Supervision gilt im Krankenhaus als bewährte Methode der Personalentwicklung. Mit zunehmender Praxisverbreitung wird ein Bedarf nach wissenschaftlicher Evaluation und Weiterentwicklung formuliert, dem bisher nicht hinreichend Rechnung getragen wurde. Die Arbeit befaßt sich aus arbeits- und organisationspsychologischer Sicht mit Supervision in der Krankenpflege. Sie stellt den Stand der Forschung dar und untersucht, ob und in welcher Weise Supervision zur Prävention und Bewältigung arbeitsbezogener Belastungen dient. Untersuchungsfeld ist das Freiburger Universitätsklinikum, ein Krankenhaus der Maximalversorgung mit rund 8000 Beschäftigten, in dem die über 2500 Pflegekräfte die größte Berufsgruppe darstellen. Die Verfasserin ist als Diplom-Psychologin seit 1993 zur Supervision von Pflegenden und Stationsteams am Klinikum angestellt. Ziel ihrer Untersuchungen war es, den Stand der Supervision am Klinikum zu beschreiben und zu untersuchen, ob und inwieweit die intendierten Effekte und Ziele des Angebots erreicht werden. Pragmatische Perspektive war die Identifikation von Optimierungsmöglichkeiten, die für Konzeption und Durchführung der Supervision bedeutsam sind (formative Evaluation). Die Hauptfragestellungen umfassten deskriptive und evaluative Aspekte der Struktur-, Prozess- und Ergebnisqualität. Sie richteten sich auf das Erleben arbeitsassoziierter Belastungen, Erwartungen an Supervision, Akzeptanz und Inanspruchnahme, Inhalte der Sitzungen, Beurteilung des Nutzens und Prädiktoren für Supervisionsteilnahme. Durchgeführt wurden drei Studien. Datenquellen waren die fortlaufende Dokumentation der Supervisorinnen und Erhebungen bei Supervisanden, ehemaligen Supervisanden und einer vergleichbaren Kontrollgruppe Pflegender: Studie 1 Basisdokumentation Studie 2 Prä-/Postbefragung Studie 3 Katamnese mit Kontrollgruppe Die psychometrische Überprüfung der Gütekriterien der Instrumente erbrachte gute bis befriedigende Resultate, die Überprüfung der Skalenbildungen Hinweise auf eine reliable Erfassung der Konstrukte und Konvergenz mit der Literatur. Hauptergebnisse: • Pflege im Krankenhaus geht mit vielfältigen Belastungen einher. Zu den vorherrschenden zählen dabei neben hoher Arbeitsdichte Konflikte in der Zusammenarbeit im Pflegeteam und mit anderen Berufsgruppen. • Im Erleben der Pflegenden haben psychosoziale Belastungen einen höheren Stellenwert als die körperliche Beanspruchung durch ihren Beruf. Stress kann auf Ebene des Individuums, an der Schnittstelle Individuum-Organisation (im Team), sowie auf Ebene der Organisation entstehen. Umschriebene personenbezogene Faktoren (Alter, Geschlecht, Funktion auf Station) moderieren das Belastungserleben. Deutliche Effekte finden sich auch für das bedingungsbezogene Merkmal Abteilungszugehörigkeit. • Die Supervisionserwartungen und -bedürfnisse der Pflegenden sind realistisch an Möglichkeiten und Grenzen von Supervision geknüpft und dabei inhaltlich von den Arbeitsbelastungen auf Station bestimmt. Die Erwartungen sind in Abhängigkeit der Handlungserfordernisse Ziel- und Lösungsorientiert. • Bereichsspezifisch ist Supervision mit einem deutlichen Rückgang im Belastungserleben assoziiert. Unabhängig von personenbezogenen Merkmalen beurteilt die große Mehrheit der Pflegenden Supervision als wirksam zur Bewältigung ihrer Anforderungen im Krankenhaus. • Prädiktoren künftiger Inanspruchnahme sind neben den aktuellen Arbeitsbelastungen auch gute Erfahrungen mit bzw. ebensolche Erwartungen an Supervision. Letzteres verweist auf die Bedeutung einer bedarfsgerechten, umsetzungsorientierten Supervisionsgestaltung. Die Meta-Evaluation der Untersuchungen ergibt forschungsmethodische sowie praktische Konsequenzen für die Supervision im Krankenhaus: Bei expliziten Effizienzbetrachtungen (Kosten-Nutzen-Analysen) ist eine Ausweitung der Zielkriterien nötig. Neben subjektiven Aussagen müssen dann, unter Einhaltung des Persönlichkeits- und Datenschutzes, weitere quantifizierbare Daten erhoben werden (z.B. Leistungsdaten, Abwesenheitstage). Gleiches gilt für die vertiefte Erfassung personen- und zielgruppenspezifischer Effekte im Längsschnitt. Für die Supervision im Krankenhaus ergeben sich mehrere praktische Konsequenzen. Sie sollte niederschwellig angeboten werden, um zeitnah und bedarfsgerecht zum Einsatz zu kommen. Supervisoren sollten um die Determinanten arbeitsassoziierter Belastungen von Pflegenden wissen und diese situationsspezifisch sorgfältig identifizieren können. Bei Konflikten zwischen den Berufsgruppen ist es für die Effektivität einer Supervision unerläßlich, alle Konfliktparteien an einen Tisch zu holen. Ansatzpunkte von Supervision sind die individuelle Ebene, die Gruppenebene und die Schnittstelle Individuum – Organisation. Eine konsequent Lösungs- und Umsetzungsorientierte Supervision wird dem Bedarf von Pflegenden gerecht und erweist sich im Krankenhaus als effektiv. ; This thesis deals with psychological supervision groups for nurses working in hospitals. It reports on the state of the scientific research on work-related stress and on supervision groups in the hospital setting and evaluates empirically, whether and in what way these groups are being helpful in preventing and coping with work-related stress. The author is an occupational and organisational psychologist and psychological supervisor with Freiburg University Hospital. As a formative evaluation this work has two major concerns: firstly, to analyse scientifically the data collected in the field over several years in order to deduct evidence about the effectiveness of psychological supervision in a hospital setting; secondly, it reconsiders, develops and optimizes the practice of the so called "Freiburg Model" of psychological supervision groups for nurses. The conceptual background of the work is Occupational and Organisational Psychology. Freiburg University Hospital is a hospital of maximum care. All fields of medicine are represented by special clinics or institutes. More than 50.000 in-patients and nearly 380.000 out-patients are treated each year. The hospital employs a total of 8.000 people, among them 900 physicians. With over 2.500 nurses, this is the largest professional group. The hospital´s service of psychological supervision for nurses and ward teams aims at preventing psychosocial work hazards and at compensating for those hazards which are not fully inevitable in daily work on the ward. It is a hospital wide approach on the individual-organisational interface. The service was evaluated by three studies presented in this book: basic documentation, a longitudinal study and a cross sectional study with a control-group design. The psychometric properties of the instruments applied in the studies have been examined and proved to be good. The theoretical assumptions of the main dimensions based the on literature were confirmed. In summary, the scientific evaluation of the supervision groups´ effectiveness supports the following: Nurses are confronted with a great deal of work-related psychosocial stress. Characteristics of nursing are often a high work load and shortage of nursing staff, stress caused by patients´ problems, conflicts within the nursing team, poor work organisation and problems of communication and collaboration with doctors. The stress can arise at the individual level, at the individual-organisational interface and at the organisational level. Nurses´ assessment of work-related stress is moderated by personal and work-related factors. Nurses have a clear understanding of the potential and the limits of psychological supervision groups as a means of stress reduction. The expectations and needs regarding the supervision are articulated in a precise and goal-oriented way and relate closely to the specific stress at work. The perception of work-related stress decreases significantly after the supervision group sessions. The majority of the participants evaluate the psychological supervision as effective in preventing and overcoming psychosocial stress at work. This assessment is not affected by personal characteristics (e.g. age, gender, job position), thus indicating the effects of supervision being independent of these characteristics. Dealing with problems in interdisciplinary communication proves most successful when every party is represented in the supervision group. The wish of the former participants for future participation can be seen as a mathematical function of the present stress level at work and how they succeeded in translating groups´ outcome into action, whilst the wish of the so far non-participants for participating in the future is a mathematical function of the present stress level at work and their expectations regarding the groups´ effectiveness. The studies´ meta-evaluation emphasizes methodological as well as practical consequences. Methodological consequences for future research include investigating extended objectives -e.g. data on sick leave or rotation- when focusing on the cost-effectiveness of psychological supervision and using repeated measurement design for evaluating differential personal effects. In both cases, data protection legislation has to be fully taken into account. Practical consequences for psychological supervision groups in hospitals are: to provide easy access, to act early and in close response to demand, to acknowledge a problem at its source, to focus on problems on the individual-organisational interface, to include all parties concerned in a particular conflict and to translate resources into action.
The WSU Stewart Library Annual UC-UI Symposium took place from 2001-2007. The collection consists of memorabilia from the symposium including a yearly keepsake, posters, and presentations through panel discussions or individual lectures. ; Audio Recording ; " You Can't Get Anywhere Without Coming to Ogden: Railroading in the American West" a commemorative panel discussion presented at the 2004 Utah Construction/ Utah International Symposium Making Tracks by Dr. Richard Sadler Thursday, October 7, 2004 2 I grew up on the west side of the Salt Lake Valley and often was involved with, including a couple of summers, working on the railroad that went from Bingham to Magna that carried copper ore from the 1920s, and continues today to carry a concentrated copper that is milled at Copperton to the smelter and refinery on the north end of the Oquirrh mountains. In 1960 I traveled on a one way ticket from Salt Lake on the Western Pacific Railroad on the Feather River route. And as we talked about the Western Pacific I was telling my friend John Sillito I traveled that route, I can tell you what it was like. For many of us railroads are nostalgic. As I thought about us coming together today I thought some of you may have heard Peter, Paul, and Mary saying, " If you miss the train I am on, you will know that I am gone. You can hear the whistle blow…" How far? "… a hundred miles." Some of you will have heard Arlo Guthrie singing, " Riding on the city of New Orleans" traveling from Chicago through Tennessee to New Orleans. Some of you may have seen Gene Wilder in the film Silver Streak. We have railroads in both history and folklore. One hundred and fifty years ago people were talking all about John Henry, that steel driving man, who put himself up against a machine to see who could lay track the quickest. How about Casey Jones the engineer. And how about songs like, " I've been working on the railroad, all the live- long day. I've been working on the railroad to pass the time of day." Of course the live- long day may have meant a twelve hour working 3 day. " Don't you hear the whistle blowing; rise up so early in the morn. Don't you hear the captain shouting, Dina blow your horn." In 1765, the same year that the British Parliament passed the Stamp Act, which would lead, in part, to independence in America, James Watt, a Scotsman, invented an efficient steam engine. Seventeen years later in 1782 he patented it a steam engine that had pistons that would both push and pull and allow energy to be transmitted both ways when it pushed and pulled. The first important railroad in the United States was the Baltimore and Ohio which was begun in 1827 and then, in 1829, Peter Cooper, a New York manufacturer, built a steam engine he called the Tom Thumb. The Tom Thumb was an embarrassment to him because it lost a race against a horse because a belt slipped! It was still not powered in a way that locomotives would soon be powered. In 1833 when the Baltimore and Ohio had 133 miles of track, that was the longest stretch of track in the world. One American who dreamed of a transcontinental railroad and pushed for it in the decade of the 1840s was a man by the name of Asa Whitney. And, of course, two decades later Ogden would become the junction center for the first transcontinental railroad in the world. Railroads in the 19th and early 20th centuries were, to those folks, what today automobiles, rockets, and airplanes are all in one for us. So when we consider how important railroads were for those people, there is some nostalgia attached to it. For example, Carl Sandburg in his poem about Chicago said, " Hot butcher for the world, toolmaker, stacker of 4 wheat, player with railroads, and the nations freight handler, stormy, husky, brawling, a city of big shoulders." Not everyone loved railroads. Henry David Thoreau writing at Walden in 1846 said, " We do not ride upon the railroad, it rides upon us." So there were alternative points of view. I also liked him writing in Walden, " Beware of all enterprises that require new clothes." Another author, Philip Guedalla said, " The true history of the United States is the history of transportation. In which the names or railroad presidents are more significant than those of Presidents of the United States." Bret Hart writing about the May 10, 1869 joining of the rail said, " What was it that the engines said there, and for us we would say at Promontory, touching head to head, facing on a single track, with half a world behind each back?" Here we are in the area of the first transcontinental railroad of the world. Edna St. Vincent Malay and her poem entitled " Travel" said, " My heart is warm with the friends I make and better friends I'll not be knowing. Yet, there isn't a train I wouldn't take, no matter where it's going." And finally Langston Hughes, black poet with great feeling, wrote in his poem " Homesick Blues," " De railroad bridge's a sad song in the air. Ever time the trains pass I wants to go somewhere." So that whistle that still blows in Ogden, and Sacramento, and Omaha, and that even sometimes wakes us up at night, my friend Leisel Large up in Oregon, I am sure it blows a whistle up there too. We are going to be introduced today by my colleagues. I am delighted to introduce Dr. Kathryn MacKay, a member of our history faculty here at Weber, who is going to bring us to Ogden from the East and the Union Pacific Railroad. 5 She will be followed by Dr. Stan Layton, also a member of our history faculty but formerly the editor of the Utah Historical Quarterly for three decades. Stan does not look that old but he started young. He is going to bring us to Ogden from the West and talk about the Central and Southern and Western Pacific. And then our colleague Dr. Richard Roberts, emeritus professor of history, is going to talk about the Utah Central railroad and Ogden as a railroad center so we'll turn the time to these folks. Then we'll ask you for some questions and end up the discussion in that fashion. Does that sound alright? Thank you, Dr. MacKay.
[ES] En trabajos anteriores de este mismo autor se abordó el tema de los galeotes para el ámbito de la Corona de Castilla y para el período cronológico de los reinados de los Austrias. En esta ocasión el estudio de esta temática se ha extendido además a la Corona de Aragón y a los reinados de los Borbones del Antiguo Régimen. Como consecuencia de la politerritorialidad existente en la Monarquía Hispánica no hubo en sus dominios un único derecho penal aplicable en todos los reinos hasta la promulgación de los códigos penales de 1822 y 1848. En lo que se refiere a la implantación de la pena de galeras hubo una génesis y una evolución distinta en cada territorio. En Cataluña se comienzan a enrolar forzados en las galeras a comienzos del siglo XV. De tal forma que en 1438 esta pena está plenamente establecida en todos los territorios de la Corona de Aragón. Por lo que se refiere a Castilla, la pena de galeras fue introducida por Fernando el Católico y más tarde Carlos V, en 1530, la reguló plenamente y perfiló los delitos que se hicieron acreedores de la misma. Felipe II, por su parte, hizo un gran esfuerzo por aumentar el poderío de la flota de galeras. Por ello aumentó la duración délas condenas a galeras y amplió el número de delitos sancionables con ellas, tanto en la Corona de Castilla como en la de Aragón. En un principio no se estableció en ninguna parte la lista de delitos sancionables con la pena de galeras, sino simplemente se autorizó la conmutación de penas, corporales, destierros y otras similares por servicios de galeras. N o obstante la revisión de la legislación penal pone de relieve que con el paso del tiempo un buen número de delincuentes se fueron haciendo acreedores de trabajos forzados al remo: ladrones, blasfemos, bigamos, testigos falsos, desertores, huidos de prisión, vagabundos, resistidores de la acción de la justicia, etc. Como las necesidades militares fueron crecientes a medida que se fue desarrollando el proyecto hegemonista de los Habsburgo, se hizo imprescindible modificar algunos aspectos de la pena de galeras: Se aumentó la duración de las condenas, se introdujeron nuevos delitos en el catálogo de delitos sancionables con pena de remo, etc. Aunque no todos los remeros eran galeotes, éstos constituían la mayor parte de la fuerza propulsora de la marina de guerra mediterránea. La penuria de mano de obra forjó en la Corona una concepción utilitarista de la penalidad. En el artículo se analizan además los delitos castigados con galeras y la evolución seguida en tiempos de los Austrias y de los Borbones. Se finaliza explicando cómo era la vida diaria del forzado. El rigor del trabajo, la mala alimentación y las pésimas condiciones de la estancia ocasionaban altas tasas de mortalidad anual. Tras estudiar los tres siglos que aproximadamente componen la Edad Moderna, se llega a la conclusión de que con el transcurso del tiempo no se dulcificó la penalidad. Los ilustrados fueron conscientes de la necesidad de humanizar las penas, pero sus logros quedaron circunscritos al campo de las ideas en el siglo XVIII, preparando el terreno para que el gran cambio se produjera en el siglo XIX. Palabras clave: galeotes, criminalidad, pena de galeras. ; [EN] Previous studies of this author have dealt with the topic of convict oarsmen in the Crown of Castile during the period of Habsburg rule. For this study the theme has been extended to the Crown of Aragon and to the reign of the Borbons of the Old Regime. As a consequence of the multiple territories which comprised the Hispanic Monarchy, no one law applied to all of the kingdoms until the promulgation of the Penal Codes of 1822 and 1848. Regarding the implantation of the condemnation to the galleys each territory had its own genesis and separate evolution. In Catalonia convict oarsmen were first enlisted in the galleys at the beginning of the fifteenth century. By 1438 this punishment was fully established in all the territories of the Crown of Aragon. With regard to Castile, condemnation to the galleys was introduced by Ferdinand the Catholic and later in 1530, Charles V fully regulated condemnation to the galleys and the types of offences that incurred this punishment. For his part Philip II made a great effort to increase the power of the galley fleet. As a result he increased the duration of those condemned to convict galley service and widened the number of crimes sanctioned by it both in the Crown of Castile and that of Aragon. Initially neither territory established a list of crimes that incurred condemnation to the galleys. Instead capital punishment, exile and other similar penalties were commuted to convict galley service. Nevertheless, the revision of penal legislation highlighted that, as time passed, a good number of criminals became liable for forced labour at the oar: thieves, blasphemers, false witnesses, deserters, prison escapees, vagabunds, those who resisted justice, etc. As military needs grew as Habsburg hegemony developed, it proved necessary to modify some aspects of the condemnation to the galleys: the length of service of those condemned was extended, new crimes were added to those punishable by forced labour at the oar, etc. While not all oarsmen were convicts, they constituted a majority of the manpower that drove the Mediterranean war fleet. The shortage of manpower forced the Crown into a utilitarian concept of punishment. This article also analyses the crimes punished by condemnation to the galleys and the evolution that took place under the Habsburgs and Borbons. The article concludes with an account of the daily life of the convict oarsmen. The rigours of the work, the poor diet and the wretched conditions in which they lived produced high annual mortality rates. A study of the three centuries or thereabouts of the Early Modern period points to the conclusion that the passage of time did not moderate the punishment. Men of the Enlightment were conscious of the need to humanize the punishment, but their achievements were limited to the field of ideas of the eighteenth century, preparing the way for the great change that took place in the nineteenth century.
