertising media,online advertising frequently involves both apublisher, who integrates advertisements intoits online content, and an advertiser, whoprovides the advertisements to be displayedon the publisher's content. Other potentialparticipants include advertising agencies thathelp generate and place the ad copy, an adserver who technologically delivers the adand tracks statistics, and advertising affiliateswho do independent promotional work forthe advertiser. Internet advertising is a formof promotion that uses the Internet and2World Wide Web for the expressed purposeof delivering marketing messages to attractcustomer. Examples of internet advertisinginclude contextual ads that appear on searchengine result pages, banner advertising, intext ads, Rich Media advertising, onlineclassified advertising, advertising networkand e-mail marketing, including e-mail spamand slogans.A slogan is an advertising taglineor phrases that advertisers create tovisually express the importance and benefitsof their product. By and large, it's a theme toa campaign that usually has a genuine role inpeople's lives. It has the ability to loanpeople's time and attention by puttingconsumers at the heart of the solution. Everyday we see millions of messages andcatchphrase everywhere from print media tointernet advertisement.Slogans are powerful marketingtools that can motivate their customers tosupport their brand. The best slogans areinstantly recognizable. It is an advertisingtag-line or phrase that advertisers create toovisually and verbally expresses theimportance and benefits of their product.Internet advertisement use somelanguage style. It purposes to attract theirconsumer. The language style has greatcontribution in attracting people whobrowsing the internet. So, they use languagestyle that interesting to the netter.In this research the writer tries todescribe and to look for the forms oflanguage for her analysis in internetadvertisement. At this analysis, the writerfocuses on language style used in slogans ininternet advertisement.Holmes (1992: 1) saysthat: "Sociolinguistics isconcerned with the relationshipbetween language and context inwhich it is used".In this case, the writer took some researchthat have relation with language variety,there are: The first one , Maria (2000) aboutlanguage style in some short stories as foundin Cool 'n Smart magazine in her research,she analyzes casual style and slang which,are found in Cool 'n Smart magazine. Sheanalyzes longer expressions(which idiomatic meaning) that arecharacteristic of slang usage. Another one,Anti (1998), about non-standard Indonesianlanguage in teenager magazine. In herresearch, she analyzes style of language inshort stories in teenager's magazines.Advertising or advertisement is aform of communication used to persuade anaudience (viewers, readers or listener) to takesome action with respect to products, ideas,or services. Most commonly, the desiredresult is to drive consumer behavior withrespect to a commercial offering, althoughpolitical and ideological advertising is alsocommon. Advertising messages are usuallypaid for by sponsor and viewed via varioustraditional media; including mass media suchas newspaper, magazines, television3commercial, radio advertisement outdooradvertising or direct mail; or new media suchas websites and text messages.Beside, Crabtree, et al(1991:237) in Arri Anti (1998 )saythat:"Advertising is a business inwhich language is used to persuadepeople to do things, for examples tobuy some product or vote someone,and / or believe thing, for example, thatsome one corporation is trustworthy orsome political philosophy is good one"According to Wikipedia, a sloganis a memorable motto or phrase used in apolitical, commercial, religious, and othercontext as a repetitive expression of an ideaor purpose. A slogan is an advertising taglineor phrases that advertisers create tovisually express the importance and benefitsof their product. By and large, it's a theme toa campaign that usually has a genuine role inpeople's lives. It has the ability to loanpeople's time and attention by puttingconsumers at the heart of the solution. Everyday we see millions of messages andcatchphrase everywhere from print media tointernet advertisement.Slogans are powerful marketingtools that can motivate their customers tosupport their brand. The best slogans areinstantly recognizable. It is an advertisingtag-line or phrase that advertisers create forvisually and verbally expresses theimportance and benefits of their product.The style of language that speakersuse with friends, when one a job interview,when talking to parents, the situationallanguage is called language style. Accordingto Holmes (1992:245), states that theaddresses and the context affect out choice ofcode of variety, whether language, anddialect. From the definition, the writer canconclude that language style is variety ofspeakers which is following the writer byaddressing and context.According to Holmes (1992:236) astandard variety is generally one which iswritten and which has under gone some ofregularization or codification (for example,in a grammar and dictionary), it is used for H(high) function a long side a diversity of L(Low) varieties.A Standard language variation isgenerally: (1) Used in the news media and inliterature (2) Described in dictionaries andgrammar (3) Taught in school and to nativespeakers when they learn language as aforeign languageAccording to Halim (1980) in Chaer(2004:192) non standard language is varietythat has indication or symbol fromcharacteristic to set out of the way fromnorm of standard language also calledinformal language.Non standard language shows greatervariety than standard language. The highersocial position of the non standard speakers,4the more nearly do they approach thestandard language.According to Richard, et al (1985)non standard language is use in speaking orwriting; with differ in pronunciation,grammar or vocabulary from the standardlanguage. Sometime the expressionsubstandard is used but linguist differ theterm non-standard as it a more neutral term.According to Holmes (1992: 74), there aremany components of the meaning of the termnon-standard language, they are;(1)Unstandardized or uncodified variety(2)Refers to the way it's acquired in thehome at first variety (3)It's used forrelatively circumscribed the function(4)Used in informal situationOne mark of an informal language isthe frequent occurrence of slang. Almosteveryone use slang occasions but it is noteasy to define the word. According toFromkin (1985:276) slang has been definedas "one of those things that everybody canrecognize and nobody can define".Regardless of social position, almostall people use slang from time to time.According to Yeager (1981:183) slang isanother word that is difficult to define butexpresses a concept that is understood byalmost everyone; probably the fundamentalquality of a slang term is not generallyaccepted. Slang words may come about bycombining to do word, by introducing acompletely new word. Slang expressionshave come and gone ever the year, some toreturn again but other never does. At thesometime, though same slang expressionsare remarkably resilient and persistent andsurvive over long periods of time.Akmadjian (1984) in Sudrawati(1999) explain about slang as follows:(1)Slang is part of casual informal styles oflanguage use (2)Slang like fashion in dottingand popular music, changer rapidly(3)Specific areas of slang often associatedwith particular social group, and hence onespeaks teenager slang.A daily activity has conversational language.Generally, colloquial style is not reallyattention to pronunciation, choice or words,or sentence structure. According toAlwasilah (1986:59) in Arry Anti (1998) thatcolloquial is words or phrases that are onlyused in utterances in spoken language. Itused in casual conversation. Educationnative speakers of a language normally usecolloquial speech in informal situation withfriends, fellow worker and members of thefamily.In this research, the writer would liketo use some theories in order to support indevelopment this thesis. The theories will bedescribed briefly, that is language style,formal and informal language, for exampleslang and colloquial.RESEARCH METHODOLOGYIn this research, the writer also usedthe qualitative method is a processing of5research, which is have a result descriptivedata like spoken or written language. In thisresearch, the writer uses this method toanalyze the language style as found inslogans in internet advertisementIn this research, the writer took the data fromslogans in internet advertisement. In internetadvertisement the writer copying someslogans into a flash disk and found some datafor to analyze. The data are categorized intofood and beverage, automotive, cosmetics,electronics etc.To collect the data, the writer usesobservation method. Observation methoditself is observes the language from thesource of data, that are some slogans ininternet advertising. In collecting the data thewriter browse the internet and uses flash diskto save the data in both formal and informallanguage which includes the words thatrelated to the research.DISCUSIONBased of the analysis, language style inadvertisement can be describe into nonstandard (that are slang and colloquial) andstandard languageNon StandardSlang1) BRYLCREEM - "A Little Dab'll DoYa!"From the example above, the sloganis about