Flaming June: Donne oltre la tela (CONCEPTS Arte) (Italian Edition)

In the last section of the book, Part V, Cavallo analyzes the adventures of the Saracen knight Brandimarte and his eventual marriage to Fiordelisa in the Innamorato and compares it to the demise of the knight in the Furioso. Each part provides a detailed and fascinating account of how a non-Christian space was represented both in the romance epic tradition and more generally in early modern Italian culture.

Italian Bookshelf Dante Alighieri.

Poems of Youth and of the Vita Nuova. Due parole come sempre se ne spendono poche sulla traduzione. Italian Bookshelf Lodovico Dolce. Dialogo della instituzion delle donne, secondo li tre stati che cadono nella vita umana. The Modern Humanities Research Association, Dolce collaborated with Gabriele Giolito, one of the most prominent and successful publishers of the sixteenth century, who took advantage of the cultural shifts affecting a new generation of readers. These included a reading public that was not necessarily familiar with Latin, and that comprised a great number of women to whom many new works of the era were dedicated.

Flaminio will teach conduct to Dorotea. The latter agrees, on the condition that she can interrupt her tutor whenever she needs an explanation. That this permission is granted by Flaminio might suggest that Dolce believed women had the right to speak up on their own behalf, until this notion is undermined by the reality that Dolce does not allow Dorotea to reply if she disagrees with her tutor. Italian Bookshelf choosing a morally grounded wet nurse. As a baby girl grows into a child, she should be supervised by her mother or other virtuous women.

It is important for adult women to avoid any offensive acts or words when in the presence of little girls, thereby protecting their good nature and chastity. Little girls should avoid playing with little boys, and instead play with toys that allow them to practice domesticity when they come of age. Reverence and obedience mould the perfect wife, who will acquiesce to her husband. In the third book, Flaminio explains to Dorotea that widows should be as virtuous and restrained as unmarried girls. The virtue of chastity is a theme across the three stages addressed in the Dialogo.

A widow will wrap herself in reverence and chastity, freeing herself from the need to submit to her father or husband, finding instead a celestial groom in God. The third book is quite brief compared to the previous two. In the case of Dolce and his Dialogo, the influx of women readers who were not versed in Latin and to whom the publishing market had to cater, influenced the choices Dolce and his contemporaries made. La vita, le rime e la fortuna in musica di Girolamo Casone da Oderzo c. Storia, Letteratura, Paleografia, vol.

Preceduto dalle pagine dedicate alla circolazione dei testi casoniani al di fuori delle stampe, in particolar modo dei madrigali apprezzati, musicati ed ampiamente diffusi cap. Oltre al Goselini, vi si raffigura Annibale Guasco che il Casone stesso ebbe modo di conoscere e frequentare negli ambienti pavesi.

Italian Bookshelf sigle e abbreviazioni e un utile indice dei capoversi. Italian Bookshelf Martin Eisner. Boccaccio and the Invention of Italian Literature. Dante, Petrarch, Cavalcanti, and the Authority of the Vernacular. Cambridge University Press, The earlier version was an invitation to praise Dante extended to all Florentines, while the calculated revisions in the second version were aimed exclusively at Petrarch.

He proposes that Boccaccio aimed to make amends for Dante being denied the laurel crown and a magnificent sepulcher. By creating a glossed text, he elevates the Vita nuova to the same level as authoritative writings of other revered disciplines. Petrarch claims to have outgrown his youthful imprudence, and the vernacular for that matter.

He indicates the relative novelty of a scholastic Latin commentary applied to a vernacular poem. Boccaccio was invited to lecture on Dante in Florence, an event viewed by Eisner as a return of the exiled poet. Boccaccio equated his deteriorating health to punishment for lecturing on Dante. For Eisner, this proves that Boccaccio viewed himself as an agent of the vernacular tradition. In acting as biographer, editor, and scribe, Boccaccio advanced the vernacular and created a space for his own literary works.

Scholars deciding to develop any of the countless spunti unearthed by Eisner will be aided by his thorough review of literary criticism and extensive endnotes. This book is invaluable for those who wish to move beyond a general comprehension of the tre corone, and understand exactly how they coalesced. On a literary level, the essays reflect also on the metapoetic moments created by Stampa, convincingly exploring her strategic use of playing with multiple poetical personae within her oeuvre.