Part five of of an interview with educators in the Leominster, Massachusetts area. Topics include: Experiences as students in the Leominster school system. Kindergarten classes and moving students along in bilingual education. Funding to keep students in school and in programs that work for individuals. How parents support education. ; 1 SPEAKER 1: For example, um, we talked about the original Head Start. You went to kindergarten. I couldn't believe that. [Laughter] Okay. I mean, the whole intent, and correct me if you see it differently, but the whole intent of Head Start is that society sees that there's a group of children who don't have the exposure, whether it's cultural, whether it's language development, they don't have the exposure in their formative years. And when they get to kindergarten or when they get to first grade, they're kind of behind. And, primarily, we identify those kids as coming from lowest socio-economic backgrounds. Okay? So, the idea was to begin a Head Start program and target that population. But who will fund it? A wonderful idea. And I think that as you look at the longitudinal studies that have been done over 20, 30 years since Head Start, you see that kids who have gone through Head Start have been more successful in school, is less apt to drop out, less pregnancy, uh, less involvement with substance abuse, and so on. It seems to be a pair, okay? And yet, the federal government only funds Head Start to the point where only about 56 percent of the kids who are eligible, not all preschoolers, only the kids from socio-economic background who are financially eligible for Head Start, that's how many can go. You check with a Head Start program [alumnus], or you go to the government, you go anywhere you want, and they cannot take all of the kids who qualify. Why? Because the funding isn't there. That's the problem. A need is seen but the immediacy of that need is not recognized. SPEAKER 2: Is that why…? What is the reason that Lancaster Street had the only kindergarten? And you went to that. SPEAKER 3: You know, that I don't know. SPEAKER 1: But maybe, just… SPEAKER 3: My experience was like kind of just the opposite because my kindergarten teacher was Ms. [Trinkle]. She married another teacher. SPEAKER 4: Coach Sullivan.2 SPEAKER 3: Sullivan. Right. SPEAKER 1: Okay. SPEAKER 2: She married [unintelligible - 00:02:28]? How do you know so? SPEAKER 3: So, then I was ready for the first break. Now, I'm in kindergarten, and she felt I was ready for the first grade, so they sent me. My birthday was in January, so therefore, I was supposed to wait like another year. And I remember Miss Lincoln… do you remember her? She had some administrative position. And I remember her testing me [unintelligible - 00:02:55]. SPEAKER 2: Was the class at Lancaster Street predominantly Italian? SPEAKER 3: Everybody were. SPEAKER 4: I went to that one before she did and my kindergarten teacher was Ms. Kendall, and they started the kindergarten because the whole area was all Italian children. They did not speak English. SPEAKER 2: And that, really, in disguise, was the first bilingual program in Leominster. SPEAKER 1: Yeah. It was the forerunner. SPEAKER 3: I think so. Probably true. SPEAKER 2: That… really. SPEAKER 1: They were trying to address the same name in a different way. SPEAKER 2: But the way they went about it is a lot different from "transitional bilingual education." SPEAKER 3: But, instead of keeping me in that class for two years, she move me on. SPEAKER 1: If you want… to tell you the story, the same thing happened to him. They want to keep him back. Am I right? SPEAKER 3: No, I'm just saying age-wise. SPEAKER 2: Yeah. SPEAKER 1: Right. SPEAKER 3: I would have had to stay there another year. SPEAKER 1: Right. I see. SPEAKER 3: Probably because they felt that I was [pretty] and trusted me. 3 SPEAKER 4: And then, moving on. SPEAKER 1: Let's say they did something different. They did something different for that population. They put them in kindergarten. They brought them to school a year earlier. SPEAKER 4: That's right. SPEAKER 1: They didn't do that for the general population. Right? SPEAKER 3: A friend of mine gave me a copy of the class picture that I had never seen in my life until maybe the last year, year and a half, and I must tell you, we really did look like ragamuffins [laughter]. But it's such a pleasure to look at that picture. I mean, it's your roots. SPEAKER 2: Yeah. SPEAKER 3: It's your roots. SPEAKER 4: Now, my kindergarten class progressed as a whole. You were in kindergarten. The next year you're in first grade, second grade, and I don't remember a lot of kids being held back. They just went on. SPEAKER 2: This is my whole point of modern versus [test], need versus popularity -- popular to have the bilingual program, need to get these kids go on and started. SPEAKER 4: It's also numbers. SPEAKER 2: Absolutely. SPEAKER 4: It's also numbers. SPEAKER 2: Absolutely. And experiment. SPEAKER 3: We were a very small… Leominster was a very small… SPEAKER 2: But the philosophy. I don't care if there are a thousand or a hundred. The philosophy was different. That's my whole point. Our philosophy was to get them in there, teach them English, get them going, and they'll be fine. And that turns out to be exactly true because as Lucy said, you want to go back and trace the history of folk. Those Italian kids started that first bilingual class. They did fine. They did very well in the city of Leominster. 4 SPEAKER 4: On the other hand, there were kindergarten students [unintelligible - 00:05:29] were we at 12th grade, or…? SPEAKER 5: Well, they never had… SPEAKER 3: Twelfth. SPEAKER 1: With me, as I said, I was 9 years old, so I would have started third grade. I guess about third grade and I stayed just a couple of months. We came to the United States and landed in February and I was put into the first grade. I didn't speak a word of English. I was 9 years old put into the first grade just to be under that school year. And then, I spent that summer in Indiana. I came back in the fall. I went into grade 2. Halfway through the year, the teachers made a decision and they pulled me out of the second grade. They felt I knew English well enough at that point. And they brought me across the hall and put me in the fourth grade classroom. So I started the year on grade 2, ended the year on grade 4. That following September, I was in [unintelligible - 00:06:37] and went into grade 5 with Mrs. McGraw. SPEAKER 2: Today, if you were 12, you had a CORE evaluation. Think about it. SPEAKER 4: Yes. SPEAKER 1: I still graduated a year behind you know, my age group. I lost a year, okay, although I ended up you know, skipping a couple of grades. But I was fortunate in that I was able to survive that. But I'm telling you that there were many others who did not survive that kind of so called "immersion." So, you know, Vinnie is right. You have to look at the individual and say, you know, "What's best for this person?" Not just today, but think about what you're doing in terms of how it's going to affect that person's lifetime. Because the greatest cost for failure is after a person leaves school. Well, you can put a kid into special education as costly as that might be. You can put a kid into bilingual program and some added cost. But you 5 have a youngster who drops out of school and fails, end up in jail or gets pregnant, is on drugs. Your sending a youngster to jail is going to cost you $50,000 a year to keep that person. SPEAKER 3: And you know, when they went in, they will know when they come out because they learned from each other. There's a teaching going on there as well. SPEAKER 1: Exactly. And that's why I believe in you know, rehabilitation programs in prisons, because, I mean, what else are you going to spend that money for? If it's just for punishment, if it's just for revenge, you wanted… you know, a person did something wrong, you're going to pay. So you're going to spend 10 years behind bars. Okay? But then stop and think about what happens when that person comes out. Are you going to end up sending that person back? Hopefully, that person becomes a contributing member of the society or if not contribute, at least you know, not detract from society. It's you know, the longer range. We're all human beings. SPEAKER 2: If you wanted to trace back again to that kindergarten class and at the beginning of that program with Lucy's, and trace how many of those people "went to jail" or on drugs, that got in trouble? You'd find there are few. You'd find very few. Think about it. And, going back to the point, the last one, we didn't have to spend a lot of money on the law enforcement, okay? Because parents… let's get to that point. Ethnic families – French, Italian, and others [unintelligible - 00:09:04] – were very proud people. Okay? And they didn't want to be embarrassed by having an officer come to the house. They took care of their own problems. All the teachers had… I can remember breaking a window. It was an accident but I was throwing stones and threw it the wrong direction and broke a window. Ms. Gallagher called up my house, the principal, to tell my mother. End of problem. End of problem. [Laughs] I mean, guys, I didn't have to be told more than once. SPEAKER 4: No. That's right.6 SPEAKER 2: Okay? Because that's the difference there. SPEAKER 3: Starting with Miss [Partimo], she was a fourth grade teacher, I had [unintelligible - 00:09:44] Miss [Partimo] for two weeks. And it was [glorious]. So they somehow closed down the fourth grade, and they sent half the class to the third grade and half the class to the fifth grade. And I had Miss [Gallagher] and Miss [unintelligible - 00:10:01]. She was the principal and she taught girls. I went to see her. She is deceased this year. But a year ago, when we did all that for the honorary members, I brought flowers to each of these women that couldn't attend the meeting partially because of transportation. And Miss Gallagher was one of them. And we sat and had the longest chat and then we talked about [unintelligible - 00:10:28]. One of the things that I came away with, she marveled at how… she found her job as relatively easy because of the parents that she worked with, the Italian parents and how… they wanted the best for their children. They wanted an education for their children. But the teacher was always right that they were going to follow the rules. And boy, the last thing a teacher has to say to you was, "I'm going to tell your parents." Oh, my God. You'd shiver and shake because again that was the worst thing in the world. Not to say [unintelligible - 00:11:08]. I don't mean that but… SPEAKER 2: Do you remember when your mother went to the [unintelligible - 00:11:12] to the open house [unintelligible - 00:11:14] you know. I didn't worry about my mother saying, and I know your mother well… I didn't worry about my mother saying and the teacher saying "Joseph is not doing…" That was expected. You came from an Italian home. You're expected to do well. "How is he behaving?" The teacher said, "Well, Joseph is a little loquacious." SPEAKER 4: [Laughter].7 SPEAKER 2: [Laughs]. I would hide under the… like a fool, I was hiding under the sheets. [Unintelligible - 00:11:46] [Laughter] But that was called pride. Your parents had pride and you didn't embarrass them. SPEAKER 1: They wanted you to be respectful. SPEAKER 2: That's right. SPEAKER 1: But I have to believe that… I don't care what ethnic group you're talking about, that basically parents want their kids to succeed. SPEAKER 3: That's right. SPEAKER 1: Okay? And you know, today, we use the word partnership. Education is a partnership, you know, the home and the school. I mean, they're all elements in a successful equation, I guess, if you want to call it that. You do have to have parents that support kids and support education. You know, Vinnie, tell us the story about you that you were telling me last week when you came to the United States. And at some point, there was a decision to be made about you going on in school or going to work. I thought that was quite interesting, okay? You might share that. SPEAKER 2: Maybe the support system that we have today is quite different from what it used to be years ago when family would contribute their ideas. And what relatives would say would be very important to determine what young children would take as their career, would take as a job, would do as the next thing. In my own personal experience, I know that it wasn't easy for me to go to school, especially to middle school in Italy because first of all, conditions were right after the war. Everything was with much destruction all around. And the fields, I remember one of the main sources of our income was the vineyards. My grandfather produced grapes and wine to be sold and to be processed. And as the story goes, they just had an attack by [unintelligible - 00:14:03] which destroys the grapevines, and then you need seven years before you can get production up again. So, the source of income was not available. My father had just come back from being a prisoner of war, and of course, you don't earn money while you're a prisoner of war. You're as 8 destitute when you come out as you were when you went in. And he was there seven years. This was in 1947. And when you make a decision to have your son continue the education, you have to buy the books. You have to provide the money to go to the district school which is [unintelligible - 00:14:53], which is not very far, but the bus that took you there was a jungle bus that also went to Padova, and so it took about 45 minutes for what would nowadays be maybe a 10-minute ride. SPEAKER 1: It was seven miles, and [unintelligible - 00:15:06]. SPEAKER 2: [Unintelligible - 00:15:06] But it took at least half an hour, 45 minutes with a detour to [unintelligible - 00:15:14] with stops for the general public. But, if you have to go everyday to school like that, you have to have a subscription to the bus and you have to come up every month with the money to pay for this transportation, plus the books were expensive. The books that you buy are dictionaries, textbooks. And I remember, I still have some of my old textbooks. The paper on which they were printed was so flimsy and the margins almost nonexistent because they tried to cram as much print as possible in the fewest number of pages. But, anyway, I know that my mother, whenever we needed to buy a textbook and we didn't have the money, she'd have to go around and beg, borrow, steal, as they say, for money for me to buy these books so we could continue our education. So, when we finally decided that I would come to the States and the idea was, "Well, should I go to work or should I continue with my education, knowing I have done reasonably well in school and that my family has invested all this money and effort in my ongoing education?" And of course, my father at that time was not in the best of health and my relatives were pointing out you know, "He's young. He's strong. He can get a job and get relatively good money coming right away. 9 Whereas, if you decide that he should go to school, first of all, he'd have to learn English, second, you have no income for him, third, you have to provide him with decent clothes and food. So that's going to be, instead of a plus, a drain on the family." But…/AT/mb
El presente trabajo analiza la actividad profesional realizada por el arquitecto mexicano Carlos Obregón Santacilia. La premisa sobre la cual se desarrolla desconoce las posiciones tradicionales de la historiográfia mexicana ya que considera sólo se han dedicado a encajonarlo dentro de rígidos marcos estilísticos que poco han aportado para atrapar la esencia de la historia. La incursión a la microhistoria es el camino tomado por el autor a fin de acercarse a los acontecimientos en los cuales se desenvuelve el personaje estudiado. En un primer apartado se adentra en la ruta recorrida dentro de la enseñanza y actividad constructiva de los arquitectos mexicanos. De la mano de eso nos muestra el acontecer político, social y cultural así como a los personajes que van transformando el paisaje de las ciudades. La revolución mexicana crea nuevas necesidades de representación de grupos humanos que reniegan de su pasado inmediato y buscan en el pasado colonial o prehispánico referentes formales con los cuales identificarse, es ese el momento en el cual se forma profesionalmente Carlos Obregón Santacilia quien se relaciona con los nuevos grupos emergentes del quehacer cultural y político. Su incursión en la revista Azulejos y el triunfo en el concurso para el pabellón de México en la exposición de Rió de Janeiro le permiten mostrar a los intelectuales que es capaz de incursionar en el lenguaje formal buscado por estos. El llamado neocolonial va ha aparecer como motor que aglutine a los mexicanos quienes tras de la revolución requieren de una representación que cubra sus expectativas y con las cuales se identifiquen. Los acontecimientos armados precipitan la llegada de nuevos vocabularios en los cuales la nueva nación se busca nuevamente con la finalidad de encontrarse a la altura de sus vecinos: desean el reconocimiento de los gobiernos extranjeros y desean demostrarles que el México bárbaro ha sido superado. El promotor del neocolonial queda fuera de la escena al tener la pretensión de alcanzar la silla presidencial, Carlos Obregón se acerca a los ideólogos que buscan un nuevo código que muestre una nación en auge, les es necesaria otra representación la cual sume a los diferentes grupos y que a su vez se aleje del vocabulario de quien había pretendido la presidencia de la republica. Busca e incursiona en nuevas manifestaciones que respondan a las necesidades del Estado. Parte siempre del reconocimiento de materiales y esquemas en los cuales identifica la tradición mexicana. Incursiona en las técnicas desarrolladas e impulsadas por considerar que la fusión de técnica y tradición consecuentemente le llevara a un vocabulario ideal en el cual se reconocerá la manufactura mexicana. El vocabulario moderno será retomado por Carlos Obregón y se mantendrá en la adelante en sus obras aunque desde luego jamás abandonara lo que él ha comprendido como elementos necesarios para capturar la tradición y que entrar a formar parte de una tradición que ahora será la suya. Ese recorrido es mostrado paralelo al desarrollo de los avatares nacionales, al quehacer de pintores y políticos, a la actividad de sus contemporáneos y a las teorías arquitectónicas que los mueven, todos ellos se conocen y reconocen, se encuentran trabajando en la invención de un mundo diferente. Trabajan juntos en más de una ocasión y compiten por ser los mejores en sus áreas, tienen querellas que llevan al ámbito gremial, buscan ser los personajes que del lado del Estado construyan un México diferente. En suma un trabajo que nos aproxima de la mano de uno de sus representantes a la invención de la tradición arquitectónica mexicana. ; This article presents the professional activity of the mexican architect Carlos Obregon Santacilia. The point in wich it develops, doesn't recognize the traditional positions of the mexican historiography, because he considers it has been closed inside hard stylistic patterns that had even aported to get the essence of the history. The incursion into the microhistory is the way taken by the author to get close in the sucess among is this character studied. In a first part, this work, comes in along the way walked on the teaching and constructing activity of the mexican architecs. Beside this, it shows us the political, social and cultural, and the characters were perfoming the city landscape too. The mexican revolution creates new necessities of representation from some human communities, that denie their inmediat past and look in the colonial or prehispanic past some formal referents in wich identify theirselves. That is the moment in wich Carlos Obregón Santacilia is forming professionaly and relating himself to the new emergent cultural and political groups. His incursion in the Azulejos magazinne and the success in the concurse of the mexican pavillion on the Rió de Janeiro Exposition, allows him to show the intelectuals his capacity to get into the formal language by them searched. The neocolonial call will appear as the integrating motor of the mexicans, who after the revolution want a hole expectations satisfing and identificable representation of themselves The armed sucess hurried the income of new vocabularies in wich the nation search to get to the level of the neighboors: they want the foreing Goverment recognizement and want to show that the barbarian Mexico is passed. The colonial promotor stays outside the scene when he pretends to get the presidential chair. Carlos Obregón get close to the ideologs that look for a new code of the rising nation. It is them necessary another representation that adds the differents groups and at the same time get away of the presidential chair pretender vocabulary. He looks and works in new manifestations that answer the Goverment necesities. He departs always from the material and patterns recognition on them is the mexican tradition identified. He works in the developed and supported technics thinking that the fusion of technic and tradition will consecuently take him to the ideal vocabulary in wich the mexican manufacture will be recognized. The modern vocabulary will be retaked by Carlos Obregón, who keept ahead on theirs works; but, never leaving what he has understood as necessary elements to capture the tradition and incorpore himself in a tradition that will then become his. This walk is shown parallel to the national avatars, the work of politics and painters, the activity of theirs contemporaries and the architectonical theories that move them. All of them get to know themselves, recognize themselves, find each other working in the invention of a different world. They worked together more than once and compite to be the best of his area, fighting until getting to the gremial ambit, look to be the characters who beside the Goverment will build a different Mexico. In sume, a work that near us, in the hand of one of his representants, to the invention of the Mexican architectonic tradition. ; Postprint (published version)