men's pomade or hair cream. Slangis not based to the true meaning but to thecontext. In the true meaning the word Dab'llsame with Dabble or playing with water butin the context meaning the word Dab'll isslang that means the hair is gloss or shiny ona surface because that hair cream.2) BURGER KING – It'll blow your mindawayFrom the example above, the word'blow' in the true meaning the wind action tomake something has different position orlook. But in the context meaning the word'blow' is slang version that means make yourmind only thinking about this food.3) GOOGLE - Don't be evilFrom the example above, the word'evil' in the true meaning has a negativemeaning or it is a crime or bad spirit. But inthe context meaning the word 'evil' is slangversion that means stupid. It is fit with theslogan because Google is the one of manysources of knowledge, information, socialnetwork etc. with Google the people cansmarter not stupid anymore.4) SUZUKI SWIFT - It's a boy thing.SWIFT, wanna play?From the example above, the word'wanna' in the true meaning is 'want to'.But in the context meaning the word'wanna' is slang version that meanschallenge. It is based from the slogan thatsays It's a boy thing. So are you brave to getthe challenge?5) AUSTRALIAN TOUR – So where thebloody hell are you?6From the example above, it is a sloganabout the tourist industry. The word 'bloodyhell' in the true meaning has a negativemeaning or may be a swearword. But in thecontext meaning the word 'bloody hell' isslang version that means to make sure wherethe place you wish will to go toColloquialA daily activity has conversationallanguage. Generally, colloquial style is notreally attention to pronunciation, choice orwords, or sentence structure. It used in casualconversation. Education native speakers of alanguage normally use colloquial speech ininformal situation with friends, fellowworker and members of the family.6) KFC - Finger lickin' Good!From the example above, it is seenthat the word lickin' is the colloquial versionfrom licking' is the standard language byswitching the alphabet g with the symbol 'from the word licking' become lickin' fromcolloquial. Because this word is not aboutthe creation of completely new word, it isonly about the change the spelling that isswitching one alphabet with one symbol butnot change the meaning.7) Mc D - I'm Lovin itFrom the example above, it is seenthat the word Lovin is the colloquial versionfrom Loving is the standard language bydeleting the alphabet 'g' from the wordLoving become Lovin from colloquial.Because this word is not about the creationof completely new word, it is only about thechange the spelling that is deleting onealphabet but not change the meaning.8) L'OREAL - Because you're worth itFrom the example above, it is seenthat to be 'are' from "Because you're worthit" contracted with pronoun 'you'. In Englishstructure it is should be 'you are'. The wordis colloquial because this slogan is notpaying attention to grammar or the word notabout the creation of completely new wordsbut only about the change the spelling of theshortened pronunciation.9) LG - "Life's Good"From the example above, it is seenthat to be 'is' from "Life's Good" contractedwith pronoun 'life'. In English structure it isshould be 'life is'. The word is colloquialbecause this slogan is not paying attention togrammar or the word not about the creationof completely new words but only about thechange the spelling of the shortenedpronunciation.10) Visa - "Its Everywhere you want to be"From the example above, is same withthe above. To be 'is' from Its Everywhereyou want to be" contracted with pronoun 'it'.In English structure it is should be 'it is. Theword is colloquial because the word notabout the creation of completely new wordsbut only about the change the spelling of theshortened pronunciation.7Standard Language11) Canon - "See what we mean"In example above the advertiser makethe slogan in standard language. It can beseen through the sentence is made in goodgrammar, good spelling and formalvocabulary, so this example uses the formallanguage. So this example is suitable to useon formal language style of advertisingslogans.12) Nike - "Just do it"In example above the advertiser makethe slogan in standard language. It can beseen through the sentence is made in goodgrammar, good spelling and formalvocabulary, so this example uses the formallanguage. So this example is suitable to useon formal language style of advertisingslogans.13) Haagen-Dazs - Pleasure is the path tojoyIn example above the advertiser makethe slogan in standard language. It can beseen through the sentence is made in goodgrammar, good spelling and formalvocabulary, so this example uses the formallanguage. So this example is suitable to useon formal language style of advertisingslogans.14) Red Cross - "The greatest tragedy isIndifference"In example above the advertiser makethe slogan in standard language. It can beseen through the sentence is made in goodgrammar, good spelling and formalvocabulary, so this example uses the formallanguage. So this example is suitable to useon formal language style of advertisingslogans.15) Matchbox - We sell more cars thanford, Chrysler, Chevrolet, and Buickcombined.In example above the advertiser makethe slogan in standard language. It can beseen through the sentence is made in goodgrammar, good spelling and formalvocabulary, so this example uses the formallanguage. So this example is suitable to useon formal language style of advertisingslogans.CONCLUSIONLanguage style is the ways toshow the freedom of expression, tocomment, to express the ideas, feelings, andgive information to other people. Languagestyle is a part of communication. That usedusually in some situation such as on schooland internet. On this situation usually thepeople mostly use variation of languagestyle.BIBLIOGRAPHYAlwasilah, A. Chaedar (1986) SosiologiBahasa. Bandung: Angkasa.Anti, Arry, (1998) An Analysis of Non-Standard Indonesia Language inTeenangers Magazines. Thesis S1:Padang. Bung Hatta University.8Chaer, Abdul. (2004) Sosiolinguistik.Jakarta : PT. Rineka Cipta.Fromkin, Victoria and Rodman, Robert.1985. An Analysis to Language. LosAngeles: Holt Rinehart and Winston,Inc.Holmer, Janet. (1992) An Introduction toSosiolinguistics. New York:Longman.Http://en.wikipedia.org/wiki/Advertising_sloganHttp://en.wikipedia.org/wiki/ InternetAdvertisementHttp://en.wikipedia.org/wiki/Online_advertisingHttp://en.wikipedia.org/wiki/SloganMeri Efrina (2006) An Analysis of LanguageStyle in Advertising of CleoMagazine. Thesis S1: Padang.BungHatta University.Nurul Huda (2004) An Analysis of LanguageVariation Used in Teenlits. ThesisS1: Padang. Bung Hatta University.Richards, Jack. (1985) Longman Dictionaryof Linguistics. Longman.Spolsky, Bernard. (1998) Sosiolinguistics.Longman York press.Sudaryanto (1993) Metode dan TeknikAnalisis Bahasa. Yogyakarta: DutaWacana Uuniversity Press.Sudrawati (2004) An Analysis of casual styleof Advertisement in AnekaMagazine. Thesis S1: Padang. BungHatta University.Yeager, Edwar. (1981) An Introduction tolinguistics. Boston : Little Brown andCompany

Part one of an interview with Amelia Gallucci-Cirio. Topics include: Recognition of the September 11th tragedy underway. Amelia's involvement in the Center for Italian Culture and the Alba Program. Pride in the Italian heritage and the importance of preserving it. The history of where Amelia lived in Connecticut and Massachusetts, while she was growing up. Memories of her relatives. What Amelia's childhood was like. Where in Italy her parents were from. Amelia's experience attending Fitchburg Teachers College from 1934-1938. Attending band concerts in Caldwell Park. Dressing up for Sundays, holidays, and to go downtown. How Fitchburg has changed. How people's values have changed. The role of church in a community. Social clubs. How Amelia met her husband. Where Amelia and her husband have traveled together. What inspired Amelia to donate money towards the education of others and the preservation of Italian culture. ; 1 LINDA: This is Linda [unintelligible – 00:00:02] for the Center of Italian Culture. We are interviewing Amelia Gallucci-Cirio. And I'm sure I didn't say that in the Italian way. I'm sorry. AMELIA: Yes, you did. That was right. LINDA: Okay. It's Wednesday, September 11, and we are in the home of both Anna [unintelligible – 00:00:23] and Amelia's cousin, Rachel Montorri, and the address is 479 Lindell Avenue in Leominster. It's a beautiful morning. It's 10:20 a.m., and we're starting a little bit late today because there was a national tragedy today, and there are unconfirmed reports that there was a terrorist attack against the United States, and there have been two planes, at least two planes, that have flown and struck the World Trade Center. There was a plane that struck the Pentagon about a half an hour after that. There are unconfirmed reports of a fire at the State House, and The White House has been evacuated and the Blair House, many buildings in Washington. People are very, very nervous today. So we will talk a little bit about that, I'm sure, but Anna and Amelia and Rachel are here with us today, of course to talk about the Italian-American experience, particularly in Fitchburg and Leominster. And Amelia, thank you very much. I suppose that we have to thank you for a lot of different things. Not just for appearing today to… AMELIA: Well, I'm happy to do it. May I preface this by quoting something from Cicero? Cicero, the great Roman orator and statesman, said, "Not to know what happened before we were born is to remain perpetually a child, for what is the worth of human life unless it is woven into the life of our ancestors by the records of history." I think that's so important. LINDA: Now, did that sort of formulate your reason for creating the center? AMELIA: Yes. Yes, and one of the reasons was I wanted to -- I'm very much interested in Western civilization and the Italian language and its culture, and I thought I think I'm capable of making donations, and my Fitchburg 2 State College would be the first to accept it, although I've also made donations to other organizations. In Waterbury, Connecticut, we have a program that I hope is going to carry on here in Leominster also. It's the Alba Program, in which children ages 6 to about 13, 14, study Italian through playing games and celebrating holidays and birthdays and so on. And we've been doing that in Waterbury, Connecticut for about five years, and I hope the Center for Italian Culture will also take that on as another project. And I've already talked to Anna, and they're very much interested in it. LINDA: Now, this is in Italian language? AMELIA: Yes, studying the Italian language and its culture, and there will be four or five teachers teaching the youngsters. LINDA: Now, has it been successful in Waterbury? AMELIA: Oh, yes. They've been working for about five years, and it's down to Teikyo Post University in Waterbury, Connecticut, and they meet there at the center every Saturday morning for about an hour and a half, two hours. And the children play games and they learn Italian expressions, and when it's a birthday they celebrate and say buon compleanno and so on. And the grandmothers just love it because the children go up and talk to Nonna and Nonno and so on. Yeah. And I hope that that is one of the projects they're going to take on, and talking to Anna they seem to be very interested in doing that. LINDA: Certainly anything that perpetuates the culture. AMELIA: Yeah, that's right. LINDA: Now, what's that, the Fitchburg State College website—and I'm not sure, you probably know this, but your profile has an alumni. AMELIA: Yes. LINDA: And I read -- and the very first item is that there is, "Know thyself." AMELIA: Yes. Socrates said, "Know thyself." And so we've translated that into Italian. [Foreign language – 00:04:58], meaning "Know thyself." And I 3 think I'd like to use that as our motto for the Center for Italian Culture, and not always is it included, but that's what it means. LINDA: What does it mean specifically to you? And how does it help you live your life and give donations? AMELIA: It means that… well, I know when I was a child it was difficult. We didn't have everything. My father died when we were quite young, and there were seven in the family. My older brother, Joseph, who Rachel knows, took on the responsibilities of father. It was an old Roman custom that the oldest son in the family would take over when the father died. So I thought since I am capable of doing it, I want to help children who weren't capable of learning their language or taking part in going to school, and that's what I'm doing now. LINDA: And why do you think that's important to learn about your heritage? AMELIA: It's so very important because today with so many different ethnic groups, oftentimes Italians of the TV and radio programs always talking about the mafia, and I feel that we are somehow -- Italian people don't defend themselves. But I think during the Clinton Administration they did pass a ruling wherein the Italians during World War II -- I know my mother, she wasn't a citizen, and during that time she couldn't travel. She had to go to the post office to get permission to attend a wedding in Waterbury, in Rhode Island, rather. And we are often made the scapegoat, and I think that we have to educate our people and teach them something about our background, something about our culture. We have a great culture, and the school systems at one time didn't talk about that, but I think it is being included in the curriculum today. LINDA: How do you feel about The Sopranos then? AMELIA: Oh, I'm very much not in favor of that at all. And I think that the Sons and Daughters of Italy and the NIF, and now that we have several, much more than we did in the past, congressmen of Italian origin, I think they are working to try to get them to remove that stereotype and talk more 4 about what Italian Americans have contributed to society. Going back to the time of the Romans and so on. LINDA: How did you feel when Geraldine Ferraro was running for vice president? Not necessarily her as a person or what she stood for, but was there a particular pride, ethnic pride? AMELIA: I don't know, but I know when she was running for vice president, we attended the NIAF dinner in Washington, D.C., my brother Joe, Christine, my two sisters and I, we all went down to Washington. We all went there, and she was a speaker, and we were very much in favor, naturally, being Italian American. But unfortunately there was some negative advertising about Geraldine, and that didn't help at all. LINDA: I remember specifically that there were some questions about her husband's dealings, possibly in the mafia. AMELIA: Oh, yes, yes. LINDA: There was a real backlash with that just because they have an Italian last name, and just because they're successful, it doesn't automatically make you… ANNA: What is she doing now? LINDA: I think she's quite sick, or she was. AMELIA: Yes, I think she is. LINDA: I'm not sure the form of cancer. ANNA: Oh, that's too bad. LINDA: One thing has confused me, because I read that you were born in Fitchburg… AMELIA: Yes, I was born in Fitchburg. LINDA: We'll have to change that on the website. It says that you were born in Connecticut. AMELIA: No, we were born in Fitchburg. We were born on my grandpa, my grandpa Luigi Scarano came from Italy with my mother. Mama was 17 years of age, and with Rachel's mother, Filomena, who was 13. Grandpa came with his two daughters to America, and then my grandmother came 5 with the rest of the family, and they settled down first in Boston, I think. [Foreign language – 00:10:10] Did you hear your mother talk about it? They went there and then they all came to Fitchburg, and Grandpa built that tenement house on Second Street? Did you see it? RACHEL: Middle Street Lane. AMELIA: Right. When my mother married my father, they lived in Clinton. My brother Joe was about 5 years old. Then we moved to Fitchburg, and my sister Christina was born in the block where Grandpa, Grandma, your mother was there. We all lived in the block. And then I was born the following year, May 12, 1915. And we were there for a couple of years. RACHEL: Yeah, not very long. AMELIA: And then we moved back to Connecticut. My father followed a young sister—he was always protecting her—and we lived there for a while and then back again to Fitchburg, and my brother Tommy was born here. LINDA: No wonder you like to travel. AMELIA: And then we moved back again to Waterbury, Connecticut. My father was a baker. He came from a family of bakers, and he set up a grocery store and a bakery shop, and we were there about three years, and then we moved to Naugatuck, Connecticut because his sister moved closer to another brother, and we have been there ever since 1925. But I came back to Fitchburg where I was born to attend -- it was called Fitchburg Teacher's College, and I lived with my grandmother and my uncle Joe, who was a violinist. And Anne studied violin with my uncle, and I remember when she was downstairs practicing and I was upstairs studying. So I was going to Fitchburg, we lived in Connecticut, and then I came back to Fitchburg for my bachelor's degree, and then I taught in Naugatuck in Connecticut for about eight years, and then I married in '52 and went to Phoenix. LINDA: Could you spell Naugatuck?6 AMELIA: Yes. N-A-U-G-A-T-U-C-K. It's a small community. Well, I wouldn't say small. It's about 35, in between Waterbury and New Haven, Connecticut. ANNA: That's what it is now? The population? AMELIA: Yeah, I would say. But my mother was never happy there because her mother was in Fitchburg and her sisters and brother and so on. LINDA: So do you have any memories of Fitchburg? Let's say your earliest memory. AMELIA: Yes. I remember when we all lived on 2nd Street in the block. [Unintelligible – 00:13:07] Oh, I thought it was 2nd Street. ANNA: I think you're right. AMELIA: I always remembered 2nd Street. And I remember when Anna's mother also lived there. Her uncle, who was Rachel's father -- was he responsible for bringing your mother to Fitchburg? RACHEL: Yeah. AMELIA: I remember her father must have been courting her mother, and he was such a wonderful man. Oreste. We used to go there and we'd sit on his knee, and he would give us all – that, I remember very distinctly. Those were happy days. LINDA: So what were their names? We should get that on tape. ANNA: Oreste. O-R-E-S-T-E. Guglielmi. G-U-G-L-I-E-L-M-I. And my mother, Carmela. C-A-R-M-E-L-A. Giammarino. G-I-A-M-M-A-R-I-N-O. And my mother came to America when Rachel's father, who was Michael Giammarino, called for her to come, and my father at that time was living in that neighborhood. He was boarding in a