They provide a nuanced reading of her adoption of the Ficinian theory of love in order to aim for a more complex view on the matter. In chapter 7, William J. Italian Bookshelf This analysis leads to an investigatation of how Stampa coherently challenges the Petrarchan paradigm of desire in embracing a new lover, Bartolomeo Zen, after the end of the relationship with Collaltino. Italian Bookshelf Paolo Falzone. La dottrina della conoscenza, secondo un assunto aristotelico esplicitamente citato da Dante ad apertura della sua opera Conv.

Nella vigna del testo. Per una etologia della lettura, Milano: Cortina, di non poco conto appaiono il quarto e il quinto paragrafo della sezione. Il grande studioso auspicava la conoscenza ad ampio raggio della cultura e delle preoccupazioni intellettuali di Dante; nel suo lodevole volume Falzone assolve appieno la speranza del lontano — nel tempo ma vicino nelle intenzioni — maestro ideale.

Italian Bookshelf John Freccero. Readings from Medieval to Modern in the Augustinian Tradition. Danielle Callegari and Melissa Swain. Fordham University Press, This volume offers a sampling of essays from the singular career of John Freccero, known principally as one of the great North American Dantists. Despite original publication dates ranging from to , the set discloses a remarkably consistent voice and critical practice.

Freccero is a singularly solemn reader; he comes from a school of almost totemic veneration of the canon, and he writes with an enviable depth of erudition. One gets the sense that he is a singularly pious reader as well, as evidenced by the consistent capitalization of pronouns referring to God. At the same time, his critical practice is intimate, with an emphasis on the primary sources — for example, Dante and Augustine — that he puts into play.

Contemporary voices, for example, most of the generation of North American Dantists who came after Singleton, get minimal acknowledgment, as Freccero seems not too terribly interested in having a critical conversation with them. Freccero chose for this volume essays that put Dante and Augustine in play with one another and with other later authors. The result is rather unbalanced, with six essays devoted to Dante and the remaining four addressing Petrarch, Machiavelli, Donne, and Svevo. These essays create an interlace of meaning across disparate passages and scenes, at times relating the seemingly unrelated through a key citation from an Augustine, a Boethius, a Macrobius.

Italian Bookshelf Ages, as his efforts to do battle on the terrain of modernity betray a less firm footing. The mere fact that Freccero feels impelled to make such a claim reflects rather sadly on the pressure that the novel has exerted on our critical thinking, a pressure to which we surrender only at the risk of admitting, uselessly, that non-novelistic forms are somehow inferior. Surely some attentive editing could have eliminated these problems without compromising the overall argument.

The wake that Dante himself leaves, then, for Freccero as a Christian reader, would be perhaps less echo than choice, to follow Dante or Ulysses. For all the value of these essays, it is regrettable that Fordham, one of the few university presses in the United States that reliably publishes in the Italian Middle Ages, would choose to invest in what is principally a volume of reprints rather than a new publication. At a time of shrinking resources academic publishers would do well to think more expansively. Michael Sherberg, Washington University in St.

On the one hand, it sets out to offer teachers a greater understanding of Petrarch, his works, and his legacy in literature and culture; on the other, it proposes to offer pedagogical advice to help teachers in a variety of contexts. The latter section demonstrates pedagogical questions and techniques directed toward teaching Petrarch and Petrarchism for teachers in diverse languages, curricula, and academic institutions.

Thus, the advice offered is practical, based on actual experiences, and not only theoretical. Furthermore, the materials are presented in such a way that a wide variety of teachers can adapt with ease whatever aspects might most benefit their class, whether undergraduate or graduate; in Italian or in English; a survey or specialized seminar. The resources are also presented clearly enough that they readily facilitate syllabus design for numerous course scenarios. A multitude of resources is made available that can assist instructors as they teach in a number of contexts.

For whatever reason, images or screenshots were not included for the digital resources. Such an inclusion would have further strengthened an understanding of these materials for the reader. Particularly useful are the lists of courses, poems, and themes taught by survey respondents as well as volume contributors.