El presente trabajo analiza la actividad profesional realizada por el arquitecto mexicano Carlos Obregón Santacilia. La premisa sobre la cual se desarrolla desconoce las posiciones tradicionales de la historiográfia mexicana ya que considera sólo se han dedicado a encajonarlo dentro de rígidos marcos estilísticos que poco han aportado para atrapar la esencia de la historia. La incursión a la microhistoria es el camino tomado por el autor a fin de acercarse a los acontecimientos en los cuales se desenvuelve el personaje estudiado. En un primer apartado se adentra en la ruta recorrida dentro de la enseñanza y actividad constructiva de los arquitectos mexicanos. De la mano de eso nos muestra el acontecer político, social y cultural así como a los personajes que van transformando el paisaje de las ciudades. La revolución mexicana crea nuevas necesidades de representación de grupos humanos que reniegan de su pasado inmediato y buscan en el pasado colonial o prehispánico referentes formales con los cuales identificarse, es ese el momento en el cual se forma profesionalmente Carlos Obregón Santacilia quien se relaciona con los nuevos grupos emergentes del quehacer cultural y político. Su incursión en la revista Azulejos y el triunfo en el concurso para el pabellón de México en la exposición de Rió de Janeiro le permiten mostrar a los intelectuales que es capaz de incursionar en el lenguaje formal buscado por estos. El llamado neocolonial va ha aparecer como motor que aglutine a los mexicanos quienes tras de la revolución requieren de una representación que cubra sus expectativas y con las cuales se identifiquen. Los acontecimientos armados precipitan la llegada de nuevos vocabularios en los cuales la nueva nación se busca nuevamente con la finalidad de encontrarse a la altura de sus vecinos: desean el reconocimiento de los gobiernos extranjeros y desean demostrarles que el México bárbaro ha sido superado. El promotor del neocolonial queda fuera de la escena al tener la pretensión de alcanzar la silla presidencial, Carlos Obregón se acerca a los ideólogos que buscan un nuevo código que muestre una nación en auge, les es necesaria otra representación la cual sume a los diferentes grupos y que a su vez se aleje del vocabulario de quien había pretendido la presidencia de la republica. Busca e incursiona en nuevas manifestaciones que respondan a las necesidades del Estado. Parte siempre del reconocimiento de materiales y esquemas en los cuales identifica la tradición mexicana. Incursiona en las técnicas desarrolladas e impulsadas por considerar que la fusión de técnica y tradición consecuentemente le llevara a un vocabulario ideal en el cual se reconocerá la manufactura mexicana. El vocabulario moderno será retomado por Carlos Obregón y se mantendrá en la adelante en sus obras aunque desde luego jamás abandonara lo que él ha comprendido como elementos necesarios para capturar la tradición y que entrar a formar parte de una tradición que ahora será la suya. Ese recorrido es mostrado paralelo al desarrollo de los avatares nacionales, al quehacer de pintores y políticos, a la actividad de sus contemporáneos y a las teorías arquitectónicas que los mueven, todos ellos se conocen y reconocen, se encuentran trabajando en la invención de un mundo diferente. Trabajan juntos en más de una ocasión y compiten por ser los mejores en sus áreas, tienen querellas que llevan al ámbito gremial, buscan ser los personajes que del lado del Estado construyan un México diferente. En suma un trabajo que nos aproxima de la mano de uno de sus representantes a la invención de la tradición arquitectónica mexicana. ; This article presents the professional activity of the mexican architect Carlos Obregon Santacilia. The point in wich it develops, doesn't recognize the traditional positions of the mexican historiography, because he considers it has been closed inside hard stylistic patterns that had even aported to get the essence of the history. The incursion into the microhistory is the way taken by the author to get close in the sucess among is this character studied. In a first part, this work, comes in along the way walked on the teaching and constructing activity of the mexican architecs. Beside this, it shows us the political, social and cultural, and the characters were perfoming the city landscape too. The mexican revolution creates new necessities of representation from some human communities, that denie their inmediat past and look in the colonial or prehispanic past some formal referents in wich identify theirselves. That is the moment in wich Carlos Obregón Santacilia is forming professionaly and relating himself to the new emergent cultural and political groups. His incursion in the Azulejos magazinne and the success in the concurse of the mexican pavillion on the Rió de Janeiro Exposition, allows him to show the intelectuals his capacity to get into the formal language by them searched. The neocolonial call will appear as the integrating motor of the mexicans, who after the revolution want a hole expectations satisfing and identificable representation of themselves The armed sucess hurried the income of new vocabularies in wich the nation search to get to the level of the neighboors: they want the foreing Goverment recognizement and want to show that the barbarian Mexico is passed. The colonial promotor stays outside the scene when he pretends to get the presidential chair. Carlos Obregón get close to the ideologs that look for a new code of the rising nation. It is them necessary another representation that adds the differents groups and at the same time get away of the presidential chair pretender vocabulary. He looks and works in new manifestations that answer the Goverment necesities. He departs always from the material and patterns recognition on them is the mexican tradition identified. He works in the developed and supported technics thinking that the fusion of technic and tradition will consecuently take him to the ideal vocabulary in wich the mexican manufacture will be recognized. The modern vocabulary will be retaked by Carlos Obregón, who keept ahead on theirs works; but, never leaving what he has understood as necessary elements to capture the tradition and incorpore himself in a tradition that will then become his. This walk is shown parallel to the national avatars, the work of politics and painters, the activity of theirs contemporaries and the architectonical theories that move them. All of them get to know themselves, recognize themselves, find each other working in the invention of a different world. They worked together more than once and compite to be the best of his area, fighting until getting to the gremial ambit, look to be the characters who beside the Goverment will build a different Mexico. In sume, a work that near us, in the hand of one of his representants, to the invention of the Mexican architectonic tradition. ; Postprint (published version)
Interview with Phyllis Lanza Caligaris. Topics include: Family history. Immigration of her grandfather, Emmanuel Montagna, and grandmother, Francesca Marrama, to the United States from Italy. Work history of her grandfather and how he would create a business, build it up, and sell it. Eventually, he opened Monty's Garden Restaurant in Leominster, MA. Her grandparents rented rooms to Italian immigrants in Leominster. What Monty's was like when it first opened, the people who worked there, the menu, the patrons, the hours. How the business changed over the years as it was passed on from Phyllis' grandfather, to her father, to her husband. Memories of her grandfather. What it means to be Italian. What it is like to be in business with family. ; 1 SPEAKER 1: It's Friday, December 7th. It's 10:20. We're at Monty's Restaurant, Central Street in Leominster. We're interviewing Phyllis Lanza Caligaris, and thank you, first of all, Phyllis. And I'm not sure; did I say your last name correctly? PHYLLIS: Correctly. SPEAKER 1: Okay. All right, and it's my understanding that your grandfather started Monty's. PHYLLIS: Yes. SPEAKER 1: So can you tell me a little bit about him personally? Not just the restaurant business, but… PHYLLIS: Okay. SPEAKER 1: What you remember about him? PHYLLIS: I can't determine what year he immigrated to the United States. There's no records in the Ellis Island files, so I assume he sailed into Boston. As with the rest of his siblings, I cannot find any info. But I know he was born 1879 and died 1960, and he came to America from a town called LaRocca. SPEAKER 1: Can you spell that? PHYLLIS: L-a capital R-O-C-C-A in the province of Abruzzi, A-B-R-U-Z-Z-I. SPEAKER 1: Okay. PHYLLIS: I have no idea what year. SPEAKER 1: Now, what is his name? PHYLLIS: Emmanuel Montagna. SPEAKER 1: Okay. And when he came, you think, to Boston, was it alone? Or was he traveling with other people, do you know? PHYLLIS: I have no idea, I have no idea. SPEAKER 1: Did he ever mention why he left? PHYLLIS: Well, I imagine like all other immigrants, for a better life here in the United States. In Italy, there were no jobs, no future. As well as my father immigrated to the United States as a young boy at the age of 12. But this person, my grandfather, when he immigrated -- I don't know too 2 much about his early childhood, only from when he married my grandmother, and then his education and his endeavors from that point on. And if you'd like me to… SPEAKER 1: Tell me what your grandmother. Who did he marry? PHYLLIS: He married Francesca Marrama. SPEAKER 1: Can you spell that? PHYLLIS: M-A-R-R-A-M-A. SPEAKER 1: Okay. And was she from Abruzzi? PHYLLIS: The province of Abruzzi, but the town, the next town to LaRocca called Pendama. And that is spelled P-E-N-D-A-M-A. SPEAKER 1: Okay. PHYLLIS: But they didn't know each other, and they met in Reedville, Mass, which is outside of Boston. They married in 1900 at the Stone Church where the reservoir is in West Boylston. And he, when he was a young man, was in construction and worked on that and helped build that church. It has nice memories, you know? To think that he worked on that church and helped build the reservoir, and he got married there. SPEAKER 1: Now was that -- I don't really know the history of that church. Was it indeed a church? PHYLLIS: Oh yes, yeah, yeah, yeah. And then for the longest time, it went idle, so to speak. And I still don't know today if they've refurbished it and are using it. SPEAKER 1: They don't use it as a church. I've actually never been inside, but I do know a lot of couples get their wedding. [Crosstalk] But I believe there aren't even windows in it. I think it's just a construction. PHYLLIS: Yeah. SPEAKER 1: So anyway, what was he doing in Reedville? PHYLLIS: I have no idea. For most of this history, comes down to me from my mother and what she remembered. And when I asked the question how they met, she said they met in [Ricco]. SPEAKER 1: Okay.3 PHYLLIS: And then at one point my grandmother was living in West Boylston, and he was working construction on the reservoir and the church; and whether they met there, I don't know, but I know they got married there. SPEAKER 1: Now what was your grandmo-, oh your grandmother was Marrama, okay. PHYLLIS: Marrama. SPEAKER 1: Marrama, okay. PHYLLIS: And she was 16 years old and he was 21. SPEAKER 1: Do you have any idea of why your grandfather would've come to Leominster? PHYLLIS: Usually, what happens with immigrants, they go to the town where other family members have gone before them, and they live with these family members until they get on their feet. And I'm sure that was the case because all of his siblings located in the Leominster area. SPEAKER 1: Okay. Do you want to tell me more about the church or West Boylston? PHYLLIS: No, no. I have no history on that at all. SPEAKER 1: Okay. PHYLLIS: I do have a lot of history on him, and he couldn't speak English when he came here, so he knew in order to advance himself he would have to -- he taught himself as well as going to night school. And I was reading an article about him, and this is quoting the article: "After moving to Leominster, he took advantage of night school, where he was accorded one of the best pupils in the school, making rapid strides under the tutorship of Attorney J. Ward Healey, who was principal of the night school at that time." You know, it just was interesting. SPEAKER 1: Now where was that clipping from? PHYLLIS: It was from a 25th anniversary write-up about my grandmother and grandfather. SPEAKER 1: Oh, I see. Now, did your grandmother speak English? PHYLLIS: No, I'm sure she didn't. SPEAKER 1: So you didn't know her?4 PHYLLIS: Yes, I did. By the time I arrived, she spoke broken English, but you could understand her. See, these people were self-taught. You know, in order to survive, you had to learn English. SPEAKER 1: So he was working construction. How did he get involved in the restaurant business? PHYLLIS: That comes at the end. This gentleman was into everything. SPEAKER 1: Oh, okay. PHYLLIS: Everything. You'd be amazed at his life. They had three children. SPEAKER 1: Okay. PHYLLIS: One son, who died, and two daughters. One of the daughters was my mother. SPEAKER 1: Okay. Why don't you tell me their names, the daughters? PHYLLIS: All right, okay. One was Mildred Lanza, Mildred Montagna Lanza, and the other one was Alice Montagna Tossi. SPEAKER 1: The son who died? PHYLLIS: His name was Henry Montagna. SPEAKER 1: I never thought of Henry as an Italian name, and I keep hearing it. PHYLLIS: I thought about that. I thought about that. And knowing my grandparents, I would've thought that they would've named him Henrico, which is Italian for Henry. But on the gravestone, it says Henry. So I was really surprised because that is not an -- well, they do have Henry in Italian. SPEAKER 1: I just interviewed someone with -- a Henry is in their family, too. PHYLLIS: Really? SPEAKER 1: So, okay. So unfortunately, their baby boy died. But you can just continue and tell me what you know about him. PHYLLIS: All right. My grandfather was as an ever-young man as well as through his adulthood, was a very enterprising man. In 1911 he opened the first movie house in Leominster called the Past Time. It was a silent movie house, and he charged 5 cents per person, and he gave away dishes to attract customers. The movie house was located in the old wood block in 5 the center of Leominster in Monument Square, and I imagine it was located there because he lived there with his family on the 3 rd floor. SPEAKER 1: Now, I think it was pretty common for theaters to offer dishes and plates, was it? PHYLLIS: Yep. SPEAKER 1: Do you have any of those original plates? PHYLLIS: No, no, no. Because I wasn't even born. My mother never kept anything, and I don't think Depression glass was in 1911. That was -- Depression glass was 1929, you know, so. But my mother told me this, she said… SPEAKER 1: So this is about 1911 then. PHYLLIS: 1911 when he opened the first movie theater in Leominster called the Past Time. SPEAKER 1: Okay. PHYLLIS: And after the movie house, he went to work for Yale Novelty Manufacturing Company on the corner of Johnson and Lancaster Street in Leominster. And my grandmother also worked there, and they made celluloid hairpins. SPEAKER 1: Now, is this before your mother would've been born? PHYLLIS: My mother was born in 1904. So this was after. SPEAKER 1: Okay. PHYLLIS: I think 1906. I think he was 2 years old when he died. SPEAKER 1: Right, so was he born… PHYLLIS: He was born first; probably 1902. SPEAKER 1: Okay. Working at the Yale Manufacturing Company, and when is this? Did they sell the movie house, or…? PHYLLIS: He would start businesses, prosper, and then sell them. And this is the events, how they transpired, according to my mother. So I don't know who he sold the movie house to, but then he went on to the Yale Novelty. SPEAKER 1: Okay. PHYLLIS: Also worked for the Far Florist Company on Orchard Street, and there he developed a love of flowers and gardens, which would be incorporated 6 into the name of his last endeavor, which was this restaurant, Monty's Garden Restaurant. SPEAKER 1: Now, where did Monty come from? Montagna? PHYLLIS: Okay, that is the last endeavor, and that will explain all the names. Okay, if I can explain them? SPEAKER 1: Okay. PHYLLIS: And getting back to the timeline, he then opened the first pool parlor on Pleasant Street where the day and night store is. And during his ownership of the pool parlor, he promoted wrestling matches at the town hall featuring a man named Jack Morrow. Now, Jack Morrow was Italian, but they Americanized his name. I don't know what his Italian name was. SPEAKER 1: Okay. PHYLLIS: Next business, he started the first bus line in Leominster at the start of Lancaster Street bringing workers down to the viscaloid shop on Lancaster Street. He had an open-bed truck with chairs in the back of it, and he would transport workers that worked in the factory down there. And eventually, if he made more money, he bought buses and had a bus company. The bus company he then sold to his brother Antonio Montagna. SPEAKER 1: I was wondering, did he have a partnership with his brothers when he was doing this? PHYLLIS: No, no, no. He did this all on his own. SPEAKER 1: On his own? PHYLLIS: Yeah. His next venture was an open food store in Monument Square, which is right where Friendly's is about now. And it was called the Montagna Food Company. As the business grew, he became partners with Luigi DiGiovanni, and he sold out to his partner, and the store was eventually to be named the Gloria Chain store, which became a full-service Italian market. SPEAKER 1: The Gloria Change Store? PHYLLIS: Chain.7 SPEAKER 1: Chain. PHYLLIS: Chain, C-H-A-I-N. SPEAKER 1: Where did Gloria come from? PHYLLIS: I have no idea; you'd have to ask descendents of Luigi DiGiovanni. Now, his next venture was selling oil burners in a building at the rear of 35 Central Street. It was called the Rainbow Oil Burner Company. And his future son-in-law, Phillip Lanza worked for him. He then bought the 3-decker building in the front of this 35 rear Central Street. He bought the 3-decker building that faced Central Street, and his family lived on the 3rd floor. The 2nd floor he rented out rooms to roomers, and the first floor he rented out to retail business. Always had an income coming in. And he had a lot of vision and he could foresee in 1933 that the repeal of prohibition was going to happen. So he went out and applied for the first liquor license in Leominster and opened the first restaurant in Leominster called Monty's Garden Restaurant. SPEAKER 1: This is the first restaurant? PHYLLIS: Restaurant, yep. SPEAKER 1: Wow. PHYLLIS: Now, Monty's… SPEAKER 1: Now what year was this? PHYLLIS: 1933. Monty's is short for Montagna; they used to call my grandfather Mr. Monty. And garden was because of the murals he had painted on the walls. And in fact, we still have some of the murals in the old section of the restaurant. He just loved the flowers and gardens. His home on Fort Pawn when he had it built, he had trellises and flowers hanging gardens all over and maintained them mostly himself. SPEAKER 1: Now, did he paint these murals, or he had…? PHYLLIS: He had them painted by a gentleman from Connecticut, and I believe his name is still on the mural, I think. We'd have to go look. Now this restaurant is still in the family, and with the 5th generation great-great 8 granddaughter working here, [Alana Fruschett]. Two of my daughters and one of my sons runs the restaurant. The other children, another son owns his own restaurant in Worcester. SPEAKER 1: And that was Stefano's. PHYLLIS: Stefano's, and my daughter and her husband own the pasta company below the restaurant, and her sister works there. So everyone in my family is in the food industry in one aspect or another. SPEAKER 1: Wow. So this is the same location as 1933, well I can see that it is. PHYLLIS: Yeah. SPEAKER 1: And did you ever think of expanding downstairs, to have the restaurant also downstairs? PHYLLIS: Well, my grandfather never wanted -- everybody's asked, why is the restaurant upstairs? Because he wanted to have retail stores down there to have the income. Plus, there are a lot of taverns located in this area. And he didn't want the people frequenting the taverns to just pop into the restaurant. Going up the stairs kind of prohibited -- it made for selective customers, let's put it that way. Okay? SPEAKER 1: So is this a 2-story building? I guess I didn't pay attention. PHYLLIS: Three-story. SPEAKER 1: Three? So what's above? PHYLLIS: Right now, they're using it for office space and storage. SPEAKER 1: And what was it used for back then? PHYLLIS: They lived on the 3rd floor, my grandparents and my aunt and my mother. Second floor was for roomers. He had tenants, you know, that would rent rooms. SPEAKER 1: On the second, here? PHYLLIS: Yes. SPEAKER 1: In this building? Behind the restaurant, or where? PHYLLIS: You know, this is a 3-story building. SPEAKER 1: Aren't we on the 2nd? PHYLLIS: This is where the roomers were, on this floor. 