house there. Yeah, he was boarding on 3rd Street, at the Lily House. And he courted my mother, and they were married in 1920. LINDA: So your father -- tell us the relations. ANNA: Yeah, okay. My mother, Carmela, and Rachel's father, Michael, were brother and sister. Now, Rachel's mother, who was Filomena, F-I-L-O-M-E-N-A, and Amelia's mother…7 AMELIA: Anna Maria. ANNA. Her first name was Anna, Anna Maria, were sisters. So we're first cousins. AMELIA: What would the relationship between you and me be? RACHEL: Distant cousins. AMELIA: Yeah, I guess. LINDA: So getting back to your earliest experiences, so you remember her father? AMELIA: Oh, yes, yes. ANNA: He would bounce them on his knee. AMELIA: In fact, my sisters always say that -- yeah, we remember when Oreste used to sit us on his knee and… ANNA: He loved children. AMELIA: Yeah, he did. He was a wonderful man. And then of course I remember when I lived on Blossom Street with my uncle after they moved, Uncle Joe with Grandma and Grandpa moved to Blossom Street, 82 Blossom Street, and that's where he taught violin. And he used to come there summers, and they had a beautiful home, and Tommy would get on the banister and slide all the way down to the first floor. RACHEL: We've gone by that house. AMELIA: Oh, it's terrible. RACHEL: There was one house that we went by and you were disgusted. Maybe that was your first home? ANNA: No, I remember just saying what a shame to see it like that. RACHEL: But it wasn't Blossom Street. LINDA: So now is Blossom Street considered part of the Patch also? ANNA: No. Blossom Street is towards Fitchburg State College. LINDA: Okay. Who owned that house? ANNA: Her uncle? AMELIA: Oh, Uncle Joe. And Grandmother and Joseph Scarano. ANNA: Who was the son of her grandfather, her grandparents? LINDA: Okay. So tell me more about the Patch.8 ANNA: The Patch started at First Street right near where St. Bernadette's Church. RACHEL: It used to be the school. ANNA: St. Bernadette's Elementary School at that time. And it went down to Fifth Street where they have the Fifth Street Bridge, which is now being repaired and remodeled. And it started from Water Street going back to Railroad Street. That whole small section, they called it the Patch. RACHEL: And it was predominantly Italian. ANNA: Yes. LINDA: But Amelia, do you have any vivid memories of maybe what you did for fun? AMELIA: As a child? LINDA: As a child. AMELIA: I really don't know, because when I left Fitchburg, I was about 3 or 4 years old, and then we did come back there during the summer months in our teen age. Prior to that, we didn't. Uncle Joe used to come down with Grandma during the summer months when we lived in Naugatuck, but not until my late teens, probably. LINDA: How did you travel back and forth? AMELIA: Uncle Joe used to come down and pick us up. Uncle Joe would come down and pick us up in Naugatuck. LINDA: What kind of car? What kind of automobile was he using? AMELIA: Uncle Joe always had a Chrysler. ANNA: We were young, and we thought that was special. AMELIA: And he always got a Chrysler because I think he had stock in the Chrysler. RACHEL: Could be. LINDA: When he came down to Connecticut to pick you up, how many of you were there? AMELIA: Well, my brother Joe was always working to support us. There was Christine, Connie and I, Tommy and Donald, and Mama. ANNA: Anne.9 AMELIA: Oh, and Anne too. Yeah, we used to come summers for a couple of weeks or so and then go see an aunt. The youngest of the Scaranos was Aunt Rosella. Do you remember her, Anna? ANNA: I do. AMELIA: She played the piano. RACHEL: She was the most Americanized than the rest of them. She played the piano… AMELIA: Well, she was the youngest and had more schooling than the older ones. LINDA: And where are you in relation to your siblings? Are you -- you're in the middle, perhaps? AMELIA: There's Joseph, Christine, and then I. I'm about the middle, the third. There were seven in the family. Two boys are gone, and there are four sisters, three are in Phoenix. No, two are in Phoenix, and I'm with them, too. So there will be three in Phoenix and one sister is still in Naugatuck, Connecticut. And Donald, the youngest -- actually, his name was Dante. Papa called him Dante. But when they went to school they Americanized it to Donald. Donald is in Phoenix also. LINDA: How was it growing up in Connecticut? Did you see… maybe you didn't get to Fitchburg enough to notice any differences, but do you recall any differences? AMELIA: In what? LINDA: On just growing up in your area in Connecticut and then coming up to Fitchburg, which is probably booming at that time. AMELIA: In Fitchburg? LINDA: A lot of different people. AMELIA: No, we lived in this tenement house that we bought, and my father ran a grocery store and a bakery shop on the first floor. You know, I have a lot of pictures that -- did you say that you wanted them? I could send them to you. I don't have them with me. And there's a picture of the family is standing in front of the grocery store and going to school in a two-room schoolhouse on Groveside School and going to the Naugatuck High 10 School. Christine and I were very much interested in books and studying, and we spent a lot of time in the library. So the years in Naugatuck when we didn't come to Fitchburg were not very interesting. It was mostly studying and being with my brothers and sisters and my mother, because my father left -- well, he went back to Italy when Donald was a baby, and my brother, Joe, being the oldest went to work. So Papa left when I was in the 7th or 8th grade, and when I was a sophomore in high school we found out that he passed away. So he's buried in Italy, and I've gone to visit him many times when I went to Italy with my husband. LINDA: Did you live in a predominately Italian section? AMELIA: Yes. We lived on what they call Little Italy. And speaking about Italian section, for the past couple of years when I go back to Connecticut, to Naugatuck, we have a little reunion. We had it last year, and all the Italian Americans from that Little Italy section, we get together and I entertain them to dinner. We had a trio come and play for us. We've done that for several years, but because my two sisters didn't come with me this year I'm not going to do it. I'm spending more time in Fitchburg. LINDA: So tell me a little bit about growing up in your family with seven children, your father's a baker, then he leaves to go back to Italy… AMELIA: Well, the reason for going back to Italy was that he wanted to claim his share of the inheritance, but unfortunately it didn't work out that way because his brother, his oldest brother, Pasquale… Oh, hi Kathy. This is Rachel's daughter. LINDA: Hi, I'm Linda. KATHY: Hi, Linda. [Crosstalk - 00:24:04] RACHEL: So, what have you heard from the last half hour?11 KATHY: Well, you know about the Pentagon? And now they just said there was another plane crash outside of Pittsburgh about 30 miles. They don't know if it's related. Pittsburgh, a big aircraft went down. ANNA: Another building? KATHY: No. It crashed. RACHEL: That's too bad. KATHY: Are you crying? AMELIA: No. I have tear duct blockage, so I've got -- no, no. I'm fine. KATHY: Well, don't let me interfere. [Crosstalk – 00:24:38] LINDA: Are there any reports of who's responsible? KATHY: What's his name, Arafat there, he said he thought it was a horrible thing, and he would never ever have caused such a turmoil – but who knows if you can believe him? But that's what he said. A lot of people. I called [unintelligible – 00:25:19] because she had worked there at the Trade Center, but she and her husband are okay. They weren't there at the time. [Crosstalk – 00:25:27] KATHY: Hopefully all the planes are now secure. All right, ladies. RACHEL: Where are you going? KATHY: I'm going to the dentist now. I'm getting my teeth cleaned. I'll see you. Take care. Goodbye. Nice meeting you. AMELIA: So you asked me about what was it like growing up in a family of seven? LINDA: Yes. AMELIA: So where was I now? So my father went to Italy to claim his share of the inheritance. The family came from a business family, and they were well to do, and Papa was one of four. So he went back, and his brother, who was the oldest in the family, and he evidently didn't get along, so he didn't get anything. He just passed away in '31 when I was a sophomore and Christine was a senior in high school. We were a very close-knit family. We worked together and studied together, and as I said Christine and I 12 were very much interested in the library. We worked at the Naugatuck Public Library, and we got a scholarship that summer, both Chris and I. RACHEL: And she lived in Spain. AMELIA: Well, Christine studied Spanish. This is after I got married. LINDA: Which town was your family from in Italy? AMELIA: My mother was from Lacedonia. Her mother was born there, and of course Rachel's mother. Lacedonia [unintelligible – 00:27:45] Cavallino, Italy. And I've been to there. When I went with my husband after we married and lived there for two years, we were coming back to America and he said, "You've got to see where your mother was born." So we went to Lacedonia, and we met some relatives. I have pictures; that was back in Connecticut. And then we also went to visit my father's home place. My father came from [unintelligible – 00:28:13] in Italy, and we went to visit the family home. And at that