The editors openly admit the difficulties found by instructors when teaching Petrarch. Italian Bookshelf with two polls. On one end, there is more teacher-centered, academic, and theoretical information; on the other, one finds more student-centered, pedagogical, and practical advice. It accentuates many aspects of the teaching process: Let us look at a couple exemplary essays from each variety.

He offers four thematic clusters to demonstrate the divergence between Petrarch and Dante. These themes and associated poems could easily be turned into class lectures or even syllabus units. She details typical in- class discussion questions and activities, and shares strategies for helping students who might be new to the material. She supports her practices with a variety of sources from the scholarship of teaching and learning, not just with observations and results culled from classroom experience.

Time and again the editors and contributors provide abundant material and teaching methods, together with the instructions for deploying them successfully in the classroom. These materials and tools provide ample fodder for both sides of the teaching experience: Italian Bookshelf Christopher Kleinhenz. Dante intertestuale e interdisciplinare.

Le tipologie di citazione biblica individuate sono: Le analisi testuali di Kleinhenz prevedono sempre una lettura puntuale ed estesa del passo biblico in questione. Italian Bookshelf Di esso, che compare nel momento del bacio di Giuda, Dante deve aver fatto un emblema di tradimento, trasferito poi alla scena infernale.

La stessa struttura parallela dei canti, che consente una lettura orizzontale e verticale del poema, avrebbe il suo modello nei mosaici della cupola del Battistero di Firenze , sotto gli occhi del poeta quotidianamente. I saggi della seconda parte del volume, alcuni dei quali lecturae Dantis, sono dedicati rispettivamente a: Concludiamo col primo saggio del volume. Italian Bookshelf Marilyn Migiel. The Ethical Dimension of the Decameron.

Continuando una ricerca avviata con il suo A Rhetoric of the Decameron Toronto: I due capitoli successivi considerano due novelle della terza giornata: Francesco Ciabattoni, and Pier Massimo Forni. Testing the Reader in Decameron 3. Italian Bookshelf che tale simpatia non sia ben riposta. Read the Story of Tofano and Ghita [Decameron 7. Boccaccio incoraggia a scrutare punti di vista diversi e la sua stessa persona autoriale va tenuta distinta da quella storica del Boccaccio scrittore.

Boccaccio offre ai suoi lettori uno sguardo sul mondo disincantato e in divenire, aperto a interpretazioni concorrenti, modellato su personaggi che non sono o buoni o cattivi ma, come qualunque essere umano, un misto di entrambi. Prendendo le mosse, tra gli altri, dagli studi di Paolo Prodi proposti in Il sovrano pontefice Bologna: I sei capitoli del libro sono infatti divisi in due sezioni: Tale esperienza si riflette nei Commentarii: Interessante a proposito notare come, a tal fine, Pio II ricorra a linguaggio, attributi e ideali propri del potere secolare per trasmettere la supremazia del papa sia nella sfera temporale che in quella spirituale.

Italian Bookshelf Kristina M. Dante, Boccaccio, and the Literature of History. According to Olsen, Dante possessed a strong sense of nostalgia for the aristocracy, and for him cortesia was an essential bygone element of courtly life. Olsen concludes her introduction with an examination of Boccaccio as dantista, his distinct view of cortesia, and the need for it to be nurtured as a civic ethos in the factionalized city of fourteenth-century Florence. The first chapter treats the history of cortesia as Boccaccio expressed it in his literary works, focusing especially on the greed and incivility of the Florentine elite.

Each chapter is divided into sub-categories which support and reinforce the principle theme of the chapter. Italian Bookshelf Florentine banking crisis, which, she argues convincingly, coupled with the Black Death severely changed the social and political orders of Florence. Because of the astronomically high death rate during the plague, the elite families were reduced in both size and political influence, thereby allowing the gente nuova to gain power.

Enumerating the vices which Dante mentions in Inferno 16 and Paradiso 16, and which Boccaccio reiterates in Decameron 9. The first of these is Cangrande della Scala, who generously hosted Dante in his exile, and to whom Dante refers in Paradiso In the final chapter, Olsen suggests that Boccaccio intended to create a future for cortesia through his portrayal of certain historical figures. While her study is intellectual, it is not overly academic, which produces an enjoyable and very informative work.