9 SPEAKER 1: Oh okay, before he opened the restaurant. PHYLLIS: Before he opened the restaurant. Once he opened the restaurant, on the 2nd floor -- he still had roomers on the 3rd floor because by then my aunt and my mother had moved out into their own homes. SPEAKER 1: Okay. PHYLLIS: So they still rented rooms up there, and my grandmother was such a hard worker. She not only helped with the restaurant in cooking and cleaning, she'd have to take care of the rooms of the roomers too, you know? SPEAKER 1: So let's talk a little bit about the boarding, the rooms. Who did they rent these rooms to? PHYLLIS: Well, you know, what I mentioned how when an immigrant comes to an area where there are other relatives or people that they knew in Italy, they want to congregate or relocate in the same area that they do? Well, sometimes they're not necessarily people that have families here. So they didn't have anyone and they didn't know where to go, or where to live, or they didn't have the funds, and people would tell them to go see Mr. Monty, he will help you. So my grandfather rented out rooms to people that -- immigrants from Italy. And some were not immigrants, some were just people that relocated here and they would just say Mr. Montagna has a rooming house, he will help you. You know? And many people came here and rented rooms at one time, just to get started, you know? SPEAKER 1: About how many rooms are we talking about? PHYLLIS: About 4 rooms. SPEAKER 1: Four? PHYLLIS: Four rooms. Once he had the restaurant, now I don't know how many rooms -- there must have been quite a few rooms on the 2nd floor before the restaurant. See, I only have knowledge of the four upstairs. But before them, I have no idea. SPEAKER 1: And now there are offices up there, you said? PHYLLIS: Yeah, yeah.10 SPEAKER 1: So was it basically word of mouth? PHYLLIS: Yeah, yeah, yeah. I can remember when I lived above the restaurant with my family, because I think it was a stopping place for many people because we didn't have to pay rent, and we still had roomers, and I remember the Salvation Army calling a lot of times asking if we had rooms for people that they couldn't house, you know? But after awhile we just stopped doing it because it was too much work. By the time my father took over the restaurant, and my mother -- I remember she had a few roomers, but then by the time -- and then I had, when I lived up there, I took care of some rooms too. But after I moved out, they discontinued having the rooms. SPEAKER 1: Now, did your mother or sister also get involved n the restaurant business? PHYLLIS: Well, my aunt -- no, but her husband did work as a bartender for my grandfather early on in 1930s. SPEAKER 1: I'm not sure, did you give -- you did give me her married name. PHYLLIS: Yes, Tossi. SPEAKER 1: Tossi, okay. So your mother. PHYLLIS: My mother. SPEAKER 1: She worked so hard? PHYLLIS: Well, that was my grandmother. SPEAKER 1: Yes, your grandmother. PHYLLIS: My father also worked for my grandfather as a bartender, and later on becoming the cook. And my mother worked very hard too. She didn't do much down here in the line of cooking, but she cleaned the downstairs, and she cleaned the rooms for the roomers, so she worked hard also. SPEAKER 1: Now your grandfather, was he primarily a manager/owner of this restaurant, or did he actually cook? PHYLLIS: No, he didn't cook. He was out front management, the best salesman you could ever have. He treated his customers like royalty, knew everybody by their name, his old cronies, would pour them extra drinks, you know. 11 He'd be behind the bar most of the time, and that's where his customers wanted to see him, behind the bar. "Oh, here's Mr. Monty. Hi Monty, how you doing? How's this going?" You know, that's part of the out front management, know your customers, treat your customers well. And I have to go into his other life away from the restaurant. He had a very active life, and that is my next segment. SPEAKER 1: Okay, can we still talk about the restaurant a little bit more? PHYLLIS: Sure, sure. SPEAKER 1: Who did he hire as a cook? Was that also a family member? PHYLLIS: No, no, these two gentlemen were from Boston. He hired a Paul [Solafia], and we used to call him Tiny [Bissonet]. Now his descendants are still around as well as Mr. Solafia's descendents, but they have both passed on. And after that, then there was my father in the kitchen, and my father taught my husband what he knows today. And then my husband passed all those learning techniques to my sons and one daughter who worked in the kitchen. And you know, it's been passed down like that, same recipes. SPEAKER 1: Back then was there a specialty that people would come in for? PHYLLIS: I should show you the old menu. SPEAKER 1: Oh yeah. PHYLLIS: Do you want to [show that]? SPEAKER 1: Well we'll look at it after we're done. PHYLLIS: I mean, when you consider spaghetti and meatball and a salad for 50 cents. SPEAKER 1: That would be like a dream come true now, wouldn't it? PHYLLIS: Oh boy, that was wonderful. And don't forget, this was the only restaurant. You know? Maybe they had diners, but this was the only restaurant, and they served Italian and American food. At one point he was serving Chinese food, chop suey, chow mein, and remember the Asian gentleman coming in and delivering his product, and it seemed funny that an Italian restaurant would serve that. But then you think back, there was no other really sit-down nice restaurant. SPEAKER 1: Was there an Asian population that used to come in?12 PHYLLIS: No. SPEAKER 1: So this is just… PHYLLIS: This is, you know, people that were used to going to Boston to get Chinese food, thereby thinking again, you know, why let them go to Boston when they can get it here? My grandfather was always thinking, always thinking. SPEAKER 1: Now, who primarily were the customers? I mean it's my understanding that people back then, let's say Italians, didn't really go out to dinner. Or is that just a myth? PHYLLIS: That's a myth. That's a myth. Many couples today that have passed on used to tell me when I worked here, you know, we got engaged up here in the booth. I presented my wife with her diamond, or I asked her to marry me, and they continue to bring their children and their grandchildren. So it's a tradition, you know? Oh boy, when I was working I would hear many stories from the customers, "Oh, your grandfather did this," or he was that. But to pinpoint people, there were so many, and there were a lot of Italians. SPEAKER 1: There were. PHYLLIS: A lot of Italians, a lot of politicians because my grandfather was involved, not directly with politics but committees, civic committees. But we'll go into that after we finish here. SPEAKER 1: Well I imagine it was sort of exciting back in the early '30s and mid '30s to share the Italian culture with the rest of Leominster. Do you remember ethnic group coming in and maybe being used to that kind of food? PHYLLIS: Well, I really don't want to pinpoint. SPEAKER 1: You don't have to pinpoint particular people. PHYLLIS: Just even particular ethnic backgrounds, you know. But I remember working when I had customers come in. Sugar on the [unintelligible - 00:26:58]. Another time I remember serving—because I waitressed here too—I remember ketchup on their spaghetti and sauce. I couldn't believe it. I couldn't go back to the table, you know. 13 But your Italian people were used to eating food like that, that they would serve here, and American people that weren't familiar with some of the dishes. But once they tasted it, you know, they would always order certain things. And of course the menu items changed over the years. They still served meat, steaks. SPEAKER 1: So did your grandfather introduce that, steak? PHYLLIS: Oh yes. He used to go to Boston, I don't know how many times a week, whereas now with the expressway, and he would go to the butcher shop and he would buy sides of beef and cartons of fruit and cartons of fresh vegetables and bring them back. And I remember going with him when I was a little girl; it was so interesting, you know, and everybody knew him in Boston in the market area. But he could get a better price by doing it that way than going through a third person, you know? A middleman. So you know, I can remember when my father was cooking here seeing him go in the big walk-in cooler and taking a knife and cutting off steak, of a side of beef. Or cutting off a certain portion and making hamburger or a roast or whatever, you know? Those are my memories of the kitchen. SPEAKER 1: Now, did he have maybe a different clientele? Let's say for the bar area, there were kind of regulars there? PHYLLIS: Yeah, oh yeah, yeah, yeah. A lot of people would come in just to have a drink. But these were -- they were not the tavern people that would go for a drink. They'd come in, in suits, and you know, they may have a drink before they went to the movies. See, the movie house was right adjacent to this building, and many people would either come before the movie or after the movies because we were open until two o'clock at that time. SPEAKER 1: Two o'clock in the morning? PHYLLIS: Yep. The only restaurant in Leominster, you're going to stay open for your customers when, you know -- of course the movie house would run two shows, and people would want to eat after the show or before. SPEAKER 1: Would it be a full menu still until two o'clock?14 PHYLLIS: Oh yes, oh yeah. I can remember when my father came into the business, he would tell me it was really hard to work until two o'clock in the morning and then go to bed and get up the next day and work the next day, you know? So when he took it over, he did away with two o'clock. Twelve o'clock. And then when my husband came into the business, it was 11, and then it went to 10. He said this, you know, it's too much. SPEAKER 1: I was just reading that Americans in particular, they're getting up earlier, they're going to bed earlier. So do you see that? PHYLLIS: Well, yes. SPEAKER 1: I mean, not necessarily not to go to dinner. PHYLLIS: Well yes, we do. Because your dinner hour is -- you have your early birds at four o'clock; those are the ones that go to bed at eight. And then about 8:30 it dies down, and you'll have your stragglers who are coming in after shopping, or a movie will come in, and we're open until 10 for that. SPEAKER 1: It's so different let's say in Europe where things are just heating up then, right? PHYLLIS: I went to Spain and things -- you know, 10 o'clock was very early for them to go out to eat. You know? And breakfast, you couldn't get any breakfast until 11. SPEAKER 1: It's so different. PHYLLIS: Unless you just wanted a coffee. SPEAKER 1: So first of all, was the restaurant set up in this way? PHYLLIS: No, this room here was always here, but there were booths all along the wall. They remodeled it to make it a banquet room, and the addition -- oh goodness, I can't think of it. They put the addition on -- my daughter would know, from seating maybe 50 people, we expanded it to… SPEAKER 1: When he opened it he could seat about 50? PHYLLIS: Well yeah, yes, yes. I'd say that, 50, 60. But when my husband and I took it over, our business was booming so much that people -- there was a 2-hour wait. SPEAKER 1: Now when was this?15 PHYLLIS: 1960, when my husband -- well, we knew, first of all we asked our children before we think of an addition, are you willing to stay on and work? And they said yes. And we went on and added a whole new kitchen and a whole new dining room, keeping the same décor in the booths that our customers insisted upon. They said if you don't have these booths in your new section, we're not coming back, you know? And they were so happy to see that we did. SPEAKER 1: There's so much more pride… PHYLLIS: Oh God. SPEAKER 1: So now your grandmother, how involved was she in this enterprise? PHYLLIS: Well, she went right along with my grandfather. She helped cook, she helped cleaned the downstairs for the downstairs restaurant, and she maintained the cleaning in the rooms of the roomers. So she was busy, she was a hard worker, a very hard worker. SPEAKER 1: So your grandfather, he must have been satisfied finally because this is his -- was this his last endeavor? Or was that… PHYLLIS: Well, it was his last business endeavor. SPEAKER 1: Business? PHYLLIS: Yeah, once he moved from above the restaurant, he built a home on Fort Pond, and he was more or less in retirement. He would still come in to check and make sure everything was okay, that my father was doing what he wanted my father to do; but eventually he became sickly, and that's when he stopped. SPEAKER 1: How many days was it open? PHYLLIS: He had it open seven days a week. SPEAKER 1: Wow. PHYLLIS: But this is my grandfather the businessman, you know? You have customers, they want to eat, you open seven days a week. SPEAKER 1: So I don't imagine you had a big Italian population for Sundays, or did you?16 PHYLLIS: No, it was mostly the other ethnic backgrounds that came in on Sunday. Because, you know, the Italians always gathered at their grandmother's house or their mother's house for Sunday dinner. It was, you know, a lot of loners, a lot of other ethnic background couples that would come as a treat to go out on Sunday, you know? SPEAKER 1: Do you think this was all of his employees back in 1933? PHYLLIS: Oh yeah, yeah. SPEAKER 1: And did they typically stay with him for a long time? PHYLLIS: Well, I was born in '34, the only ones I don't remember, this gentleman, this gentleman, the rest I remember. SPEAKER 1: So the two… PHYLLIS: I don't remember their names except her. They stayed. Her name is Gabrielle [Grenash]. SPEAKER 1: Grenash? PHYLLIS: I don't remember the others. SPEAKER 1: So it looks like two, four, twelve, eleven to twelve employees. PHYLLIS: Yeah. SPEAKER 1: And I think marking before the tape was running, but can you just explain those costumes a little bit that the waitresses wore? PHYLLIS: Well, in Italy, each little province or town had their own native dress, and I think he probably wanted to incorporate that with the red, the white, and the green colors of the Italian flag. So where my grandfather came from, the women wore these vests, and it was like a -- what's the word? SPEAKER 1: Bra? PHYLLIS: Bustier? SPEAKER 1: Oh yeah. PHYLLIS: You know, similar to that with black and white peasant blouse. Their hair in some kind of black scarf. And I'm sure it was similar to that where my grandfather came from, and he wanted something that was going to be reminiscent of Italy and with the Italian colors as well. Now, I don't know if I still have [age groups]. The first one did go into something similar to 17 that, trying to keep a tradition, but then it just became too cost-effective, you know, [unintelligible - 00:36:47] them and launder them and everything. SPEAKER 1: I'm thinking of keeping them clean. PHYLLIS: Well, yeah. SPEAKER 1: Because that looks difficult to do. PHYLLIS: Yeah. SPEAKER 1: There's so much white. Now, was he open for lunch also? PHYLLIS: Oh yeah. SPEAKER 1: For lunch and dinner. PHYLLIS: Just lunch and dinner seven days a week. Then as a new generation took over, they'd cut the hours down, although my father did keep seven days a week. When my husband and I took it over, we decided on Tuesday to close, on Tuesday because all the other restaurants were closed on Monday, so why not stay open on Monday? SPEAKER 1: So you have some of your grandfather's marketing expertise, evidently. So tell me what a day in his life was like owning the restaurant. PHYLLIS: Well, it was mostly -- you know he'd come in to his office, he'd go over the books, he'd do his bookkeeping, you know, his daily bookkeeping. And then he would take my grandmother and then go into Boston and spend the day in Boston purchasing the items I told you. And going to visit other friends, and then coming back so he could work the bar at night. SPEAKER 1: This is obviously after he became successful, but that's when you really remembered anyway. PHYLLIS: Yeah, I don't remember him working at the floor. I have pictures of him -- or in any other businesses he had, I wasn't around. And you know, it seems as though they didn't save too much then, like pictures and things. It was hard to come by some of these pictures that I do have. Now my children are all clamoring for them, you know? They want to carry on this heritage, and I'm so glad I talked to my mother. SPEAKER 1: Oh, I know. You have…18 PHYLLIS: So glad I talked to my mother about all this. SPEAKER 1: So what's the day for you like? Was it similar in any way? PHYLLIS: Well, when I was working here, I just worked the weekends because they were the busiest, keeping in mind I had six children at home [unintelligible - 00:39:13], and I'd be working. It was so busy, so very, very busy. Very stressful. Worrying about my children, are they okay, my teenagers, what are they doing, are they home on time, getting ready to seat the next customers, getting a call from home, it was horrible, it was horrible, that aspect of it. But the other aspect, the gratifying aspect was seeing customers that were older than me coming back and telling me stories about my grandfather, "Oh, Mr. Monty did this," or, "We've been coming here for 25 years," and knowing your customer by name. You know? They loved that if you recognized them, it meant something to them. And my husband was even busier than I was. He would be working 60 hours a week, it was hard for him. And that's when he decided to start cutting down the hours, the night hours, closing hours, and closing one day a week. He says, "I need that one day—not to relax, just to get things done," to have improvements done, or repairs done, or certain cleaning done to the stove, and things like that. He needed an extra day; and on his day off he was here all day. SPEAKER 1: Actually, you both talked about this. So you're glad that you continued with the business? PHYLLIS: Yes in one aspect because it's a two-sided feeling. The good side was it provided us with a very excellent way of life. Secondly, the other side of the coin, we had no family life. You know how the Italians get together on Sunday? We didn't have that. My husband was always working. So my father, who loved -- I'm an only child, so he just loved being with my children. He would take us out to dinner with all my children, so they got used to going out to eat very 19 young and being very critical of the menu and, you know. Being in the food business, you know, they grew up that way. Holidays my husband insisted, when he had the business, we close on Christmas, close on Thanksgiving, and close on Easter. We were open for New Year's Day, but you know, you had everybody that had hangovers come in on New Year's Day, so my husband said, we're closing New Year's Day, too. And that was really the only time we could get together as a family. So you have your advantages and you have your disadvantages, and you try to mesh them together. SPEAKER 1: Now, does that mean your grandfather was open during Christmas Day, Thanksgiving Day? PHYLLIS: Always the businessman. I remember coming up here into this room having Christmas dinner with my grandparents and my mother, and myself and my aunt and her family, and my father having to cook, you know, for us, for our customers that came in. You know, and he'd run in, you know, because he was busy in the kitchen. I always remembered that. I remember one Thanksgiving I had it by myself in a booth, I felt so terrible. Because my father was working, and my mother, she was upstairs, she didn't want to come down, and I don't know where the rest of the family was then, you know? But I remember being alone then. SPEAKER 1: Did that in any way become a stimulus for you to have six children? PHYLLIS: Well, it provided the stimulus to have as much family get-togethers as possible. You know, there's a lot of family time, let's all be together. If you want to bring your friends over that's okay, but this is our time. Tuesdays, Tuesday night it was a special time; either we went out to eat as a family, or we had people over. But that was our Sunday dinner, like -- because everybody would be home, my husband; and I would say don't plan anything for Tuesday night. That's our family night, you know? And I feel badly because today my children have to work around the schedule here, so they guard their time-20 off very, very much. So, "Ma, this is my only day off, you know? I'm going to do this; I'm going to spend time with my family." So it's hard even to get together now with them because they're, you know, six children. My son is working hard at his restaurant, my daughter downstairs who works all week long wants her Sundays to herself. In that aspect I'm sorry that we're not an average Italian family. But on the other hand, it's providing us with other things in life. SPEAKER 1: I'm sure you did the right things only because your children are in the business. PHYLLIS: Oh yes, oh yes. We provided a business for four of our children who -- my son also worked here, but then he wanted to have his own restaurant, which I think is wonderful. Now he knows how hard his father worked. You know, when I go to visit him, he'll say, "I can't get everything done. "This has happened, "that, and then one thing or another, and I laugh and I look at him and I say, "Think about your father, what he went through." SPEAKER 1: Your mother saw her father work like that. PHYLLIS: Yeah. SPEAKER 1: You saw your father. PHYLLIS: And she was used to it by the time her husband was in the business; she was used to seeing her father work all those hours. So she didn't -- I never heard her complaining that much about my father having to go into work certain nights, days, holidays, because she was brought up in that. Although I saw it, and I accepted it, I didn't like it. But I accepted it because it was our way of life, you know? But now the restaurant has provided my husband and I with so much opportunity, to travel and to do the things that we couldn't do, to have a social life, to have friends, and you know, we're appreciating that now. SPEAKER 1: Good. Your mother, your grandmother, you? PHYLLIS: Well, my grandmother did. I remember going to visit and staying with her at their home on Fort Pond, I used to love to go there because she would cook my favorite foods, like pancakes from scratch and different kind of 21 pastas, and it was nice being there. And we were right on the pond and I would bring all my friends over, and she'd feed everybody and we'd go swimming. My mother cooked when she lived in her own home, but when she moved above the restaurant, she didn't cook. "You hungry? Go ask your father for something to eat," you know? We didn't have meals together. My daughters all cook, are wonderful cooks. The one that has the store downstairs, out of this world, she's fabulous. But they all cook. And both my sons, even the son that works here, he cooks. So it's all in the food industry throughout the whole family. SPEAKER 1: Now I see… PHYLLIS: Oh yes, the veal parmesan was a specialty. SPEAKER 1: Was that offered every day? PHYLLIS: Yes. You know, as the different owners took leadership of the restaurant, they brought in different foods, you know, different menus. My children today have much more on their menu than we had only for the fact that preparation time, you know, you can only do so much. You can't be making these very fancy dishes to order because we had a small kitchen and you couldn't do that. When they expanded, then they started expanding their menu. I will show you the original menu that's on the wall in the waiting room. SPEAKER 1: Was Friday a big fish day? PHYLLIS: Oh yeah, yes. He also went in and bought his -- I'm sorry, he bought his fish fresh in Boston also, transporting it back and forth. You know, he made sure he'd be there first thing on Thursday to pick up his fish supply, scallop, shrimp, haddock. SPEAKER 1: That leads me to another question. I was wondering if Fridays are still a big fish day. PHYLLIS: Oh yeah, oh yes, yeah. You'd be surprised, especially with today's customers are so health conscious. They'll have fish any time during the week, not only on Friday because it's, you know, it's good for you. So we 22 have a few specialties during the week of fish as well as our fish menu ever, not just on Fridays. SPEAKER 1: Is that different? I'm wondering, do