time we met this aunt who I asked if I could visit my father's grave, and she had a niece of hers take me to the cemetery, and he was not buried in the family mausoleum. He was buried just as a commoner. She didn't want him there. So we visited… LINDA: What region is that in? AMELIA: Pardon? LINDA: The region. AMELIA: Well, it's all Campagna, it's all that region, it's Campagna, but it's [unintelligible – 00:28:55]. Mama's was Campagna also, but it was [unintelligible – 00:29:00]. It's a little inland from Naples, right. And you know, right at the foothills, going up to [unintelligible – 00:29:10], it's in the mountains, it's a little town by the name of Galluccio. It ends in an "o." Our name was Galluccio. When Papa came to Ellis Island in about 1902, the immigration authorities couldn't spell it, so they left the "o" out. So "Gallucci" means roosters, it's the plural. And "Galluccio" is the singular rooster.13 LINDA: That's interesting. AMELIA: And we have roosters all over the house. LINDA: Did your parents ever share with you their trip to Ellis Island? AMELIA: No. I don't remember, but I know my mother said that when they came to America with Grandpa and her sister Filomena, it was a rough crossing on the French ship Nuestri, N-U-E-S-T-R-I. Mama did tell me that. And she said it was a very rough crossing. LINDA: The courage… AMELIA: Oh yeah. I don't know what ship my father came on, but he must have come about the same time. LINDA: It's really simple now. There's a website, although it's impossible to log on. AMELIA: Oh, I know. My brother Donald had a hard time getting that information. Grandpa came on May 27, 1902. He did get that information. LINDA: So it sounds like you're a very educated family, or at least you and your sister. And musical, too. Who instilled those qualities? AMELIA: Pardon? LINDA: Who instilled those qualities? AMELIA: Well, when we came to visit Grandma in Fitchburg there was always music, you know. Uncle Joe played the violin, Bella played the piano, and the [Guiliamus] were all musicians in their family. The four girls all played an instrument. Did you know that? Yeah. Her sister Lena played the piano, Anna played the violin, Mary played the… LINDA: The saxophone. AMELIA: Saxophone. LINDA: And Helen, drums. AMELIA: Right. And Helen the drums. And then my father learned opera. We had an old mahogany victrola that you used to wind up, and we had all the records of Caruso and [Jean B.[ and [unintelligible - 00:31:45], so we grew up in a family that was always moving. [Crosstalk] So in fact, even now, they're still very much interested in music. The opera season starts 14 in Phoenix during the second week in October; that's one of the reasons I want to get back. LINDA: Yeah. Where do you go for opera? AMELIA: [Unintelligible - 00:32:19] LINDA: Yeah. They do have opera. I think the music season begins in mid-October. AMELIA: October, yes. Pavarotti is coming to Boston. Oh, I'd love to hear him. He came to Phoenix one season but we just couldn't get tickets. ANNA: [Unintelligible - 00:32:41]. It's a movie. AMELIA: Oh, that's right, yeah. LINDA: Well we'll have to make a copy of this if this is okay. ANNA: She's responsible. AMELIA: Oh yeah, I'm the family historian. I think that was my graduation. ANNA: I hardly recognize her. AMELIA: No, that was Peter's wedding. There's Aunt Rosella. My mother was the oldest. Aunt Clair was the next, then Aunt Fil was third, and Uncle Joe, and Aunt Rosella was the baby. Yes. Filomena, that's Rachel's mother. My mother and Aunt Fil came with Grandpa. Unfortunately, I don't have any pictures of Grandpa. ANNA: That's Joe the violinist. AMELIA: Yeah, Uncle Joe. ANNA: I know. Clair and Rosella. LINDA: So how do you feel about Andrea Bocelli? Is he too much of a pop, more than opera? AMEILA: Well, I listened to him, and he hasn't come to Phoenix, but I still like Pavarotti, old days, more polished singing. Yes. LINDA: I went to see Andrea Bocelli when he was in Connecticut probably two years ago. AMELIA: He was in Connecticut? LINDA: It was at the Hartford Civic Center, and people were actually crying, waving Italian flags. It was quite an experience.15 AMELIA: I've seen him on television when they had that program, what was it? New York? LINDA: Radio City? AMELIA: Mm-hmm. LINDA: So mostly, I usually talk to interviewees about Fitchburg, but maybe what we should do -- actually, why don't we stay with Fitchburg a little bit since you attended school here, and you graduated in 1938? AMELIA: Yes. LINDA: So that means you began in '34? Was it a four-year program? AMELIA: It was a four-year program. I graduated from high school in '34. I got a scholarship for $150—that was money in those days—so I came to Fitchburg. LINDA: What was the tuition? Do you remember how much it was? AMELIA: Oh, I don't think tuition was -- well, being an out-of-stater was the reason why I had to pay more, and I think that the tuition was about $150 to $200. What I -- the scholarship I got in Naugatuck took care of that. But then the second year, being a resident of Fitchburg, I don't think there was much of a fee. LINDA: And was there any question of you attending college, or did you always assume that you would go on? AMELIA: Oh yeah, I always assumed that I would go on to college, and of course my sister, Christine, was very much interested going to school, but she and my brother had to work to support a family of seven and my mother, so because I had gotten a scholarship and Christine was working and Peter Paul at the time, right after high school, but she wanted to go to college so bad. So after I married, my husband said to me, "We've got to help your sister to go to school." So Christine after working for 26 years at Peter Paul went to college. She graduated from the University of Connecticut with a bachelor's, and she went on to study Spanish—she majored in Spanish—and she studied in Madrid and Mexico City. LINDA: What a nice story.16 AMELIA: And she's a retired teacher now. She doesn't teach now. Yeah. LINDA: So there were two of you from your family… AMELIA: Yeah, Christine and I, and my youngest sister Anna, she was interested in commercial, and she went into bookkeeping and that sort of thing. She went to a business school for a couple of years. And Donald too, the baby in the family -- oh dear, Rachel's going to take it out of me -- Christine, Connie, and I, we took that in Las Vegas. Yeah. ANNA: That's a nice picture. AMELIA: We're so close to Las Vegas; we go there a couple of times a year. Yeah. LINDA: So now getting back to Fitchburg, you came in 1934. AMELIA: Right. Four years. LINDA: Did you consider going to college anywhere else, or did you consider only Fitchburg? AMELIA: No, I considered -- maybe it's because we had relatives there. You know, my grandmother was still there and mama said, "It would be nice if we could come and visit you," and so on. ANNA: Was that a normal school then? AMELIA: Well no, it was the Fitchburg Teacher's College. It was known as a teacher's college. It trains teachers and industrial arts teachers. LINDA: That's right. AMELIA: But now they teach everything, don't they? Amazing. LINDA: And who did you live with? AMELIA: I lived with my Uncle Joe and grandmother at 82 Blossom Street. LINDA: Did you and Anna and Rachel go to visit? AMELIA: Oh yeah. Always together. LINDA: What kinds of things did you do together for fun activities? AMELIA: Oh, we used to go to Whalen. We used to go to Whalen Park, we went swimming. We used to go on picnics and family gatherings. Anna's mother was a great cook. LINDA: All of you were unmarried at this time?17 AMELIA: Yes. We were all single. I married late in life. I think it was 37 when I got married. ANNA: I still remember that time. AMELIA: Yeah, you were still in high school, Anna. And we attended concerts. Uncle played with the -- what was it? ANNA: The symphony. AMELIA: No, that was in Boston. He played with a band here in Fitchburg. What was it called? ANNA: It was a marching band, Fitchburg Community Band. They had Sunday afternoons at Caldwell Park. AMELIA: Yeah, Caldwell Park. Right. So we used to go to that. LINDA: Tell me more about that, about the concerts at the park. Was there a bandstand? ANNA: Gazebo, right? On Mirror Lake. LINDA: It's still there? I played there too. AMELIA: Do they still have concerts there now? ANNA: Mm-hmm. Sunday afternoon. AMELIA: Tell me what it was like going. For example, did you dress in your Sunday's finest to go? AMELIA: Oh yeah, we always did dress on Sunday. ANNA: We didn't wear jeans and sneakers unless you were in your own backyard. And if you had to go downtown, you had to change your clothes. AMELIA: Right. And girls always had to wear stockings. ANNA: And skirts or dresses. On Sunday you'd have your hat and gloves and bag. AMELIA: Oh yeah, and attend church first, right? LINDA: And when you would go downtown and it wasn't Sunday, would you wear a hat and gloves, or was that primarily… AMELIA: I think that was mostly for church on Sundays. ANNA: But you always dressed to go downtown. AMELIA: Oh yeah.18 ANNA: I think they had more pride in their appearance than they do today. I used to pick up my mother as well, and she always had the hat and the gloves, and they had to match. Every Easter you had to go out and buy a new hat. LINDA: Would you go downtown by yourselves, or would you travel with girls? ANNA: We