Italian Bookshelf Franco Pierno, ed. Pontifical Institute of Mediaeval Studies, He next explores the case of the Visions of St. Leandro Alberti, however, in his Vita della Beata Colomba da Rieto , makes his own linguistic and editorial role much clearer, directly stating his purpose of making the life of the mystic accessible to all Italians. He demonstrates the distinction between these two approaches with examinations of sermons by Bernardino and Girolamo Savonarola. Savonarola, he writes, preaches in the old Dominican style, while Bernardino prefers a narrative style of preaching through exempla.

Coletti concludes that Bernardino is the more modern preacher of the two. The first texts in the Lombard volgare, Polimeni explains, had the goal of esplanimento, making accessible the word of God. Italian Bookshelf conjunctions and other intra-phrasal connectives. Confraternities that often sang laude in public would have almost certainly exposed any writers in Florence or Bologna to this genre. She argues that many of the images and other elements said to tie profane poetry to laude could actually point to Latin hymns or to the Marian imagery of the courtly love tradition.

Instead, she identifies a lexical change in the descriptions of the beloved in the stilnovo poetry of the s and s, in particular in pseudo-latinisms present in the laude but absent in more prestigious genres, concluding that, while we cannot determine the extent, some contact must have occurred between laude and secular poetry.

She concludes by stressing the importance of metaphorical language for Benivieni, including that language borrowed from Bonaventure. Italian Bookshelf in Italy. From her vast data set, she is able to identify the regions in which the practice is most and least frequent as well as the most common sources for religious names. Overall, the volume makes strides towards a better understanding of a number of early Italian texts of linguistic interest and points to rich avenues for future research.

Historians of language will find this book of particular value, but it will also be of interest to literary scholars working on the period. Italian Bookshelf Christian Rivoletti. Rivoletti dimostra come il poema ariostesco funziona come un intertesto per varie opere letterarie successive al Furioso. Lo studio include anche un capitolo dedicato alle arti figurative con illustrazioni a stampa, dipinti ed affreschi di artisti di considerevole rinomanza. Il capitolo quarto e quinto presentano la ricezione del poema ariostesco in Germania nel periodo romantico.

In seguito Rivoletti analizza il famoso saggio sulla poesia sentimentale di Schiller che descrive come il poeta moderno non vive un rapporto diretto e armonico con la natura tipico del poeta antico Lo studioso menziona anche diversi esempi di interpretazioni artistiche, comprese le dodici acquaforti di Daniel Niklaus Chodowiecki , gli affreschi di Julius Schnorr von Carolsfeld per il Casino Massimo Lancillotti a Roma ? Italian Bookshelf Sherry Roush. Ventriloquizing the Dead in Renaissance Italy. As the author acknowledges in her opening comments, what began as an examination of Italian Renaissance ghost stories developed into a study focused on how and for what purposes early modern Italian authors gave voice to the spirits of prominent, deceased figures from the past.

The study consists of four chapters preceded by an ample Introduction on the essence of eidolopoeia in both antiquity and the works of Dante, Petrarch and Boccaccio. In the chapters that follow, the author examines some of the ways eidolopoeia influenced various outcomes in the literary, legal and political spheres. Girolamo Malipiero prefaces his Il Petrarcha spirituale with a prose dialogue between himself and the spirit of Petrarch who pleads with him to correct his error in praising Laura instead of Jesus or divine love.

In all three cases, Roush demonstrates how well the authors engage with the spirits of the texts in question — in both senses of the word — and how the use of spirit messengers bestows a special status upon the authors as percipient interlocutors. Italian Bookshelf influence. She highlights how Boccaccio uses the story to renew interest in the Commedia and its author as well as to elicit feelings of guilt among Florentines for their civic ingratitude. Though his remains were never returned to Florence, Roush argues convincingly, Florentines compensated by reclaiming his spirit: Italian Bookshelf Rocco Rubini.

Italian Humanism Between Hegel and Heidegger. Elements of its intellectual culture, on the other hand, have often exhibited a peculiar stubbornness when it comes to finding a home abroad. In the minds of many, it is as if Italian thought flourished during the Renaissance and never quite recovered. Many of the key figures under discussion might be unfamiliar to readers not steeped, as Rubini is, in Italian intellectual history indeed, most are not even read by Italianists these days. Yet there is no doubt that Rubini succeeds in showing that these figures were engaged, in different ways, in as ambitious and interesting a project as their better-known counterparts in Italy and abroad.