people really primarily fish only on Fridays back then? And now it's more [accepted]? PHYLLIS: I have to think. You know, fish was very inexpensive years ago. Today fish is as expensive as steak, you know, certain types of fish. So I would assume fish could've been on the Italian table more than once a week if they could afford to buy it. You know, there was only one fish market in Leominster at the time, and I still remember my own family having fish more than once a week on Fridays. But I can't speak for others. You know, with the sauce, you can make a marinara -- what do you call it? I need to get -- a certain kind of sauce made with squid. SPEAKER 1: I don't know what it's called. PHYLLIS: I can't think of the name, senior moment. I'll think of it. And that's made with sauce. So Italians would have that with pasta, or they would make, good pasta. Anything -- clam sauce, they would make. And that wasn't just on Friday; that was anytime, you know, that the mother wanted to cook it. SPEAKER 1: Now did you call -- do you just call sauce "sauce"? I mean did you ever call it gravy? PHYLLIS: No. SPEAKER 1: Why is that? PHYLLIS: I don't know. But any Italian that's Italian calls it sauce. Anybody else, if they're not Italian, calls it gravy. When people say I want gravy, if somebody says gravy they bring them out brown gravy. SPEAKER 1: So how have things changed over the years? Let's say the clientele. PHYLLIS: The clientele changes with the times. I remember when I worked I had a lot of yuppies, that they wanted to go out; and no matter what the cost, they wanted good food. And they expected for you to provide that with a smile and excellent service, and then they were yours forever. I remember that in particular, a lot of young people, young professionals…23 SPEAKER 1: What year, about? Oh, they have to come. PHYLLIS: Do they have to come? SPEAKER 2: Yeah they have to -- unless you guys want to go into the lounge. PHYLLIS: Go into the lounge. SPEAKER 1: Sure. PHYLLIS: And then he had a mahogany bar, a 10-foot mahogany bar. But when that 4th generation came in, they decided it would be a business move, a better business move, to increase the size of the other dining room to have large parties come in. So, you know, the little bit of business the bar did there, they decided to take it out. SPEAKER 1: So the 4th generation is your children. PHYLLIS: Yes. SPEAKER 1: And you said the 5th is working too, your grandchildren? PHYLLIS: One of my daughters Darla is waitressing here. Who knows what she wants? It's a start. They all started working here when they were young, all my children. As soon as they were tall enough to wash dishes, they were behind there washing dishes. And then they learned how to make the salads and work the kitchen line. SPEAKER 1: How has the restaurant business changed over the years? Oh, first of all we were talking about the clientele and how you mentioned the people who were coming in. PHYLLIS: Yeah, that I thought were yuppies. SPEAKER 1: Yuppies. And I asked you what year. PHYLLIS: '79 is when we remodeled. SPEAKER 1: Remodeled? PHYLLIS: And enlarged the restaurant. SPEAKER 1: So how have people's expectations changed when they come out to eat? PHYLLIS: I think they're more knowledgeable today. Even then in 1979 people knew what they wanted. They wanted good quality, and they let me know about it. Whereas years and years ago, they just took whatever you put in front of them and were happy. They never would complain. Not that we 24 didn't give them good service or good food, but I note the clientele today are very discriminating, if that's the correct word. They know what they want and you gotta provide it. SPEAKER 1: I noticed the sign when we just walked in here to the lounge is catering, you offer catering now? PHYLLIS: Yeah, they just started doing that. You know, a lot of the restaurants are doing that now. People would come up and -- see, we don't deliver, but people would come up and say, well I want such and such for a group of 30. And we would suggest certain foods, certain sizes; do you want it hot or do you want it oven ready? You know, it's a big help. A lot of people -- you know, more people are eating out. There's two workers in the family all the time and they don't have time to come home and cook. So anything that makes life easier for them, and that's why the store downstairs, she has all prepared foods that people can buy by the pound and go home and heat it up and have a meal. SPEAKER 1: But do you do a take-out? PHYLLIS: Oh yeah. SPEAKER 1: When did that really start, do you think? PHYLLIS: Forever. SPEAKER 1: Forever? PHYLLIS: When my grandfather had it, he was -- I remember having take-out, and the customers that were shut-ins would call a taxi and call here and say, I'd like such and such, and the taxi is picking it up. SPEAKER 1: So you went from only one restaurant, you're the only restaurant in town, so now there's so many. PHYLLIS: Five or six Italian restaurants. And we know the owners very well, because they're all mostly Italians other than the ones that are in Fitchburg. And we're all very friendly with them, you know. SPEAKER 1: Do you try to offer something different than let's say their restaurants offer?25 PHYLLIS: Not really. We go our own way and do our own thing. They're always looking for new menus, new preparation of foods, different foods introduced, you know, all the specialties, that they will try different. LINDA: Hi, I'm Linda. SPEAKER 1: Linda. PHYLLIS: She's interviewing for Fitchburg State College. SPEAKER 1: We're almost done. SPEAKER 2: All right. Did you want to look at that box on my truck so I can leave it here? Because he's worried about these two. PHYLLIS: Nothing but good about you, honey. SPEAKER 1: A different type of menu. PHYLLIS: Menus. People are starting to come in. SPEAKER 1: Let me ask you about your grandfather as far as he was civic-minded. PHYLLIS: Yeah. SPEAKER 1: Okay. PHYLLIS: They would ask him to be their Marshall of their mini-parade, and I remember seeing a picture of my grandfather on a horse leading a parade. SPEAKER 1: Maybe the historical society has that. PHYLLIS: Maybe. I know they have a wonderful film that they just put on video that I was asked to go and see, and my grandfather is in many of the scenes, and my grandmother as well. I could not believe my grandmother was in them. SPEAKER 1: How exciting. PHYLLIS: It was. And the most exciting part for me was the last shot. They had shots of all the children in all the schools, and these Lancaster Street schools, it showed a shot of all the children, and of course they put the nursery school children in the front, there I was. I couldn't believe it. And I knew it was me. I knew it because I said I had a coat just like that. And I go, "Oh my God, that's me." It was so interesting. SPEAKER 1: Now, who produced that?26 PHYLLIS: It's the historical society. They showed it to the public, I had a private viewing, and then they showed it to the public and as soon as they get enough money, they're going to mass produce them to sell to different people. SPEAKER 1: Was this related to Italians or just Leominster in general? PHYLLIS: Leominster in general. It had pictures of the restaurant, scenes of the waitresses serving customers, my grandfather standing there, my grandfather behind the bar with my father and my uncle. They had a shot of the walk-in cooler with the beef hanging. I think it was a promotional film depicting what's in Leominster because certain businesses were depicted also, like Fuller Lumber Company that no longer exists, shots of them; DuPont; people coming out of work. So it looked like a promotional thing. It showed city council and my grandfather was on a lot of committees. So anyway getting back to -- he was a founding father of Saint Anna's Church. He served on many committees, and one of which was the selective service board, otherwise known as the draft board. And I remember hearing how difficult it was for him to draft some of the sons of his closest friends, draft them to go to war. It was very difficult for him. And as I said before, he helped many immigrant Italian families to get established once they arrived in Leominster; and if anyone needed financial help for a business or money to send their son to college, they would always come and ask my grandfather for a loan. And you know, he would help many Italian families become assimilated in the American culture; and as a result he became godfather to many Italian sons and daughters, many, because that was a note of compliment to someone to ask them to be godparent to their child. And as I said, he was a man ahead of his time with his wisdom, his vision, his kindness and generosity. And that's how we'll always remember him. SPEAKER 1: He died when you were in your 30s or so?27 PHYLLIS: No, I was married and had children. He died in 1960. My husband was working at the restaurant. We were living above the restaurant and I had three children. SPEAKER 1: But the point is you really got to know him. PHYLLIS: Oh yes, yes. I'd like to think I was one of his favorites. I wasn't afraid of him. He was a very stern man. He seemed stern to all the grandchildren, but he really was an old softie. And I'd always -- when I was away at school, when I was at private girl's school, and I'd come home, and I'd always want to be with him, or I would like pestering him, you know, and he would make like I was pestering him, but really not, you know? And I used to kid with him, and I used to play with his single strand of hair that he had, that you could curl it, and he'd let me do it, you know? But the others never got close to him because they thought he was so stern, but he wasn't. I'll always remember him. SPEAKER 1: You know, a question comes to mind, because usually I ask people if it was important for them to marry Italian. PHYLLIS: Yes, it was. SPEAKER 1: But in your instance I'm wondering how important it was to marry someone who liked the restaurant business. PHYLLIS: Well, when I first met my husband, that had no bearing whatsoever how I became falling in love with my husband, because his parents also owned a variety store/restaurant in Leominster, and he worked there. So in 1960 after we came back from Italy—because he was in the service—he had a decision to make whether to stay in the service and go to Korea, or get out of the service and either take over his father's business or take over my father's business, and he chose this restaurant. SPEAKER 1: And briefly about the last name Caligaris. You said it's Italian. PHYLLIS: It is. If you're in Italy, it's spelled with a C. In Greece, it's spelled with a K because there's no C in the Greek alphabet and there's no K in the Italian alphabet. And we assumed that it was an intermarriage between 28 some Greeks, you know. The Caligaris originated in the southern part of Italy, but my husband's relatives came from northern Italy; the [Piedmont] area, which is not in Italy. We have Turin and Milano, so you can see they intermarried and then they moved to northern Italy. And his family had vineyards in the province of Asti, where they make Asti Spumante. They used to make barberra wine, red wine. It's interesting going there to see the oxen come up the hill loaded with mounds of grapes. People would handpick the grapes. I remember my mother with the scissors, snipping off the grapes and putting them in the basket. [Unintelligible – 01:06:20] SPEAKER 1: Your grandfather was the founder of Saint Anna's, was he a religious man? PHYLLIS: Yes. He had the -- what do I want to say? The degree, the bishop Evans degree in the Knights of Columbus; it's one of the highest degrees you can get. And he was very active with the Knights of Columbus. Very religious, very generous to the church. SPEAKER 1: What would he think of the business today? Let's say he walked up the stairs like I just did. PHYLLIS: I often think about that, and I would say, if only my grandfather lived, you know, to see his different generations, what they've done to the restaurant and how they've improved on it and how his grandchildren and great grandchildren and great-great grandchild have still maintained ties to the restaurant, that would please him so much. SPEAKER 1: He would be shocked by the way food is prepared now? PHYLLIS: No, because my grandfather, as I said, is before his time. He knows there's always improvements. You have to be better and best yourself, so he would understand this. You know, he wasn't set in his ways. No, he would be very proud, very proud. He would be very proud that the new section still maintained the atmosphere of the old. He would be the happiest to know it was still family that was running the restaurant. SPEAKER 1: One more question, what does it mean to be Italian to you?29 PHYLLIS: We have such a proud heritage. I can't imagine being anything else than Italian. We're a very warm people, loving, family-oriented, giving. We understand the plight and unfortunate incidents of other ethnic people because we were in their place at one time, you know, and I think that helps us to understand the other ethnic backgrounds. I think being Italian has given me a wonderful sense of different types of food, not only Italian food but other foods that we would be willing to try, because it would be different. I'm sure you've heard of the saying Italians live to eat, not eat to live. And that is so true, so true. The first thing someone comes to your house, sit down, "Have this, have that," you know, that's our first thing that comes to mind is food. It's a big part of our life, a part of our heritage. Unfortunately the younger people don't have the time—let's put it that way—to become involved where they can be with fellow Italians like the Italian center down on Lancaster Street where we are members of and we have social gatherings with a lot of other Italians. You know? And it reinforces our heritage. Unfortunately the younger people don't do that. So consequently what's going to happen, the heritage, it's going to lose its meaning, you know? And there's so many intermarriages that it's thinning out, you know? My generation, they really would've liked you to marry someone of your ethnic background, which I did. The generation before mine, it was insisted upon. You marry your own. You know? Like every other ethnic background went the same way. But today's generation, it doesn't make any difference. SPEAKER 1: Did it make a difference with your children's generation? PHYLLIS: No, no. They were the ones that intermarried other backgrounds. I have -- let's see, one child that married a half-Italian, that's the best we could get. She was half-Italian. And all the rest married, you know, French, or Irish, Yankee or whatever. 30 And you know, they adapt to our ways. They learn how to eat the foods that we eat, albeit it was very foreign to them. But now they love it. And I have one French son-in-law and he keeps reminding me, "Oh Ma, remember when you put that on the table for the first time and I didn't know what it was? And now I love it." SPEAKER 1: Now, were the spouses involved with the restaurant? PHYLLIS: At some point as an extra job, you know, bartending, one thing or another, you know? The wife would bartender or waitress. You know, that was just as extra money, not really -- the family really was the mainstay. They managed the restaurant and manned the restaurant. It's best not to have the in-laws on any decision. It has to be family, and they have to get along. They make a big effort. SPEAKER 1: Do they? PHYLLIS: They make a very big effort to get along. They have meetings. If anything happens they discuss it, which is good. You just can't have siblings run a restaurant and they're not happy about it, and it festers and festers, and -- no. That's why it's so out of the ordinary to have a restaurant go five generations. And if Alana is really not in a management end of it, who knows what she wants to do? Taking business administration, so who knows what she wants to do? SPEAKER 1: Are there any restaurants in the state, let's say, that span five generations? PHYLLIS: Not that I know of. SPEAKER 1: That really is amazing. PHYLLIS: What happens with people -- like in the Boston area, I know the Union House is an old restaurant. They claim to be the first restaurant in Massachusetts, and sure, if it's still owned by the same owner. SPEAKER 1: I thought it was sold. PHYLLIS: It could be. SPEAKER 1: I don't know. PHYLLIS: That never entered our mind. SPEAKER 1: Never?31 PHYLLIS: Never. SPEAKER 1: Even now? PHYLLIS: Never. Never entered our mind. SPEAKER 1: What was your hardest experience? PHYLLIS: Working those weekends when my children were home, worrying about them, not being able to be there to go over, you know, what was going on in my house. I found that very difficult. The stress working here -- I loved being—I'm a people person—I loved being with my customers, interacting with them, hearing if they enjoyed it, if they didn't enjoy it, why. But the stress was the cause of a heart attack for me. So after then my children became really involved and said, "Look, you just go up in the office and do a few things, and between the four of us we'll take care of the downstairs." And then eventually after awhile, they could handle everything. So I didn't have to work. SPEAKER 1: So what role do you play now? Do you play any in the restaurant? PHYLLIS: Nope. I come in, see my children on Friday, "Hi, how are you? How are you doing? How is this one doing? What's up?" and this and that, and just to keep in contact, go downstairs and see my two daughters. Once in awhile I'll go into Worcester to see my son and his wife and four children. SPEAKER 1: Do they live in Worcester? PHYLLIS: Yes, yeah, yeah. I'm enjoying life now. My husband and I are really enjoying life and we're reaping the rewards of hard work at the restaurant. And I know someday my children will too. They believe in more -- other management, other family members being managers, thereby giving them more time off to be with their families. They still work the weekends, but not all of them. One will be here. And then they rotate, so they all have time off, which is good. With my husband and I, I had no sisters, and his brother has another profession, so it was kind of all up to us to do it. SPEAKER 1: Please tell me now, your two daughters that work downstairs, that own that -- what's it called?32 PHYLLIS: The [Pasta] Company. My daughter, Sandra [Osborne] and her husband Richard own that. And I'm going to have to take you down there to show you. SPEAKER 1: Yeah, I want to see that. PHYLLIS: And just recently her sister came to work for her, and it's so wonderful. SPEAKER 1: And what's her name? PHYLLIS: Lynn. SPEAKER 1: Lynn? PHYLLIS: It's so wonderful that she's working for her sister just because family is there. When my daughter's not there she knows her sister is, and all will be run right. SPEAKER 1: And now the children up here, what are their names? PHYLLIS: Leslie. SPEAKER 1: Leslie. PHYLLIS: There's Dean. And they all have their own department that they run. Leslie is the -- she assists, manager, bookkeeper. Dean is the out front manager, hiring, firing waitresses, training them. Brian does the bar and hiring the bartenders and the cooks, overseeing the kitchen, at times, cooking himself, dishwashers. You know, it's divided up nicely, but at one point I was doing it all. My husband was doing the bookwork, but I was doing the hiring and firing of everybody, and it was so stressful. SPEAKER 1: And Steven is at Stefano's. PHYLLIS: Yeah. And, you know, his wife helps him. She has her own teaching job, but she helped him on the weekends, and his oldest daughter works on Saturday because it's that busy, as a waitress. And he was telling me that she knows the business already, that she could manage that business. So I can foresee his children going right through his business, which is -- it's good. You know, there's nothing like having family there. SPEAKER 1: That's right. Thank you, is there anything else you'd like to add? PHYLLIS: No, I think I covered my grandfather's life pretty much.33 SPEAKER 1: He sounds like a wonderful man. PHYLLIS: Wasn't he? SPEAKER 1: Remarkable. PHYLLIS: A remarkable person, you know? And my son said to me the other day -- he was interviewed by Maria Populous, she has the "Cooking with Maria." SPEAKER 1: Oh, okay. PHYLLIS: And they did an hour-segment on Stefano's and they interviewed him. At the initial interview, he said how disappointed he was that he never got to meet who all started this, you know? Shot of him cooking and doing his specialty, what he liked, and then his other two chefs. It was great. I was so proud of him. SPEAKER 1: So proud of your past, and it sounds like you're so proud of your future. PHYLLIS: Oh yeah, I've often said I want to be in the know. You know, when you look in the world today, you always have to be thankful for what you have because things could've been -- my parents had a good life, my father and mother, well, they worked hard. They worked very, very hard. SPEAKER 2: I'm putting my [unintelligible - 01:19:40] so don't worry about it. PHYLLIS: Okay dear. My children, they'll have a good life, because they married men who have good businesses, and they'll support them with a good life. So I can rest knowing that all my…/AT/pa/tf/es