would walk most of the time. A mile and a half was nothing, right? There were no cars. You'd walk downtown, and I think the main activity was going to a movie once a week. I liked going to the movies. And then you'd stop and have an ice cream on the way home. AMELIA: Uh-huh, and wasn't there a movie at Blossom Street theater where Uncle used to play? The Cummings Theater. That's right. And they always had music there, and it was live music. ANNA: Right. Because Uncle Joe played the violin there. AMELIA: Oh, but Blossom Street has changed so. ANNA: Oh, it's terrible. LINDA: What was it like then? Your memories? AMELIA: They were nice-looking buildings, there were some -- what was that building where your mother worked with Mr. [Burren]? That brick building. ANNA: [Chimmers]. AMELIA: And then there was an apartment there next to that, and Dr. Ames, who lived right next to Uncle Joe, that was a nice building. And across the street from Uncle Joe's building was the -- what was that funeral home? ANNA: No, that was the Knight of Columbus home. AMELIA: Oh, the Knights of Columbus home was next to that. So they were good-looking buildings, and they have taken me up there last year and this year, and I just don't… ANNA: Oh I know. It's sad. LINDA: What happened? AMELIA: I think a lot of Puerto Ricans have come in, haven't they? And a lot of blacks have moved in. And for some reason or another, the buildings are not kept up. You should see what they did to Uncle Joe's building. Now,19 Uncle Joe's—the house that he lived in—was a beautiful classical building. The man who built it was a contractor. I can't think of his name. He was a contractor and had beautiful columns on the porch, and whoever lives there now boarded it all up. It's not the same Blossom Street. ANNA: They were mansions, I think, on the street at that time. Beautiful mansions. Big homes and huge homes. And there are other things now. AMELIA: Right. Although, the upper part of Blossom Street is not as bad. It's still very -- it's still a nice neighborhood. And that's where Mike lived didn't he? Mike, your son? ANNA: Yeah. I think it's still nice. AMELIA: And I used to walk from Blossom Street along Pearl Street all the way to teacher's college every morning. ANNA: We did a lot more walking in those days than we do today. AMELIA: Ann, didn't you walk down from where you lived to go for your violin lesson with your violin in your hand? ANNA: Yeah. AMELIA: And your mother always walked to church, every morning. LINDA: I imagine that you're talking pretty much great distances? Like a mile and a half. AMELIA: Oh, I would say a good mile and a half, two miles, yes. ANNA: And I walked that to high school. A couple of miles. LINDA: You must have felt very safe. AMELIA: Yes. There are a lot more cars now than we had, too. ANNA: Especially in Coggshall Park. Nowadays they warn you not to walk alone. Walk as a pair. AMELIA: Right. And it was even safe at night walking. You can't do that today. LINDA: We can't have any movement on the table. I'm just afraid that we're not going to -- I feel bad telling you, but I don't want the tape to be… [Crosstalk - 00:44:50]20 ANNA: They would freeze it in the wintertime, and we used to walk up there for skating, ice skating. We'd come home at 9:00. There were no lights on, you know. But we had no fear. LINDA: When would you say things start to change? ANNA: After the '40s, I think. LINDA: After the '40s? ANNA: After the '50s? AMELIA: I know sometimes in Connecticut, when I used to go to meetings in Waterbury and I wasn't driving, I would take the bus home at night, even as late as 11:00, and walk up the hill to Culver Street where we lived then, and it was still safe. I would say, yeah, maybe I would say starting with the fifties, it wasn't safe, you know, to walk, to be alone. LINDA: So what happened though? Did people lose a sense of pride? ANNA: I think so. In the city we have the hippies and the campus unrest in the '60s. LINDA: But did anything like that happen specifically in Fitchburg? ANNA: Well, you read of accidents and crimes, and they would happen in the areas like Coggshall Park, for instance, and there were crimes up there. And then, you would, be wise not to go, and you wouldn't walk alone. And now, I don't think you'd even go up there in the daytime by yourself, never mind at night. LINDA: Well, I'm wondering is it a gradual feeling to see your city decay a little bit? I'm not from Worcester, but I've lived in Worcester since 1978, and that was certainly after the heyday and the booming industry, and things started, I suppose, or had already gone downhill. Now there's a real rebirth, but I was wondering, how do you feel living in a city you're so proud of and that your parents came to make a better life, and they worked so hard to make your life better, and they worked very hard to own their own home and they probably took very good care of it and had a garden in the back, whatever. And how do you feel, just being part of that generation that saw both ways of life: the working hard, striving hard, 21 having to work for every penny, to perhaps new ethnic groups coming in and being given money and not working? ANN: That's right. That's happening. AMELIA: I know when our parents came, a lot of them went to South America because they weren't allowed -- the immigration laws today are a lot more lax, I think. They allow everyone to come in, but at the time that our parents came to the United States, the laws were a lot stricter. A lot of them went to South America. Now, Grandpa's brother emigrated to South America, Argentina. He couldn't come here to the States, couldn't come to America. A lot of them went to Argentina and Australia, too. LINDA: Did your dad have to come -- so he must have tried to come later. AMELIA: Yeah, a little later. That's when the immigration laws, I think they were a little strict. But today they're allowing all types of people to come in. I don't know why, and… ANNA: There's a lot more crime. Either that or we're hearing about it. AMELIA: Well, I think when we were brought up we didn't have television. If we had radio, we were lucky to have a radio, and we were taught to knit, and to crochet, and to sew. Children are not taught that today. Our parents were at home. When we came home from school our parents were home, and they taught us all these crafts. Today, parents are working, they're not at home, they have television. I think we have a lot more outside influences that affect our way of living. And with the drug trade, too -- we didn't have that when we were growing up. I think that's why we had such change. LINDA: When you were growing up and you came home from school, your mother was there cleaning, cooking, washing. AMELIA: That's right. Washing clothes or getting ready for -- uh-huh. LINDA: And you were probably expected to help? AMELIA: Well, Mama would say to me, "You do your homework, and afterwards you can help me." And she taught me how to sew. I used to make all my clothes through high school. Of course I don't have time now, but yeah, 22 young people were taught crafts. They were taught to knit and sew and crochet. Kids don't know how to do that today. LINDA: What about values? ANNA: We were taught to say "Thank you," [unintelligible - 00:50:23]. AMELIA: Yeah, that, too, has changed, and I think it's all because of the fact that mothers are not at home to teach their children, and there are a lot more outside influences that affect children, and they don't have mannerisms. I don't know why but… ANNA: Well it all comes from the family background. AMELIA: Yeah, well that's true. ANNA: It's a changing world. LINDA: As I sit here and record, I'm interested in my own family history too, and that's really how I got involved in this project: because my great-grandmother and my great-grandfather came from Italy. AMELIA: Really? What part? LINDA: Calabria. AMELIA: Calabria, yes. LINDA: Sometimes I wish—and I know a lot of people from my generation—almost wish we could go back to a more simple time. And a lot o f times what I hear is that we have too many choices today, and that confuses people. Do you feel that you had choices growing up? AMELIA: Yes. I think they were restricted. There were certain things that we had to do, and after we completed those, then there were choices. ANNA: A handful. AMELIA: Well, I didn't have to be told to do my homework but if I hadn't done my homework and if I hadn't helped my mother with some of the cooking, then I was rewarded on Sunday. We were given five cents, and we could do whatever we want. And she would take us shopping and buy us a new pair of shoes or something that we don't usually have at home. But today I think the children have too much. At the age of 16 they're taught -- they're given a car. At the age of 16.23 LINDA: Now, if someone from your generation ever had a car at 16, would they have to work for it? ANNA: I don't think that would happen. If you had your license you may borrow. If you had to do an errand, borrow your parents'. For your own benefit? I don't think that would happen. AMELIA: I think that children are given too much today by their parents. Look at the parking lot, the high school parking lot. The cars that are there, I think that creates a lot of trouble. I think the parents are partly to blame for the shenanigans of the young people. They're not fit for them; they haven't