This project involved undertaking a quite vast intellectual archaeology in the service of a cultural and political revitalization of the Italian spirit, in short, a way of forging the future from a re-reading of the past. In chapter 1, Rubini offers readers a panorama of 19th- and early 20th-century Italian philosophy through the lens of Vichianism. Through analyses of thinkers like Cuoco, Gioberti, Balbo, Spaventa, De Sanctis, Villari, Gentile, Croce, and Gramsci, the author traces a tradition of modern Italian thinkers for whom the struggle for a new intellectual and political identity came to be predicated upon a critical interpretation of the Renaissance and its political failures.

Focusing on Spirito, Calogero, Castelli, and especially Abbagnano, this chapter reconstructs their attempt to achieve existentialism as a reinvention of Renaissance humanism, one which construed individuality as a historiographical act. Rubini focuses, in chapter 3, primarily on the figure of Ernesto Grassi, whom he refers to as the first Italian Heideggerean, along with the emergence of the anti-humanist tradition in the Italian philosophical landscape. In the 4th chapter, Rubini turns instead to Eugenio Garin and the fusion of Hegel and Heidegger in his thought, along with his massive contributions to Renaissance studies.

A brief review does little justice to the thorough, intricate nature of The Other Renaissance, so I will conclude by saying that it represents intellectual history at its finest. I recommend it not only for its content, but for its style, too, which manages to be both engrossing and engaging without sacrificing any of its rigor. Italian Bookshelf Agostino Valier. A cura di Francesco Lucioli. Modern Humanities Research Association, Questo filone comprende opere eterogenee come Del reggimento e de costumi delle donne di Francesco da Barberino, Regola della vita matrimoniale di Cherubino da Spoleto, le opere di Giovanni di Dio Decor puellarum, Gloria mulierum e Palma virtutum I testi di Juan Luis Vives De institutione feminae Christianae, e Dolce costituiscono un momento di rottura, focalizzandosi sulla donna cristiana.

Come vescovo, Valier aveva promosso iniziative educative e assistenziali di carattere pratico, come la fondazione di associazioni, scuole, seminari e monasteri. I Ricordi vengono pubblicati separatamente, lo stesso anno, presso lo stesso stampatore, a cura di Zini. Secondo il curatore questo farebbe dei Ricordi una sorta di appendice al volume sui tre canonici stati femminili.

In venetia per Bolognino Zaltieri. Bologna, Biblioteca Universitaria, A. Verona, Biblioteca Civica, Cinq. Le norme di trascrizione sono elencate in una sezione apposita Le note riportano le fonti anche se non esplicitate dal testo di Valier. Presses Sorbonne Nouvelle, Seguono quattro ulteriori indagini condotte da Pedro M. Passeri, sul finire del secolo decimottavo, oscillante fra riscrittura e plagio. Italian Bookshelf questa donna volitiva e indipendente in una rigida e stereotipata agiografia.

La ricercatrice spazia poi nella ricca fioritura di biografie prodotta dalla veneziana Accademia degli Incogniti di cui fu adepto lo stesso Loredano. Italian Bookshelf War and Peace in Dante: Essays Literary, Historical, and Theological. Four Courts Press, The volume, War and Peace in Dante: Essays Literary, Historical, and Theological contains ten essays that had been public presentations. Barnes, was based on a lecture he gave in University College Cork in February The volume constitutes the tenth collection of essays compiling the talks from the annual Dante Lecture published by Four Courts Press.

The opening essay, composed by John C. Barnes, also serves as a type of introduction to the entire volume in which he discusses the general concept of war. Dante, Barnes notes, never rejected warfare outright, only unjust wars. For Dante war could be a noble pursuit, at times waged by glorious warriors for just causes. Barnes concludes that Dante was no pacifist but rather he accepted war as part of the human condition.

Subsequently, theologians grappled with the Christian justifications for war. Augustine wrote that it was just to wage wars to avenge injuries, and as a consequence or remedy of sin. Aquinas stressed that three conditions needed to be met for a war to be just: Rather, Dante seemed to believe that the God-given mission of the Empire exempted it from waging only just wars. Skoda explores the profoundly destructive effects of war on society. Through the rules established for them, just wars preserve the social order in much the same way as a judge secures peace by enforcing justice. Conversely, unjust wars produce chaos; they are declared by tyrants who seek personal aggrandizement rather than civil harmony.