Den Kern der hier vorliegenden Arbeit bildet die Gliederung der Keramikfunde von drei Siedlungshügeln aus den Tonebenen (auch firki genannt) des südwestlichen Tschadbeckens Nordost- Nigerias. Obwohl das Gebiet in den 60er Jahren bereits archäologisch erschlossen wurde, waren die keramikchronologischen Aspekte nur oberflächlich abgehandelt worden. Ziel der Arbeit war somit die Erstellung einer grundlegenden Keramikchronologie anhand der sehr umfangreichen Fundmengen aus den Siedlungshügeln Kursakata, Mege und Ndufu. Ihre Stratigraphien erlaubten es, eine Keramikchronologie für die letzten 3000 Jahre zu erstellen. Das Gebiet der dem Tschadsee vorgelagerten firki-Tonebenen konnte erst ab 3000 BP besiedelt werden, wie die C14-Datierungen der Fundplätze bezeugen. Vorher war der auch als Chad Lagoonal Complex bezeichnete Raum von den Wassern des Mega-Tschadsees bedeckt. Diese sogenannte 3000- Jahresgrenze gilt aber nur für die firki-Region, denn in den westlich angrenzenden Sandebenen (Bama Deltaic Complex) war eine Besiedlung um 1000 Jahre früher möglich. Das Siedlungsmaterial der drei Hügel wurde mittels Veränderungen in der Keramik in Bezug auf Verzierung und Form sowie mehrerer C14-Daten in verschiedene Perioden gegliedert: Later Stone Age (1000-500 cal BC), Early Iron Age (500 cal BC-500 cal AD), Late Iron Age (500- 1600 cal AD), Historisch (16.-19 Jh. AD), Subrezent (19.-20. Jh. AD). Later Stone Age und Early Iron Age zeigen in der Keramikentwicklung eine Früh- und Spätphase. Den wichtigsten chronologischen Faktor bilden die Verzierungstechniken, denn vom Later Stone Age bis zur subrezenten Periode ist eine Abnahme von unverzierten Scherben im Verhältnis zu verzierten Scherben zu beobachten, d. h. größere Flächen wurden auf der Keramik verziert. Der Keramikhorizont von Ritz-, Stich- und Wiegebandtechnik im Later Stone Age wandelt sich über das Early Iron Age zu einem Matten- und Roulettehorizont schließlich zu einem Roulettehorizont im Late Iron Age. Den Entwicklungen in der Verzierung lassen sich Veränderungen bei den Gefäßformen gegenüberstellen, die sich von geschlossenen zu offenen Formen wandeln. Das Later Stone Age ist durch Kümpfe, dagegen das Early Iron Age durch Töpfe geprägt. Offene Schalen-Schüsseln bestimmen das Gefäßinventar ab dem Late Iron Age, aber auch verschiedene neue Gefäßtypen wie So-pots, Dreifußgefäße, Gefäße mit flachem Boden sowie solche mit langen konischem Rand treten jetzt in Erscheinung. Die zunehmende Bedeutung der Verzierungstechniken Matte und Roulette in den Fundplätzen spiegelt sich in ihrer Variationsbreite wider. Einzelne Matten- und Roulettetypen nehmen die Stellung von Leitformen ein. Im Later Stone Age sind nur Randparallele/Diagonale Geflechte und kombinierte Roulettes (cord wrapped stick roulette) vorhanden. Ab dem Early Iron Age wird das Formenspektrum erweitert. Zwirnbindige Geflechte und gezwirnte Schnurroulettes (twisted string roulette) bilden die charakteristischen Arten in der Frühphase des Early Iron Age, aber ab der Spätphase des Early Iron Age gewinnen die kombinierten Roulettes (cord-wrapped stick with spacing roulette) wieder an Bedeutung. Danach treten nur noch Roulettearten neu hinzu. Im Late Iron Age ist es das Schnitzroulette (carved roulette) und gegen Ende des Late Iron Age, aber vor allem ab der historischen Periode das gezwirnte Bandroulette (twisted strip roulette). Anders als bei den Roulettetechniken ist das Vorkommen von Matten an bestimmte Herstellungstechniken von Gefäßen gebunden, vorausgesetzt die Matten wurden nicht nach der Herstellung in die Oberfläche des Gefäßes eingeklopft. Ihr flächendeckender oder auf das Gefäßunterteil beschränkter Auftrag auf der Keramik der untersuchten Fundplätzen deutet auf die Anwendung von Treibtechnik zur Herstellung der Gefäße hin. Die begrenzte Handhabung der Matten und ihre primär technische Bedeutung (Oberflächenbehandlung) spielten vermutlich eine Rolle bei ihrer Verdrängung durch die Roulettetechnik. Insgesamt zeigt die chronologische Entwicklung der Keramik, daß die Tonebenen ohne längere Unterbrechung kontinuierlich besiedelt waren. Der Übergang von einer Periode zur nächsten ist zwar durch Veränderungen im Keramikmaterial gekennzeichnet, es werden aber immer auch verschiedene Merkmale aus der vorangegangenen Periode übernommen. Am markantesten stellt sich der Übergang vom Later Stone Age zum Early Iron Age dar. Hier finden Entwicklungen in der Keramik statt, die heute noch ihren Niederschlag (Roulettetechnik) finden. Die politischen Veränderungen im Gebiet der firki zu Beginn der sogenannten historischen Periode (Integration in das Kanem-Bornu-Reich) fallen keramiktypologisch betrachtet weniger ins Gewicht, d. h. die bestehende Keramiktradition wurde nicht vollständig durch eine andere ersetzt. Das Keramikmaterial aus den firki-Tonebenen Nordost-Nigerias zeigt, wie zu erwarten, die größten Übereinstimmungen zu dem anderer Fundplätze aus den Tonebenen der heute angrenzenden Staaten Kamerun und Tschad. Mit den Fundinventaren aus der südlich angrenzenden Mandara-Region in Kamerun und Nigeria haben unsere Keramikinventare die Entwicklung zu vorwiegend Rouletteverzierter Keramik (genauer gesagt Schnurroulette) in der Eisenzeit gemeinsam. In der nördlichen Mandara-Region scheint die Keramikentwicklung allerdings statischer verlaufen zu sein, da hier die markanten Veränderungen aus der firki während der Eisenzeit fehlen. Dennoch läßt das Keramikmaterial auf Beziehungen zwischen beiden Regionen schließen, die nach der Fundlage im Handel von Steinen und vermutlich auch Eisenerzen und Metallobjekten bestanden. Ebenso ist die politische Entwicklung in den Tonebenen (Integration in das Kanem-Bornu Reich) eng mit der in der nördlichen Mandara-Region (Bildung des Wandala-Reiches) verknüpft, was sich auch im Keramikmaterial widerspiegelt. Dagegen offenbaren die Fundstellen des östlichen Tschadbeckens in der Republik Tschad gänzlich andere Keramiktraditionen. Typische Keramikelemente aus der firki treten dort erst später oder gar nicht auf. Die Integration der firki Nordost-Nigerias in das Kanem-Bornu-Reich stellt sich als eine Verbreitung bestimmter Keramikelemente (twisted strip roulette, Sgraffito) westlich des Tschadsees (Yobe Valley) weiter nach Süden dar, wobei diese Keramikmerkmale von der autochthonen Bevölkerung westlich des Tschadsees schon vor der Ankunft der Kanuri verwendet wurden. Dies bedeutet, daß die Kanuri die Keramikmerkmale entweder von der einheimischen Bevölkerung übernommen haben oder schon vorher ein kultureller Austausch zwischen dem Yobe Valley und Kanem bestand. Die firki-Region war im Laufe ihrer Besiedlung verschiedenen Einflüssen anderer Regionen ausgesetzt. So müssen die ersten Siedler von außerhalb in das Gebiet eingewandert sein, da es längere Zeit für eine Besiedlung unzugänglich war. Weder die westlich angrenzenden Sandflächen noch die südlich angrenzenden Ebenen der Mandara-Region oder der östliche Teil des Tschadbeckens kommen derzeit dafür in Frage. Die Wirtschaftsweise der ersten Siedler deutet in nördliche Richtung, denn sie brachten domestizierte Rinder, Schafe, Ziegen und die Kenntnis vom Anbau domestizierter Perlhirse (Pennisetum glaucum) mit. Ihre Keramik steht in der Tradition des saharischen und sudanesischen Endneolithikums, was sich aus zonal begrenzten Verzierungen und der häufigen Verwendung von Ritztechnik und Spatelstich ableiten läßt. Die für das Later Stone Age in der firki typische Rouletteund Mattentechnik wurde in der Sahara/Sahel entwickelt. Ob die ersten Siedler nun aus östlicher oder westlicher Richtung kamen, läßt sich nicht definitiv sagen. Allerdings ist eine westliche Richtung durch die dort nachgewiesene Verwendung von Matten in Köperbindung und der eines kombinierten Roulette (cord-wrapped stick with spacing roulette) zu favorisieren. Der Übergang zum Early Iron Age in der firki ist mit neuen Einflüssen aus der südwestlichen Sahara und dem angrenzenden Sahel verbunden. Dies geht aus der Verwendung von twisted string roulette und zwirnbindiger Geflechte hervor. Auch wirtschaftlich hat mit Beginn des Early Iron Age ein Wandel stattgefunden, denn zu diesem Zeitpunkt setzt ein großflächiger Anbau von Perlhirse (Pennisetum glaucum) ein. Erst jetzt kann man von einer vollentwickelten seßhaften Lebensweise in der firki sprechen. Archäobotanische und archäozoologische Untersuchungen bezeugen einen Umschwung zu arideren klimatischen Bedingungen am Übergang vom Later Stone Age zum Early Iron Age, der die wirtschaftlichen Veränderungen nach sich gezogen haben könnte. Die grundlegenden Veränderungen in der Keramik unterstützen diese Hypothese, denn sie spiegeln vielleicht dieselbe Entwicklung nur auf anderer Ebene wider. Der Einfluß von Keramiktechniken aus dem Nordwesten läßt Bevölkerungsverschiebungen aus dem trockenen Norden in die von Wasservorkommen begünstigten firki-Tonebenen vermuten. Ein Einfluß aus anderer Richtung zeigt sich für das Late Iron Age. So hat sich wahrscheinlich die Technik des carved roulette im Savannenraum von Nigeria, Kamerun und der Zentralafrikanischen Republik entwickelt und weiter ausgebreitet. Für die historische Periode und den mit ihr in Zusammenhang stehenden politischen Veränderungen wurde schon auf Einflüsse aus dem westlichen Tschadbecken (Yobe Valley) Nordost-Nigerias hingewiesen. Dennoch muß die Bevölkerung in den Tonebenen nicht erst mit der Ausbreitung der Kanuri am Ende des 16. Jh. AD mit der Verwendung von twisted strip roulette in Berührung gekommen sein, wie Funde aus dem Late Iron Age zeigen. Diese Technik ist typisch für die Eisenzeit in Mali, sie wurde aber auch im 1. Jt. AD in der nördlichen Mandara-Region vereinzelt verwendet. Die Verbreitung der Roulette- und Mattentechniken ist für die Rekonstruktion von Beziehungen zu anderen Regionen ausschlaggebend. Am Keramikmaterial von Kursakata, Mege und Ndufu läßt sich sehr gut beobachten, daß verschiedene Roulette- und Mattentechniken hier zeitlich versetzt voneinander im Later Stone Age und Early Iron Age in Gebrauch kommen, die weiter nördlich schon im Later Stone Age bekannt waren und gemeinsam verwendet wurden. Die Bedeutung von twisted string roulette als Indikator für das Early Iron Age teilen sich die Fundplätze aus der firki mit anderen Fundplätzen aus dem Savannenraum. In der firki stehen Schnurroulettes und zwirnbindige Geflechte als Synonym für Eisen und seßhafte Lebensweise. Mit der hier vorliegenden Arbeit ist zum ersten Mal eine grundlegende Keramikchronologie für die firki-Tonebenen Nordost-Nigerias erstellt worden. Die verschiedenen Verzierungstechniken und auch die bislang wenig berücksichtigten Gefäßformen wurden näher bestimmt. Weiterhin ermöglichten es die Analysen, das Fundmaterial anderer Plätze besser zu beurteilen bzw. eine fundiertere Grundlage für Vergleiche zu bilden, d. h. es wurde ein detaillierter und kritischer Vergleich mit allen wichtigen Fundplätzen aus dem südlichen Tschadbecken vorgenommen. Darüber hinaus wurden die für die Keramikchronologie wichtigen Roulette- und Mattentechniken dokumentiert und anhand ihrer technischen Merkmale definiert. Eine zusammenfassende Darstellung zur Verbreitung der Rouletteund Mattentechniken in Afrika erlaubte es, ihre Vorkommen in Nordost-Nigeria in einen größeren vorgeschichtlichen Zusammenhang zu sehen. Somit bietet die hier vorliegende Arbeit genügend Grundlagen, auf die nachfolgende Forschungen aufbauen können. Für das östliche Tschadbecken und die nördliche Mandara Region steht bislang eine solche Keramikchronologie noch aus. ; The central part of this dissertation describes the classification of pottery from excavated sites in the clay plains, called firki, of the southwestern Chad Basin in Northeast Nigeria. Although archaeological research in this area already took place in the 1960's, the different chronological aspects of pottery have been treated only superficially. Therefore the objective of this work has been the development of a fundamental chronology on the basis of the large amount of pottery material from the settlement mounds Kursakata, Mege and Ndufu. Their stratigraphies comprise the last 3000 years. C14 dates of the archaeological sites confirm that the firki clay plains south of Lake Chad were settled around 3000 BP. Before that time this area - also known as the Chad Lagoonal Complex - was flooded by the Mega Lake Chad, which had its maximum extension during the middle Holocene. After its regression, due to increasing dryness between 1500-800 BC, the area could be settled again on relict islands of sand dunes, which interrupt the clay soils and protect the people from flooding in the rainy season. Continuous occupation led to the accumulation of stratified deposits and finally to the development of settlement mounds. However the 3000 year limit for reoccupation is only valid for the firki since the adjacent sand plains of the Bama Deltaic Complex were settled 1000 years earlier. The settlement remains of the mounds Kursakata, Mege and Ndufu, all located near to the village of Ngala, can be subdivided into different phases by changes in the ceramic material and dated by several C14 dates: Later Stone Age (1000-500 cal BC), Early Iron Age (500 cal BC-500 cal AD), Late Iron Age (500- 1600 cal AD), Historic phase (16th-19th century AD), sub-recent phase (19th-20th century AD). Furthermore the pottery of the Later Stone Age and Early Iron Age show an early and late sub-phase. Changes in the decoration techniques are the most important chronological factor during the single phases. A tendency towards more complete surface decoration becomes obvious as the percentages of undecorated potsherds are highest in the Late Iron Age but gradually decrease from the Iron Age onwards. The typical decoration techniques of the Late Stone Age are incision, impression and rocker stamping, changing to a mainly mat and roulette decorated pottery horizon in the Early Iron Age, and finally to an almost nearly roulette decorated one in the Late Iron Age. Both techniques (mat and roulette) cover a greater part of the vessel than the incised, impressed and rocker stamped motifs arranged in single or multiple, horizontal bands. Changes of pottery decoration go along with changes in vessel forms. They show a development from more restricted to more open forms. The Later Stone Age is characterised by deep bowls with simple and vertical rims whereas the Early Iron Age by nearly globular vessels with everted rims. Open bowls with simple and everted rims dominate the vessel types from the Late Iron Age onwards but different new forms like So pots, tripods, flat bottomed types and pots with long conical rims enrich the spectrum of vessel forms. The increasing importance of mat and roulette decoration techniques in the sites is reflected in their variety of types. Some of the types take up the position of key forms for the single phases. During the Later Stone Age only plaited basketry and the composite roulette type cord-wrapped stick were used. In the Early Iron Age different new roulette and mat techniques became common. Twined basketry and flexible string roulettes, especially twisted string roulette, form the dominant types in the early sub-phase, but in the late sub-phase of the Early Iron Age the composite roulette cord-wrapped stick with spacing gain in importance. After this period only new roulette types appear: for the Late Iron Age it is the rigid roulette type carved roulette and mostly for the historic and sub-recent period (but in small quantities already for the Late Iron Age) it is the flexible strip roulette type twisted strip roulette. In contrast to the roulette techniques the use of mat decoration depends on special pottery manufacturing techniques, provided the mat has not been applied to the vessel after its manufacture. The placement of mat impression to the lower part or all over the vessel in the sites indicates the use of the tamping manufacturing technique. In all probability the limited handling of mats and their prior technical function (surface treatment) led to their replacement by roulette techniques in the Iron Age. As a whole, the chronological development of pottery demonstrate, the firki clay plains have been continuously settled without long interruptions of occupation. Although the transition from one phase to the other is marked by changes in the ceramic material, different pottery features are always taken over from the foregoing one. However the transition from the Later Stone Age to the Early Iron Age is most striking and the occurring changes in the pottery material can still be recognised today in the use of roulette techniques. This is opposite to the integration of the firki plains into the Kanem-Borno Empire at the historic phase, where the existing pottery tradition was not replaced by another one, as seen in the pottery typology. The pottery material of the firki clay plains in Northeast Nigeria show the greatest correspondence to other settlement mounds in the firki which extends to Northern Cameroon and westcentral Chad. With the inventory of finds from the southerly adjacent Mandara plains in Cameroon and Nigeria the archaeological sites of the firki clay plains share the development to almost only roulette decorated pottery (strictly speaking string roulette) in the Iron Age. But in the northern Mandara region the changes in the pottery seem to proceed more statically because the obvious changes in the firki during the Iron Age are missing here. Nevertheless the typological correspondence in the pottery material points to a cultural relationship between the two regions, which, according to the archaeological finds, have existed in the exchange of stone raw material and presumably also of iron ore and iron artefacts. The political changes in the firki clay plains (integration into the Kanem-Borno Empire) are closely connected to the political changes in the northern Mandara region (formation of the Wandala Empire). These changes are reflected in the pottery material. On the other hand the archaeological sites in the eastern Chad basin of the Republic of Chad reveal a complete different pottery tradition. Typical pottery elements from the firki sites occur much later or have not been found. The integration of the firki plains into the Kanem-Borno empire at the end of the 16th century AD is represented in the pottery material by the distribution of certain pottery elements (twisted strip roulette, sgraffito) from the Yobe valley west of Lake Chad to the south. As these pottery elements had been used there prior to the arrival of the Kanuri in the Yobe valley it means either the Kanuri had taken over the elements from the indigenous population or cultural exchange between the Yobe valley and Kanem must have formerly existed. During its long settlement history the firki plains have been exposed to different influences from other regions. People who first settled south of Lake Chad must have come from outside this region because it was flooded until 3000 BP. Currently neither the sand plains of the Bama Deltaic Complex to the west nor the plains of the Mandara region to the south or the eastern Chad Basin can be considered as their homeland. The economy of the first settlers points to a migration from the north as they brought domesticated cattle, sheep and goat as well as the knowledge of pearl millet cultivation (Pennisetum glaucum) with them. Their pottery stands in the tradition of the Saharan and Sudanese Late Neolithic shown by zonal arrangements of motifs and the frequent use of incision and spatula impression. Furthermore the typical roulette and mat techniques of the Later Stone Age in the firki had been developed in the Sahara/Sahel. It cannot be said for sure if the first settlers migrated into this area from the west or the east. But the west seems to be more likely for two different reason: the proved use of plaited basketry decorated pottery and the use of a cord-wrapped stick (with spacing) as a roulette. With the beginning of the Early Iron Age new influences from the southwestern part of the Sahara and the adjacent Sahel has to be taken into account. Twisted string roulette and twined basketry had already been invented there in neolithic times but remained unknown in the eastern part until the first millennium AD. The transition to the Early Iron Age is also marked by notable changes in the economy of the inhabitants. Large amounts of pearl millet in the deposits of the sites demonstrate a sudden beginning of large scale farming. From this time a fully developed permanent settlement way of life had been established in the clay plains. Archaeobotanical and archaeozoological investigation suggest also a shift to a more arid climatic condition during the transition of the Later Stone Age to the Early Iron Age in the firki, which may have led to the intensification of pearl millet farming in the economy of their inhabitants. The fundamental changes in the pottery material support this hypothesis as they probably reflect the same development only on a different level. Together with the appearance of new pottery techniques from the northwest in the firki it can be suggested aridity forced people from further north to go south and to settle in the well watered firki plains. In the Late Iron Age the sphere of influence had changed because the use of carved roulete seems to have been developed in the savannah region of Nigeria, Cameroon and the Central African Republic. A shift of pottery elements from the Yobe valley west of Lake Chad to the firki in the south has been suggested for the historic phase due to the political changes which took place. Because finds of twisted strip roulette already occur in the Late Iron Age the inhabitants of the clay plains may have known the technique before the spread of the power of the Kanuri at the end of the 16th century AD. The use of twisted strip roulette is not restricted to Nigeria or a special ethnic group. This technique is typical for the Iron Age in Mali and is also used in small quantities in the northern Mandara region at the first millennium AD. As we have seen, it is the spread of the roulette and mat techniques which is important for the reconstruction of the relation of the firki plains to its surrounding area. From the ceramic material of Kursakata, Mege and Ndufu it can be clearly observed that individual, separate roulette and mat techniques appear shifted in time in the Later Stone Age and Early Iron Age. These techniques are known to have been used together at several sites further to the north in the Later Stone Age. With other sites of the West African savannah the archaeological sites of the firki plains share the importance of twisted string roulette as an indicator for the Early Iron Age. In the firki the twisted string roulette and twined basketry decorations can be seen as synonyms for iron and a permanent settlement way of life. In this dissertation for the first time a fundamental pottery chronology has been developed for the firki clay plains south of Lake Chad in Northeast Nigeria. Different decoration techniques and the so far less considered vessel forms have been defined. A detailed and critical comparison with all the important archaeological sites of the southwestern Chad Basin has been carried out and, in addition, all the existing roulette and mat types have been documented and classified under technical aspects. Besides the pottery analyses made it possible to interpret the pottery material of earlier excavated sites in the firki in a better way. With a summarised outline of the spread of roulette and mat techniques over Africa, their appearance in Northeast Nigeria could be placed in a greater prehistoric context. Thus the dissertation offers a good fundament for further investigations. A comparable pottery chronology for the eastern Chad Basin and the northern Mandara region is still lacking.