taught them the value of… ANNA: Even bus transportation, you know, they were all bussed to school, then they join the gym for exercise. AMELIA: Right. LINDA: I never thought of that. ANNA: They could walk, save a lot of money. AMELIA: Of course, they use the excuse that there's a lot more traffic, which is true, and there is a lot more traffic and more dangers, that's true. ANNA: We have a lot of traffic here. Worse, isn't it? LINDA: But as I talk to second-generation Italian Americans and, again, just going back one generation, everyone had to work hard, and all of you seem very happy and stable and have good values. Are those being promoted in your own families? ANNA: In my family, I think I passed it on to my children. They're all good. And I think they are passing it on to their children. But they're still young, and you wonder, as they grow up are they going to get into other things. You don't know. There's a lot of outside influences now. AMELIA: That's right. Going to school and intermingling with other children, other children that haven't had the upbringing and are taught the values that you have taught yours, and they're influenced by them, you know. LINDA: How much of that is an Italian-American experience? ANNA: I think it is a Italian-American experience.24 AMELIA: Oh, definitely. I think there is that among the Italian-American families. ANNA: There's that spiritual and moral life. AMELIA: And helping within the family. ANNA: They're helping their family by helping other families too. AMELIA: As well, yeah. ANNA: You see that need and you try to alleviate the problem if you can, lessen the problem. AMELIA: And the fact that they're Catholic religion helps, you know, from the start, and you can bring it on to your children. ANNA: Loads of people don't go to church like they used to. AMELIA: That's true. ANNA: I think that should help a lot. Truthfully. LINDA: Speaking of church, did all of you -- perhaps not you, but you probably attended St. Anthony's? AMELIA: Oh yeah, my mother was married there. Rachel's mother, your mother. St. Anthony's of Padua, is that the St. Anthony's… ANNA: St. Anthony of Padua. I was there until I married, and then I moved to Leominster. LINDA: So you think that that was a great influence on people? ANNA: Definitely. AMELIA: Oh yeah. I think it's up to the parents to instill that in their children, and I think among the Italian Americans it's far greater than maybe in any other group. Don't you think, Anna? ANNA: I do, yes. It probably came from the old country too. And if you go to Catholic school, that all helps. LINDA: Now, did both of you go to Catholic school? AMELIA: No. There wasn't any. No. ANNA: The only reason I was able to go to St. Bernard's for eight years was because Uncle gave them lessons. AMELIA: Oh, at St. Bernard's school? ANNA: You don't remember that?25 AMELIA: No. ANNA: I think that helped them to get that in. AMELIA: Grammar school? ANNA: Grammar school. Eight years. LINDA: They didn't allow Italians, or there wasn't enough room for Italians? Which was it? ANNA: I think it was mostly their own parishioners, right? The children of their own parishioners that would attend the St. Bernard's school. And it wasn't until the mid '60s that the other parishes built their own schools. AMELIA: But did you have to pay anything to attend? Oh you did. There was a minimum. Uh-huh. I know that the Catholic school that we have in Naugatuck, they have a lot of the children from not necessarily the Irish or the Italian, but a lot of the Protestants are going there too. They feel that they're doing a better job teaching than they are in the public schools. ANNA: I think it is that way now. I think there are Protestants of other nationalities who go to, for instance, St. Anna's school, which is a mostly Italian parish. But I'd say half of the students at the school are of other nationalities. AMELIA: Yeah, and the tuition is very high too. ANNA: Yes. It's not affordable for many, many people. AMELIA: I know my sister Christine, she made a donation to the appropriate school in Naugatuck, and she gets thank-you notes from parents saying "Thank you, we appreciate the scholarship that you gave to our child so he could attend a Catholic school." LINDA: So tell me: what it was like going to St. Anthony's? ANNA: Church. AMELIA: I don't recall, because I was a little girl when we left Fitchburg, but we went to Naugatuck. And as Anna said before, we would dress up in our finest, you know, and attend mass. And then after that go home and have a nice big Italian dinner with the family. ANNA: The whole family would go to church together.26 AMELIA: Father and mother and children, yeah. LINDA: And when would you go to confession? AMELIA: The day before, Saturday. ANNA: About two in the afternoon, you'd be called in. "Clean up, get ready for confession. Dress. Go to church." Confession, I haven't gone in years. AMELIA: And we always dressed up. Isn't it a shame to see children in shorts going to church? ANNA: The parents sometimes are worse than the kids. LINDA: If you weren't going to a parochial school and you were Catholic, where did your Catholic education come from? AMELIA: They had classes. ANNA: They did? AMELIA: Yeah. ANNA: The parish had nuns, and Saturday would be catechism. Saturday morning. And in fact, a lot of -- we spoke of knitting and crocheting and embroidery. They would have classes taught by the nuns. AMELIA: The nuns would teach, yeah. ANNA: And your summer was not spent out on the street. You'd go to a school where you would learn to embroider and crochet and knit. Cutwork, beautiful cutwork. Nuns would teach. And this is how summers would go. LINDA: Every day? Every day of the summer? ANNA: Every day. You'd have either the morning session or the afternoon. Or both. If your parents -- especially if the mother was working, the nuns would take over. LINDA: When you were kids or even when you came to college here in Fitchburg, did you ever go to any of the social clubs with Anna or Rachel, or…? ANNA: Marconi Club. AMELIA: Oh, that's right. Was that in Fitchburg? ANNA: Yes. AMELIA: I don't remember.27 ANNA: They still have it, but you weren't [unintelligible - 01:02:36]. AMELIA: Your father was really [unintelligible - 01:01:44]. Oh yes. ANNA: He built that club. AMELIA: Oh really? ANNA: He built the building, and all the Italians that came from that region would meet with him. AMELIA: Do they still have…? ANNA: The still have it. AMELIA: They still have it. Isn't that nice? LINDA: Did you belong to any social clubs in Connecticut? ANNA: There weren't that many there. AMELIA: Yeah, they did have a social club. I remember going to high school with my sister Christine and some of the other Italian girls living down with [Litley], that's where we lived, we would get together every Saturday night, and we would knit or sew or crochet or do something. ANNA: Parishes had social clubs. We had the Children of Mary that all the young girls that were not married would belong to that, and they would meet maybe once a week, and they would have breakfasts, trips; they would organize trips. Then they had the Lady of Mount Carmel for the married women, and they would have the Sacred Heart of Jesus for the men, the young boys. And they would organize trips, and there would be a bus going up to Caldwell Park -- not a bus, they would walk there -- but there would be a bus maybe going to some other distant park where they would take a picnic lunch. I remember going up to Simon Park… AMELIA: Oh, the family. ANNA: Yes. We would cook the dinner at home and bring it up there and eat with all the friends at Simon Park, right? That was… AMELIA: Still around? ANNA: Yes. So I think that was the social life. It was all within the parish or the Italian-American community. LINDA: Amelia, when did you get your interest in art?28 AMELIA: Interest in art? Well, that started in high school. I was very much interested in art. Our high school, Naugatuck High School, had a lot of Roman statues throughout the corridors, and they took -- it was through the library that we took courses, my sister Christine and I. We would go there and they would have different people in the community talk about art during the time of the Romans, during the time of the Middle Ages and so on. LINDA: So when you came to Fitchburg was the art museum established? AMELIA: No. I wasn't down; I don't know if it was established at the time. I had become interested in the art museum just recently after Fitchburg State College, last year when I told Mr. Peter Chin, who is the Director of the Fitchburg Art Museum, that I was very much interested in Western civilization, and that's when we became involved In Fitchburg State College working with the museum. LINDA: Do you ever wonder how your life would have been different if you perhaps fell in love and married someone from Fitchburg? AMELIA: Not necessarily, no. I think that the man that I married was a businessman and very much interested in Italian culture. Even though my father and mother instilled in me the love of Italy and the love of Italian culture, I still feel that he got me more interested. We've traveled to Italy and saw a lot of art, architecture, and learned more about our background. LINDA: How did you meet him? AMELIA: Oh -- did you ask me that question the other day? Someone asked me, "How did you meet your husband?" LINDA: Maybe I did. AMELIA: Well, I was studying here at -- it was during the time I got my master's at BU, and Uncle Joe played with the Boston Symphony in Boston. And they were having a concert, and -- oh no, I was teaching in Naugatuck -- and they were having a concert in Boston, so I took a train from New Haven to Boston. I was supposed to meet my uncle. And on the train, I went into the dining car, and there was a gentleman sitting across, and he 29 looked over and he said to me, "May I join you?" I said yes, so we had dinner together, and it was my husband whom I had met. ANNA: She was getting the idea. AMELIA: Yeah, so we started correspondence, and that went 'til he came to see to visit my mother and the family and so on. And the summer of '52 we got married. 