蹂닿굔�븰怨�/諛뺤궗 ; [�븳湲�] �솚寃� 臾몄젣�쓽 �슦�꽑�닚�쐞 �룄異쒖쓣 �쐞�븳 鍮꾧탳 �쐞�빐�룄 �떆�뒪�뀥 媛쒕컻�뿉 愿��븳 �뿰援� 蹂� �뿰援щ뒗 �떎�뼇�븳 �솚寃쎈Ц�젣濡� �씤�븳 �뿬�윭 媛�吏� �쐞�빐�룄(�씤泥� �쐞�빐�룄, 寃쎌젣 �쐞�빐�룄, �씤吏��쐞�빐�룄) 寃곌낵瑜� 蹂묐젹�꽑�긽�뿉 �넃怨� 鍮꾧탳�븯�뿬 臾몄젣�쓽 �슦�꽑�닚�쐞瑜� �꽕�젙�븯�뒗 鍮꾧탳 �쐞�빐�룄 遺꾩꽍 �떆�뒪�뀥�쓽 ���쓣 媛쒕컻�븯怨�, �떎�젣 �꽌�슱 吏��뿭�쓣 ���긽�쑝濡� �옄猷뚮�� �닔吏묆냽議곗궗�븯�뿬 �쟻�슜�븯���떎. �뿰援� �궡�슜�쓣 �궡�렣蹂대㈃, �겕寃� �떆�뒪�뀥 �궡�뿉 �룷�븿�릺�뒗 �쐞�빐�룄 吏��몴�뿉 �뵲�씪 3媛�吏� �쓲由꾩쑝濡� 遺꾨쪟�븯���떎. 泥� 踰덉㎏�뒗 �뿰援� ���긽�쑝濡� �꽑�젙�맂 �솚寃쎈Ц�젣�뿉 ���븳 �씠濡좎쟻 �궗留� �쐞�빐�룄瑜� 異붿젙�븯���떎. 留덉�留됱쑝濡쒕뒗 �룞�씪�븳 �솚寃쎈Ц�젣�뿉 ���빐 �궗�쉶�쟻�쑝濡� �씤�떇�븯怨� �엳�뒗 �쐞�빐 �젙�룄瑜� �꽕臾몄"�궗瑜� �넻�빐 痢≪젙�븯���떎. �뿰援щ궡�슜�쓣 醫� �뜑 �옄�꽭�엳 湲곗닠�븯硫�, 泥ル쾲吏�(Part 1) �꽭 媛�吏� �씤泥� 二쇱슜 �젒珥� 留ㅼ껜 �삤�뿼(��湲곗삤�뿼, �떎�궡怨듦린 �삤�뿼, 癒밸뒗 臾� �삤�뿼)�뿉�꽌 以묎툑�냽�씠�굹 �쐶諛쒖꽦 �쑀湲곗삤�뿼臾쇱쭏怨� 媛숈� 媛쒓컻�쓽 �솕�븰臾쇱쭏, �떎�솚 諛⑺뼢議� �깂�솕�닔�냼瑜섎굹 �떎�씠�삦�떊瑜섏� 媛숈� 蹂듯빀臾쇱쭏, 洹몃━怨� �씪�룉怨� 媛숈� 諛⑹궗�꽑臾쇱떎, 誘몄꽭遺꾩쭊 �벑 媛곴컖�쓽 臾쇱쭏 �듅�꽦�뿉 �뵲瑜� �쐞�빐�꽦 �룊媛� 諛⑸쾿濡좎쓣 �쟻�슜�븯�뿬 �븫 諛쒖깮�쑝濡� �씤�븳 �씠濡좎쟻 �궗留앹닔瑜� 遺덊솗�떎�꽦 遺꾩꽍(uncertainly analysis)�쓣 �넻�빐 異붿젙�븯���떎. �몢踰덉㎏ �뿰援�(Part 2)�뒗 �솚寃� �삤�뿼�쑝濡� �씤�븳 10�뀈媛� 5/1,000 (�뀈媛� 5/10,000)�뿉 �빐�떦�븯�뒗 �쐞�빐�룄 媛먯냼�뿉 ���븳 吏�遺덉쓽�궗湲덉븸�쓣 異붿젙�븯湲� �쐞�븯�뿬, �꽌�슱 �떆誘� 600紐낆쓣 ���긽�쑝濡� 媛쒖씤硫댁젒�쓣 �넻�븳 �꽕臾몄"�궗瑜� �떎�떆�븯���떎. �꽕臾몄� 援ъ꽦�� 珥� 6媛� �쁺�뿭�쑝濡� 吏�遺� �쓽�궗湲덉븸�쓣 臾삳뒗 遺�遺꾩씠�쇅�뿉 5媛� �꽭遺� �쁺�뿭�쑝濡� 遺꾨쪟�븯���떎(Part A:嫄닿컯�긽�깭 諛� �궣�쓽 吏� 議곗궗, Part B:�쐞�빐�룄 �씤�떇, Part C:�솗瑜� 諛� �쐞�빐�룄�뿉 ���븳 �씠�빐�룄, Part D: �냼�뱷 諛� 吏�異쒕퉬�슜, Part E:吏�遺덉쓽�궗湲덉븸, Part F:湲고��젙蹂�). 吏�遺덉쓽�궗湲덉븸�� 3媛�吏� �쑀�삎�쓽 紐⑤뜽(lower-bounded Turnbull method, dichotomous Weibull, logistic and normal distribution model, and Spike model)�쓣 �씠�슜�븯�뿬 �룊洹좉툑�븸�쓣 �궛痢⑦븯��怨�, 吏�遺덉쓽�궗湲덉븸�뿉 ���빐 �쁺�뼢�쓣 誘몄튂�뒗 �씤�옄�뱾�쓣 遺꾩꽍�븯���떎. �삉�븳 泥ル쾲吏� �뿰援ъ뿉�꽌 �룄異쒕맂 �씠濡좎쟻 �궗留앹닔 異붿젙移섏� �몢 踰덉㎏ �뿰援ъ뿉�꽌 �룄異쒕맂 吏�遺덉쓽�궗湲덉븸�쓣 �씠�슜�븳 �넻怨꾩쟻 �깮紐� 媛�移섏븸(吏�遺덉쓽�궗湲덉븸 첨�쐞�빐�룄 媛먯냼遺�)�쓣 議고빀�븯�뿬 �씠濡좎쟻 �궗留� �넀�떎鍮꾩슜(�넻怨꾩쟻 �깮紐� 媛�移섏븸 * �씠濡좎쟻 �궗留앹닔)�쓣 異붿젙�븯��怨�, �씠�뱾 �넀�떎鍮꾩슜�쓽 �겕湲곗뿉 �뵲�씪 �슦�꽑 �닚�쐞瑜� 寃곗젙�븯���떎. �삉�븳 �넀�떎鍮꾩슜�뿉 ���븳 遺덊솗�떎�꽦 遺꾩꽍�쓣 �떎�떆�븯���떎. �꽭踰덉㎏ �뿰援�(Part 3)�뒗 鍮꾧탳�쟻 媛꾨떒�븳 �꽕臾� 議곗궗瑜� �넻�빐, �빐�떦 �솚寃쎌삤�뿼�뿉 ���븳 �궗�쉶�쟻�씤�떇�쓣 議곗궗�븯���떎. 寃곌뎅, �떎�뼇�븳 �솚寃쎌삤�뿼 臾몄젣(3媛�吏� �긽�쐞 �솚寃쎈Ц�젣{��湲곗삤�뿼, �떎�궡怨듦린�삤�뿼, 癒밸뒗 臾� �삤�뿼}�� 媛곴컖�뿉 �룷�븿�릺�뒗 8媛�吏� �븯�쐞臾몄젣[��湲곗삤�뿼;HAPs, PM10, �떎�씠�삦�떊瑜�, �떎�궡怨듦린�삤�뿼;IAPs, �씪�룉, 癒밸뒗 臾� �삤�뿼;DWPs, DBPs, 吏��븯�닔以� 諛⑹궗�꽦臾쇱쭏)�뿉 ���빐 �씠�뱾 3媛�吏� �쁺�뿭�뿉�꽌 �룄異쒕맂 �삤�빐�룄 寃곌낵瑜� 蹂묐젹�꽑�긽�뿉 �넃怨� 鍮꾧탳�븯�뿬, 媛쒕퀎 諛� �넻�빀 �슦�꽑 �닚�쐞瑜� �꽕�젙�븯���떎. �떆�뒪�뀥�뿉�꽌 �룄異쒕맂 媛곴컖�쓽 寃곌낵瑜� �슂�빟�븯硫� �떎�쓬怨� 媛숇떎. 異붿젙�맂 �씠濡좎쟻 �궗留앹닔瑜� �씠�슜�븳 �씤泥� �쐞�빐�룄 �닚�쐞 寃곌낵�뒗 �긽�쐞�솚寃쎈Ц�젣�뿉 ���빐�꽌�뒗 �떎�궡怨듦린 �삤�뿼, ��湲� �삤�뿼, 癒밸뒗 臾� �삤�뿼�닚�씠�뿀怨�, �븯�쐞臾몄젣�뿉 ���빐�꽌�뒗 �떎�궡怨듦린 以� �씪�룉, 誘몄꽭癒쇱�(PM10), IAPs, HAPs, DWPs, ��湲곗쨷 �떎�씠�삦�떊瑜�, DBPs, 吏��궗�닔以� 諛⑹궗�꽦臾쇱쭏�쓽 �닚�씠�뿀�떎. �씠�� 媛숈씠 異붿젙�맂 �씠濡좎쟻 �궗留앹넀�떎 鍮꾩슜�쓣 �씠�슜�븳 寃쎌젣 �쐞�빐�룄 �닚�쐞 寃곌낵�뒗 �씤泥� �쐞�빐�룄 �닚�쐞�� �룞�씪�븯���떎. 利� �긽�쐞�솚寃쎈Ц�젣�뿉 ���빐�꽌�뒗 �떎�궡怨듦린 �삤�뿼, ��湲곗삤�뿼, 癒밸뒗 臾� �삤�뿼�닚�씠�뿀怨�, �븯�쐞�솚寃쎈Ц�젣�뿉 ���빐�꽌�뒗 �떎�궡怨듦린以� �씪�룉, 誘몄꽭癒쇱�(PA10), IAPs, HAPs, DWPs, ��湲곗쨷 �떎�씠�삦�떊瑜�, DBPs, 吏��븯�닔以� 諛⑹궗�꽦臾쇱쭏�쓽 �닚�씠�뿀�떎. �솚寃쎌삤�뿼�쑝濡� �씤�븳 �쐞�빐�꽦�뿉 ���븳 �씤�떇�룄 議곗궗 寃곌낵, 7�젏 留뚯젏�뿉�꽌 �룊洹� 6�젏�뿉 洹쇱젒�븯寃� �쓳�떟�븯�뿬 �쟾泥댁쟻�쑝濡� �넂�� �쐞�빐�룄 �씤�떇 �닔以��쓣 �굹���궡�뿀�떎. �긽�쐞 �솚寃쎈Ц�젣蹂꾨줈�뒗 ��湲� �삤�뿼, 癒밸뒗 臾� �삤�뿼, �떎�궡怨듦린 �삤�뿼�닚�쑝濡� �쓳�떟�븯��怨�, �븯�쐞臾몄젣�뿉 ���빐�꽌�뒗 HAPs, �떎�씠�삦�떊, 吏��븯�닔以� 諛⑹궗�꽦臾쇱쭏, 洹쒖젣 臾쇱쭏(PM10), DWPs, IAPs, �떎�궡怨듦린以� �씪�룉, DBPs�닚�쑝濡� �쓳�떟�븯���떎. 媛� �쐞�빐�룄 理쒖쥌 �닔移섏뿉 ���븳 寃곌낵臾쇱쓣 踰붿<�삎 �닚�쐞 遺꾨쪟 湲곗��뿉 �쓽嫄고븯�뿬, 5媛�吏� 踰붿<(High, Medium~High, Medium, Low~Medium, Low)濡� 媛� �솚寃쎈Ц�젣瑜� �븷�떦�븳 寃곌낵, �씤泥� �쐞�빐�룄�쓽 寃쎌슦 Medium 踰붿<�뿉�뒗 �씪�룉怨� �떎�궡怨듦린�삤�뿼臾쇱쭏(IAPs), Medium~High 踰붿<�뿉�뒗 PM10�씠 �냽�븯��怨�, 寃쎌젣 �쐞�빐�룄�쓽 寃쎌슦�뒗 Medium 踰붿<�뿉�뒗 HAPs, Medium~High 踰붿<�뿉�뒗 IAPs, High 踰붿<�뿉�뒗 �씪�룉怨� PM10�씠 �냽�븯���떎. �씤吏� �쐞�빐�룄�쓽 寃쎌슦�뒗 紐⑤뱺 �솚寃쎈Ц�젣�뱾�씠 Medium~!High 踰붿<�� High 踰붿<�뿉 �냽�븯���떎. �쟾泥댁쟻�쑝濡� 媛� �쐞�빐�룄�뿉�꽌 Medium�씠�긽�쓽 踰붿<�뿉 �냽�븯�뒗 怨듯넻�맂 �솚寃쎈Ц�젣�뱾�� �씪�룉, PM10, IAPs 諛� HAPs濡� ��湲곗삤�뿼怨� �떎�궡怨듦린�삤�뿼�뿉 ���븳 �븯�쐞臾몄젣�뱾�씠�뿀�떎. 留덉�留됱쑝濡� �꽭 媛�吏� �쐞�빐�룄�뿉 ���븳 �닔移� 寃곌낵瑜� 5媛�吏� 踰붿<濡� 遺꾨쪟�븳 寃곌낵瑜� �떎�떆 Highest Rule怨� Average Rule�뿉 �쓽�빐 �쐞�빐�룄瑜� �넻�빀�븳 理쒖쥌 寃곌낵瑜� 蹂대㈃, Highest Rule瑜� �쟻�슜�븯硫�, 3媛�吏� �긽�쐞臾몄젣(��湲� �삤�뿼, �떎�궡 怨듦린 �삤�뿼, 癒밸뒗 臾� �삤�뿼)媛� 紐⑤몢 "High"濡� 遺꾨쪟�릺怨�, Average Rule�쓣 �쟻�슜�븯硫�, ��湲� �삤�뿼�� "High", �떎�궡怨듦린�삤�뿼�� "Medium-High"濡� 遺꾨쪟�릺硫�, 癒밸뒗 臾� �삤�뿼�� "Low-Medium"�쑝濡� 遺꾨쪟�릺�뿀�떎. 洹몃━怨� 8媛�吏� �븯�쐞 臾몄젣�뿉 ���븳 �넻�빀 寃곌낵�뒗 Highest Rule�쓣 �쟻�슜�븳 寃쎌슦, �씪�룉, PM10, HAPs, �떎�씠�삦�떊瑜섎뒗 "High"濡� 遺꾨쪟�릺怨�, IAPs, DWPs, DBPs, 諛⑹궗�꽦臾쇱쭏�� "Medium-High"濡� 遺꾨쪟�맂�떎. Average Rule�쓣 �쟻�슜�븳 寃쎌슦�뿉�뒗, �씪�룉, PM10,IAPs�뒗 "Medium-High"濡� 遺꾨쪟�릺怨�, HAPs, DWPs, �떎�씠�삦�떊瑜섎뒗 "Low-Medium"�쑝濡� 遺꾨쪟�릺硫�, DBPs�� 諛⑹궗�꽦臾쇱쭏�� "Low" 踰붿<濡� 遺꾨쪟�릺�뿀�떎. �븯吏�留� �뿬湲곗꽌 媛� �쐞�빐�룄 �넻�빀(intergration)�쓽 臾몄젣�뒗 醫� �뜑 �끉�쓽�맆 �븘�슂�꽦�씠 �엳�떎. �씠 �뿰援ъ뿉�꽌�뒗 怨쇳븰�쟻�씤 諛⑸쾿濡좎쓣 �넻�빐 �끉由ъ쟻�씤 �떆�뒪�뀥�쓣 媛쒕컻�븯怨�, �씠�뱾 �떆�뒪�뀥�뿉�꽌 �젙�웾�쟻�씤 �뿰援ш껐怨쇰�� �룄�댋�븯�뿿�쑝誘�濡�, �젙�웾�쟻�씤 �뿰援ш껐怨쇰�� �룄異쒗븯���쑝誘�濡�, �젙�꽦�쟻�씤 �룊媛��뿉 �쓽�빐 二쇨��쟻�씤 寃ы빐媛� 媛쒖엯�릺�뼱 �룄異쒕릺�뒗 �닚�쐞蹂대떎�뒗 �떊猶곗꽦�씠 �엳�뒗 寃껋쑝濡� �뙋�떒�릺怨�, �떒吏� �뮮諛쏆묠�릺�뒗 怨쇳븰�쟻�씤 �옄猷뚮뱾�씠 遺�議깊뻽湲� �븣臾몄뿉 3媛�吏� �긽�쐞 臾몄젣(8媛�吏� �븯�쐞臾몄젣)�뿉 ���빐 痍④툒�븯�뿬, �꽌�슱吏��뿭 �쟾諛섏쓽 �솚寃쎈Ц�젣瑜� �뙆�븙�븯湲곕뒗 �뼱�젮�썱�떎. �븯吏�留� �씠 �뿰援ъ뿉�꽌 �떎瑜� 二쇱슂 臾몄젣�뱾�� �씤媛꾧낵 吏곸젒�쟻�씤 �젒珥됲븯�뒗 留ㅼ껜 �삤�뿼�씠�씪�뒗 �젏�쓣 媛먯븞�븷 �븣, 占폩 �쓽�쓽媛� �엳�떎怨� �뙋�떒�맂�떎. �뵲�씪�꽌 寃곌낵 �빐�꽍�떆 遺덊솗�떎�꽦�뿉 ���븳 遺�遺꾩쓣 �옒 媛먯븞�븯怨� �솢�슜�쓣 �븳�떎硫�, �꽌�슱�떆 �솚寃쎈Ц�젣�쓽 �젙梨낃껐�젙�뿉 screening tool濡� �쑀�슜�븷 寃살쑝濡� 湲곕��맂�떎. �빑�떖�씠 �릺�뒗 留�: ��湲� �삤�뿼, �떎�궡怨듦린 �삤�뿼, 癒밸뒗 臾� �삤�뾼, �씤泥� �쐞�빐�룄, 吏�遺덉쓽�궗湲덉븸, �넻怨꾩쟻 �깮紐� 媛�移섏븸, �씠濡좎쟻 �궗留� �넀�떎 鍮꾩슜, 寃쎌젣 �쐞�빐�룄, �씤吏� �쐞�빐�룄, 鍮꾧탳 �쐞�빐�룄 遺꾩꽍 �떆�뒪�뀥 [�쁺臾�] In practice, environmental protection initiatives are often motivated by legal mandate, public clamor, scientific evidence, benefit, cost, politics and other factors. CRA provided a systematic framework for first evaluating different environmental problems that pose different types and degrees of risk to human health and the environment, and then for deciding what to do them. The important goals of CRA is to involve the public in the priorities-setting process and to identify and incorporate their concern, to identify the greatest environmental threats and rank them accordingly, to establish environmental priorities and to develop action plan and strategies to reduce risk. The basic premise of CRA is that risk provides an objective measure for comparing the relative severity of different environmental problems. CRA generally has the three main components as health risk assessment, ecological risk assessment, economic or welfare risk assessment, and involves risk management factor such as public perception. Comparative Risk Assessment (CRA) had initiated by US EPA in 1987 and its guideline proposed named as "A guidebook to comparing risk and setting environmental priorities" in 1993. Since the original publication of Unfinished Business, more than half of the states in the U.S. and more than 50 localities have employes the CRA approach for identifying and addressing important environmental issues. In Korea, there is no CRA studies and has not well known CRA and not well established their methodologies. Therefore, objectives of this thesis is to establish the framework of CRA consisting of health risk, economic risk and perceived risk and the detail methodologies of three main component of estimating and comparing those risks for on the three environmental problems of air pollution, indoor air pollution and drinking water contamination which being subjective to the eight sub-problems of hazardous air pollutants (HAPs), regulated pollutants (representative as PM10) and Dioxins (PCDDs/ PCDFs) in air pollution, and indoor air pollutants (IAPs) and Radon in indoor air pollution, and drinking water pollutants (DWPs), disinfection-by-products(DBPs) and radionuclides in drinking water contamination in Seoul, Korea. And then, their problems set priorities by individual and integrated risk(Figure A). The index of human health risk is the theoretical mortality incidence from exposure to carcinogens of 84 chemical and physical agents. Risk assessment were conducted to the individual agent in according to the agent_spectific approach. Human risks from environmental problems and sub-problems were assumed as the sum of that of each chemical corresponding to each problem. All of environmental agents and problems were not considered in estimating theoretical mortality incidence. However, this study were tried almostly to manage the important agents in main human-contact media except for several riskly agents such as formaldehyde and 1,3-butadiene in outdoor air. The index of economic risk is the theoretical mortality damage cost estimated from willingness to pay (WTP) and value of statistical life (VSL) by contingent valuation method (CVM) and that of perceived risk is the scale of seven score. Questionnaire survey was conducted to 600 subjects (200 subjects of each problem) by personal interview in order to elicit WTP on annual risk reduction of 5/10,000 causing by environmental problems. The target population consisted of persons between 20 and 60 years of age in Seoul. Characteristics distribution such as age and sex of survey respondents to the WTP represent for those of Seoul population, but education level, proportion of his/her own house and household income were higher than those of Seoul population. The payment vehicle was private donation and the initial bids set 10,000won, 20,000won, 40,000won and 60,000won with double-bounded dichotomous choice and the main(median) WTP estimated by models of three types of lower_bounded Turnbull method, Weibull, log-normal model and spoke model. Risk perception survey was also conducted with WTP survey, to the same subjects, contemporarily. Several risks were compared among 3 environmental problems and 8 sub-problems and those problems were ranked by the magnitude of each risk endpoint. As a results, ranking of health risk were the following order of indoor air pollution, air pollution and then drinking water contamination, in three environmental problems and of radon, PM10, IAPs, HAPs, DWPs, Dioxins, DBPs, and then radionuclides in eight sub-problems. And that of economic risk were the same order. In the contrary, ranking of perceived risk were the following order of air pollution, and of HAPs, Dioxins, radionuclides, PM10, DWPs, IAPs, Radon and then DBPs. In addition, estimates of the different risks were classified with 5 categories such as high, medium-high, medium, low-medium and low category. As a result, in case of human risk, PM10 was allocated to the medium-high category, radon and IAPs, were medium category. In case of economic risk, radon and PM10 were allocated to the high category, IAPs, to the medium-high category and HAPs, to the medium category. In case of risk perception, HAPs and Dioxins were allocated to the high category and other sub-problems, to the medium-high category. In order to present as an integrated index on the human, economic and perceived risk Highest rule (pose priority on the highest score or category of several values) and Average rule (pose priority on the category of several values) were adapted to the category value of each risk. As a result, radon, PM10, HAP and Dioxins were allocated to the high category, IAPs, DWPs, DBPs and radionuclides, to the medium-high category, if, according to the highest rule. Radon, PM10 and IAPs were allocated to the high category, HAPs, DWPs, Dioxins, to the low-medium category, and DBPs and radionuclides, to the low category, if, according to the average rule. These procedures of quantitative risk evaluation involved assembling and analyzing relevant data and actually investigating and estimating parameters by the scientific methodologies. Although risk estimates calculated by the scientific procedure, there is extensive need for value judgment and uncertainties. ; open
La tesis doctoral se refiere al proceso fundacional escasamente conocido por encontrarse sus fuentes primarias en los archivos de Londres y París de la población menorquina anteriormente denominada Georgetown, hoy Es Castell, planificada por el ingeniero militar escocés Patrick Mackellar en el puerto de Mahón durante la segunda dominación británica de la isla (1763-1782). Se trata de una labor de investigación que está estructurada en tres partes. En la primera, se realiza una aproximación al urbanismo de origen militar desarrollado por Gran Bretaña a lo largo de los siglos XVII y XVIII, coincidiendo con el auge de la artillería bélica. En este sentido es demostrable la influencia, en el plano teórico, de la supremacía militar de Francia y sobre todo, de la polifacética labor de Vauban reflejada, entre otras cuestiones, en los Manuales de Fortificación de obligatorio estudio durante la formación de los ingenieros militares británicos. Hasta el siglo XVIII, los ingenieros agrupados en torno a la Board Ordnance tuvieron escasas ocasiones de crear nuevas ciudades, fundamentalmente por dos razones. La primera, que Inglaterra no inició su expansión colonial hasta la resolución de sus problemas internos que finalizaron con la anexión de Irlanda y Escocia. La segunda, que su condición insular la obligó a basar la defensa de sus territorios en el desarrollo de una poderosa flota armada. Sin embargo, el modelo colonial inglés, basado en el protagonismo de las compañías comerciales, propicia la intervención de los ingenieros militares en las labores de planificación y verificación de los nuevos asentamientos del norte de Irlanda, la costa de Coromandel, el este norteamericano y las Antillas. La segunda línea de investigación incursiona en la vida del planificador de Georgetown, destacando su experiencia bélica en los frentes americanos durante la Guerra de los Siete Años (1756-1763). Gracias a su participación en las campañas militares, Patrick Mackellar conoce en primera persona las características del urbanismo practicado por Inglaterra y Francia en los territorios de ultramar, y se dota de un importante bagaje cultural que demostrará cuando, en su definitivo destino como Ingeniero-Jefe en Menorca, acomete la empresa de planificar y diseñar una nueva ciudad. La tercera línea de investigación se centra en el proceso fundacional de Georgetown. La operación basada en razones defensivas consistió en demoler un asentamiento surgido a los pies de la principal fortaleza de la Isla, y trasladar la morada de sus casi cuatro mil pobladores a una enclave prudentemente alejado de la fortificación. Llamada Vila Jordi por sus primeros moradores, Georgetown resultó un excelente ejemplo de pragmatismo urbanístico. La plaza central o génesis del asentamiento, se ubicó sobre una pequeña meseta portuaria que ya había sido elegida por un ingeniero militar galo durante la dominación