1952. That's a long time ago, isn't it? LINDA: Did he live in Boston? AMELIA: No, he had a -- his place of business was in Brooklyn. He was originally from New York, and he had a vending repair shop and did very well. And he was going to Italy in '92, and he said to me, "Why don't we go together?" LINDA: In '52? AMELIA: Yeah, in 1952. So that's when I got married. And we married and then we went to Italy on honeymoon on the Conta Bianca Ma, on the ship that my father sailed on, never returned. And we stopped in North Africa, in Casablanca and all those beautiful places, Algiers, and -- with the ship, you know, Conta Bianca Ma, it took about 12 days and many of the passengers aboard that ship were World War II veterans. So we had a lot to talk about because my kid brother, Tommy was… ANNA: In the service. AMELIA: In the service, right. And then we got into Sicily and then went to Naples and disembarked and traveled all over Italy. We lived in the Busi area for two years, and in '54 we returned to America, and then that's when I went to see, visit my mother's home place. My husband said, "You can't leave Italy without seeing your mother and father's birthplace!" and that's… LINDA: So had he sold his business in Brooklyn and went to… AMELIA: Yeah, he sold his place in Brooklyn and wanted to get married, and he always wanted an Italian-American girl, so that was it. LINDA: Was he older than you? AMELIA: Yes. He was about nine years older than I. He died in 19 -- very bright man. He had a lot of money. He went to Phoenix and invested in 30 property, but we came back every summer because it was hot in Phoenix, temperature of 107, 108, 110, and we used to come back to Connecticut and then we went to Italy. I've been on all the liners: the Sistulia, the Independent, the Lucania, the Julius Caesar. LINDA: So did you enjoy taking a liner instead of -- do you still do that? AMELIA: No, we fly. The only liner, really, is the Queen Elizabeth, and then you go to London. I took that in '92. My sister, Connie, on the Queen Elizabeth about five days, and then we flew back on the Concorde. Nice experience. LINDA: What was that like? AMELIA: Oh, in 3 hours, 19 minutes, we were at Kennedy from London. LINDA: Do you feel differently when you're on that plane? AMELIA: It was wonderful. There was absolutely no turbulence, and my sister Connie is definitely afraid of flying. And even on the Concorde she said, "Are we all right? Are we all right?" Lovely, smooth flight. LINDA: What was it like taking off? AMELIA: You hardly know you take off, and we did not aboard the Concorde from the outside. They have a beautiful reception room where you go in from the airport. Let's see, what was it? What was the airport? ANNA: Kennedy? AMELIA: No, in London. Heathrow. Right. And you approach it from the inside, a beautiful dining room where they had all kinds of food, breakfast and all kinds of drinks, champagne in "orange," as it's called, boxes, which is mimosa, it's a mimosa. And all kinds of things. So actually, we boarded the Concorde from the inside. I wanted to get on from the outside so you could see her, you know. A wonderful experience. LINDA: But do you feel yourself really reaching great heights? AMELIA: No, you don't. You don't feel a thing. In about five minutes, we had climbed 26,000 miles. LINDA: Incredible.31 AMELIA: I have all those pictures in an album with all the notations. Yep, it's such a voluminous thing that I didn't want to take with me. But that was lovely. I'd like to do it again. LINDA: Well on July 17th, I was leaving London and there were cameras everywhere and I thought "Oh no," and we pulled into the airport and I thought there was a plane crash but it was the first Concorde taking off after that crash, I think from Paris. AMELIA: Yeah, Paris. Right. LINDA: They're rebuilding. AMELIA: Oh, they're rebuilding it? Have you been on a Concorde? LINDA: No. AMELIA: Oh, I see. Quite an experience. I think we reached the height of 58,000 feet. LINDA: Incredible. AMELIA: Wonderful. You don't feel yourself descending at all. And the food they serve, everyone has an individual table, there's all kind of linens and sterling silver. There are only 96 passengers. We tried -- Christine was supposed to come with us. She said, "No, I don't want to come." But she said she'd like to go on the Concorde. ANNA: Sounds like Connie. AMELIA: Yeah, I think British Airways -- what is it? About nine hours to cross? I think it's a long flight. LINDA: Well, it's longer coming back because of the wind. Actually, I think it's a little bit less now, maybe seven. So did you ever feel different being Italian? AMELIA: No, I don't. I'm very proud to be an Italian. LINDA: Yeah, I know. But ever growing up, did you ever feel discriminated? AMELIA: No, because at home my father always talked about Italians and what they've contributed, you know. And he was an educated man. In fact, did you know that my father was supposed to be a priest? LINDA: No, I didn't know that.32 AMELIA: Yeah. He attended -- what do they call it? Gymnasio was their high school. Was that right? LINDA: Gym -- AMELIA: Gymnasio. Is that the word for gymnasio? Papa attended the… yes, Papa attended the gymnasio, which was the high school, and then he attended Luceo, which is the junior college. ANNA: This is where? AMELIA: In Italy, in [Salunca]. Most families that had visited, they were bakers and they had a nice -- most families sent one child to study to be a priest, and my father was chosen. He was there two years and he didn't like it. What he saw, he didn't like. So he got on his horse and ran away, and the horse was riding along, went galloping up along a body of water. And he was so afraid that the horse was going to go into the water, so my father threw himself off and he had a great big gash here. Yeah. I remember him telling me that. Now there was always -- my father always told us about things of Italy, you know. Things Italy had done and the records that we played so that there was always culture at home. I was always proud to be an Italian. LINDA: So you're hoping that Alba Program, is that what you… AMELIA: Yes. LINDA: What does Alba mean? AMELIA: Alba means dawn, and since these young people are young, they're just beginning, the beginning of the day, Alba. And I gave it that name, and we've been doing that for five years in Waterbury. And I have an appointment at the University of Connecticut, where my sister graduated, and I have three nieces, all graduated from the University of Connecticut, majored in Italian. They have their doctorate in Italian. So I want to set up a center for the study of Italian culture there. I'm meeting with them on Monday of next week. LINDA: At the University of Connecticut? AMELIA: Yes. UConn, we call it. 33 LINDA: They have the Oral History Project. Like, at the Dodd Center I think they call it. AMELIA: I don't know. I'm meeting one of my nieces who teaches at UConn. She teaches Renaissance art, and she's going to take me there. Do you know any of the professors there? John Davis, I have an appointment with him. LINDA: So what was the turning point for you to start donating? AMELIA: To what? LINDA: Start donating money and trying to establish… AMELIA: My husband was always interested in doing something for -- in the school system, and it was he that said I should contact the Italian-American community in Waterbury when they advertised they wanted money for the Italian classes. Remember I told you? So shortly after he died, I decided to do that, and he was a very smart man at buying property, and I have sold property that has run into the millions, and I want to donate it to the school. So that's why I'm donating to the Center for Italian Culture, to Fitchburg State, to Post College in Waterbury, and to UConn. And also, the Society for the Promotion of Roman Studies in London, I am a lifetime member there, and my husband was always interested in that. LINDA: How did that come about? AMELIA: I just love Western civilization. Done a lot of reading, and then there are -- the Romans occupied London for almost -- let's see, about 500 years, and they are very proud of what the Romans had given to London. In fact, Queen Elizabeth, when she visited Italy and she attended one of the sessions of Parliament, she got up and said, "I want to thank you people for bringing civilization to London." So we are members for the Society of Promotion of Roman Studies, and they will be a contributor upon my death. I mention them in my will. It was he, really, my husband that started all this interest in Western civilization. LINDA: Truly admirable. /AT/pa/rjh/es