francesa de la isla y se aprovechó el trazado de una antigua vía de comunicación territorial como eje longitudinal del nuevo conjunto urbano. Igualmente, el reparto de suelo se realizó en función del tamaño de las parcelas existentes en el pueblo anterior. Sin embargo, la atención a las gentes y a una geografía del lugar marcada por la costa portuaria, no impidió a Mackellar el desarrollo de un conjunto urbano de calles rectas, paralelas y jerarquizadas trazadas a partir de un espacio central conformado por las edificaciones propias de una ciudadela militar barroca. Tras una comparación formal con otras poblaciones estudiadas, el desarrollo de la tesis analiza, finalmente, los elementos principales de la población, tales como la anchura y distancia de las calles, los edificios cuarteleros y otras construcciones notables, la tipología residencial y la historia de la población en los dos últimos siglos. Como conclusión, el autor considera que el proyecto de Mackellar para Georgetown combina acertadamente las bases empíricas que lo sustentan con una variante del prototipo urbanístico aplicado en la colonización de Nueva Escocia como garantía de la satisfacción de las exigencias de orden y regularidad propias de la planificación militar y del urbanismo dieciochesco. Nacida entre la agonía del Antiguo Régimen y el estallido de las revoluciones americana y francesa, hija del Barroco y madre del urbanismo decimonónico, esta operación urbanística financiada por la corona inglesa fue el fruto de un compromiso, un proyecto de transición. ; The doctoral thesis refers to the foundation process quite unknown, as the first sources are in the archives of London and Paris of the Minorca's town before named Georgetown, nowadays known as Es Castell, planned by the Scottish military Engineer Patrick Mackellar in Mahon's harbour during the second british domination on the island (1763-1782). It is a research work and is structured in 3 parts. First part, it's an approximation to a source of military urbanism developed by Great Britain during the XVII and XVIII centuries, coinciding with the increase of war artillery. This is shown by the influence in the theoretical survey, of France's military supremacy and above all, the versatile labour of Vauban revealed, apart from other issues, by the Guides of Fortifications which were of compulsory study, for the british military engineers during their training. Until the XVIII century, the engineers round about the Board Ordnance had few occasions to create new towns, basically for two reasons. The first, is that England didn't begin its colonial expansion until it had solved its own internal problems, which came to an end with the annexation of Ireland and Scotland. The second, that it's insular status obliged it to base its defence of its territories in the development of a powerful navy. Nevertheless, the english colonial model, based on the commercial companies playing the main part, helped the intervention of the military engineers in the work of verifying and planning the new settlement in North Ireland, the Coromandel Coast, the east part of North America and the Antilles. The second line of research attacked the life of the planner of Georgetown, emphasising his war experience on the american front during the Seven-Year War (1756-1763). Thanks to his partaking in the military campaigns, Patrick Mackellar found out himself the characteristics of English and French development overseas, and he endowed himself with an important cultural knowledge which he revealed when, in his last post as Chief Engineer in Minorca, he undertook the designing and planning of a new town. The third research is centred in the foundational process of Georgetown. The transaction based on defensive reasons consisted in demolishing a settlement at the foot of the main fort of the island, and moves the homes of its almost 4.000 inhabitants to a more prudential area, away from the fort. Named Villa Jordi by its first inhabitants, Georgetown was an excellent example of city planning pragmatism. The central square or genesis of the settlement, was built on a small portside plateau which had already been chosen by a french military engineer during the France's domination of the island and, an old communicating land route, was made use of as an essential longitudinal part of the new urban unit. In the same manner the distribution of the ground was made according to the size of the existing plots in the old village. Nevertheless, the attention to the people and the geographical situation, marked by the port coastland, didn't stop Mackellar developing an urban unit with straight roads, parallel hierarchical layout from a central space, almost exactly like the buildings of a baroque military fortress. After a formal comparison with other populations under study, finally the thesis development analyses the principal elements of the population, like the length and the distance of the streets, the barrack buildings and other notable constructions, the residential types and the history of the population over the last two centuries. Concluding, the author considers that Mackellar's project for Georgetown, succeeds in combining the empirical bases that maintains it with a variation of the urban prototype applied in the colonization of New Scotland as a guarantee of satisfaction for the demand and regularity of a military planning as well as eighteenth century urbanism. Born between the agony of the Old Regime and the outburst of the american and French revolutions, daughter of the Baroque and mother of nineteenth century development, this town planning exploitation financed by the English Crown, was the result of a commitment, a design of the transitional period. ; Postprint (published version)
La tesis doctoral se refiere al proceso fundacional escasamente conocido por encontrarse sus fuentes primarias en los archivos de Londres y París de la población menorquina anteriormente denominada Georgetown, hoy Es Castell, planificada por el ingeniero militar escocés Patrick Mackellar en el puerto de Mahón durante la segunda dominación británica de la isla (1763-1782). Se trata de una labor de investigación que está estructurada en tres partes. En la primera, se realiza una aproximación al urbanismo de origen militar desarrollado por Gran Bretaña a lo largo de los siglos XVII y XVIII, coincidiendo con el auge de la artillería bélica. En este sentido es demostrable la influencia, en el plano teórico, de la supremacía militar de Francia y sobre todo, de la polifacética labor de Vauban reflejada, entre otras cuestiones, en los Manuales de Fortificación de obligatorio estudio durante la formación de los ingenieros militares británicos. Hasta el siglo XVIII, los ingenieros agrupados en torno a la Board Ordnance tuvieron escasas ocasiones de crear nuevas ciudades, fundamentalmente por dos razones. La primera, que Inglaterra no inició su expansión colonial hasta la resolución de sus problemas internos que finalizaron con la anexión de Irlanda y Escocia. La segunda, que su condición insular la obligó a basar la defensa de sus territorios en el desarrollo de una poderosa flota armada. Sin embargo, el modelo colonial inglés, basado en el protagonismo de las compañías comerciales, propicia la intervención de los ingenieros militares en las labores de planificación y verificación de los nuevos asentamientos del norte de Irlanda, la costa de Coromandel, el este norteamericano y las Antillas. La segunda línea de investigación incursiona en la vida del planificador de Georgetown, destacando su experiencia bélica en los frentes americanos durante la Guerra de los Siete Años (1756-1763). Gracias a su participación en las campañas militares, Patrick Mackellar conoce en primera persona las características del urbanismo practicado por Inglaterra y Francia en los territorios de ultramar, y se dota de un importante bagaje cultural que demostrará cuando, en su definitivo destino como Ingeniero-Jefe en Menorca, acomete la empresa de planificar y diseñar una nueva ciudad. La tercera línea de investigación se centra en el proceso fundacional de Georgetown. La operación basada en razones defensivas consistió en demoler un asentamiento surgido a los pies de la principal fortaleza de la Isla, y trasladar la morada de sus casi cuatro mil pobladores a una enclave prudentemente alejado de la fortificación. Llamada Vila Jordi por sus primeros moradores, Georgetown resultó un excelente ejemplo de pragmatismo urbanístico. La plaza central o génesis del asentamiento, se ubicó sobre una pequeña meseta portuaria que ya había sido elegida por un ingeniero militar galo durante la dominación francesa de la isla y se aprovechó el trazado de una antigua vía de comunicación territorial como eje longitudinal del nuevo conjunto urbano. Igualmente, el reparto de suelo se realizó en función del tamaño de las parcelas existentes en el pueblo anterior. Sin embargo, la atención a las gentes y a una geografía del lugar marcada por la costa portuaria, no impidió a Mackellar el desarrollo de un conjunto urbano de calles rectas, paralelas y jerarquizadas trazadas a partir de un espacio central conformado por las edificaciones propias de una ciudadela militar barroca. Tras una comparación formal con otras poblaciones estudiadas, el desarrollo de la tesis analiza, finalmente, los elementos principales de la población, tales como la anchura y distancia de las calles, los edificios cuarteleros y otras construcciones notables, la tipología residencial y la historia de la población en los dos últimos siglos. Como conclusión, el autor considera que el proyecto de Mackellar para Georgetown combina acertadamente las bases empíricas que lo sustentan con una variante del prototipo urbanístico aplicado en la colonización de Nueva Escocia como garantía de la satisfacción de las exigencias de orden y regularidad propias de la planificación militar y del urbanismo dieciochesco. Nacida entre la agonía del Antiguo Régimen y el estallido de las revoluciones americana y francesa, hija del Barroco y madre del urbanismo decimonónico, esta operación urbanística financiada por la corona inglesa fue el fruto de un compromiso, un proyecto de transición. ; The doctoral thesis refers to the foundation process quite unknown, as the first sources are in the archives of London and Paris of the Minorca's town before named Georgetown, nowadays known as Es Castell, planned by the Scottish military Engineer Patrick Mackellar in Mahon's harbour during the second british domination on the island (1763-1782). It is a research work and is structured in 3 parts. First part, it's an approximation to a source of military urbanism developed by Great Britain during the XVII and XVIII centuries, coinciding with the increase of war artillery. This is shown by the influence in the theoretical survey, of France's military supremacy and above all, the versatile labour of Vauban revealed, apart from other issues, by the Guides of Fortifications which were of compulsory study, for the british military engineers during their training. Until the XVIII century, the engineers round about the Board Ordnance had few occasions to create new towns, basically for two reasons. The first, is that England didn't begin its colonial expansion until it had solved its own internal problems, which came to an end with the annexation of Ireland and Scotland. The second, that it's insular status obliged it to base its defence of its territories in the development of a powerful navy. Nevertheless, the english colonial model, based on the commercial companies playing the main part, helped the intervention of the military engineers in the work of verifying and planning the new settlement in North Ireland, the Coromandel Coast, the east part of North America and the Antilles. The second line of research attacked the life of the planner of Georgetown, emphasising his war experience on the american front during the Seven-Year War (1756-1763). Thanks to his partaking in the military campaigns, Patrick Mackellar found out himself the characteristics of English and French development overseas, and he endowed himself with an important cultural knowledge which he revealed when, in his last post as Chief Engineer in Minorca, he undertook the designing and planning of a new town. The third research is centred in the foundational process of Georgetown. The transaction based on defensive reasons consisted in demolishing a settlement at the foot of the main fort of the island, and moves the homes of its almost 4.000 inhabitants to a more prudential area, away from the fort. Named Villa Jordi by its first inhabitants, Georgetown was an excellent example of city planning pragmatism. The central square or genesis of the settlement, was built on a small portside plateau which had already been chosen by a french military engineer during the France's domination of the island and, an old communicating land route, was made use of as an essential longitudinal part of the new urban unit. In the same manner the distribution of the ground was made according to the size of the existing plots in the old village. Nevertheless, the attention to the people and the geographical situation, marked by the port coastland, didn't stop Mackellar developing an urban unit with straight roads, parallel hierarchical layout from a central space, almost exactly like the buildings of a baroque military fortress. After a formal comparison with other populations under study, finally the thesis development analyses the principal elements of the population, like the length and the distance of the streets, the barrack buildings and other notable constructions, the residential types and the history of the population over the last two centuries. Concluding, the author considers that Mackellar's project for Georgetown, succeeds in combining the empirical bases that maintains it with a variation of the urban prototype applied in the colonization of New Scotland as a guarantee of satisfaction for the demand and regularity of a military planning as well as eighteenth century urbanism. Born between the agony of the Old Regime and the outburst of the american and French revolutions, daughter of the Baroque and mother of nineteenth century development, this town planning exploitation financed by the English Crown, was the result of a commitment, a design of the transitional period. ; Postprint (published version)
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