The following two essays turn the focus of the volume from historical matters to literary topics. In the fourth chapter, Barnes discusses the episode in Inferno when demons of Dis deny Dante and Virgil entry to the city. Barnes reads the passage as a siege, listing its references to military engineering, and concluding with the angel who forces open the gate. Milner looks at war as the thirteenth-century metaphor for tenzoni.

As Dante received the notion from Brunetto, tenzoni were the legal cornerstones for the Italian comuni. Lombardi discusses the theme of peace and discord that runs through the infernal circle of lust. The final four essays change direction and explore not war but peace in Dante. According to Kempshall, Dante defined peace as a unity of wills among citizens relative to one another, and relative toward their ruler. The other essays deal with peace defined metaphorically rather than literally, to wit, they all discuss the spiritual notion of peace. In his essay, Spencer Pearce explores spiritual peace as reflected in Purgatorio, while Vittorio Montemaggi examines it from the perspective of Paradiso Both scholars come to similar conclusions: For Dante, peace has a positive connotation, indicating a self-fulfillment, while for Petrarch it is negative, suggesting the absence of a psychological tension.

While the first half of the volume examines Dante from a social or political point of view, the second half discusses him in the context of medieval theology. As such it makes an important contribution to Dante scholarship in the twenty- first century. Italian Bookshelf esegetico, prediligendo Lombardi le varianti con forme vocaliche piene e corroborando le note su una solida base documentaria. Italian Bookshelf Natalia Costa-Zalessow, ed. Voice of a Virtuosa and Courtesan: Selected Poems of Margherita Costa.

The anthologized poems, arranged chronologically with facing translations by Joan Borelli, are drawn from seven books published between and The poems are accompanied by historical and lexical footnotes in both languages and, when only excerpts from a given work are provided, a long dotted line signals the omission of a full line or more of verse. Borelli provides concise explanations of the major metric forms adopted by Costa — sonnets, ottave, canzonette, and idylls — and traces the history of each, from Giacomo da Lentini to Petrarch to Bembo, from Boccaccio to Ariosto to Tasso, and from the Sicilian School through the seventeenth century.

Italian Bookshelf Giovan Battista Marino. Introduzione, commento e testo critico a cura di Erminia Ardissino. Edizioni di Storia e Letteratura, Diceria prima sopra la Santa Sindone, La Musica. Diceria Seconda sopra le sette parole dette da Cristo in croce, Il Cielo. Italian Bookshelf Lara Michelacci. Luigi Capuana tra letteratura, scienza e anomalia. Italian Bookshelf Zuccari, in arte Neera. Per quanto Giacinta abbia come interlocutori principali i modelli francesi Dumas fils, Balzac, Zola , il dialogo tra lo scrittore siciliano e Neera si rivela fondamentale.

Si veda ad esempio il dottor Follini, la cui evoluzione nel corso degli anni si deve anche alle posizioni profondamente critiche espresse da Neera nei confronti delle scienze mediche: Nel terzo capitolo, Michelacci analizza Profumo, in cui Capuana muove verso i territori della patologia fisica. Profumo rappresenta probabilmente il passaggio fondamentale verso questa revisione critica. Italian Bookshelf Katharine Mitchell.

Gender and Everyday Life in Fiction and Journalism, In her study entitled Italian Women Writers: Focusing primarily on the works of La Marchesa Colombi , Neera , and Matilde Serao , Mitchell situates these writers in the context of post-Unification Italian literature, specifically, and Italian literature, in general. In the first two chapters that follow her introduction, Mitchell begins by guiding her readers through the literary history leading up to the emergence of Italian women writers in the mid to late s. She characterizes the readers and writers of Italian domestic fiction as having a great deal in common and forming a type of solidarity since they were often from the middle and upper classes in cities such as Naples, Rome, Milan, etc.

Domestic writing, for Mitchell, encompasses a variety of genres, from novels and short stories to conduct books, etiquette books, essays, and articles. While noting forms of solidarity among these women, Mitchell is also attentive to class and family differences as Italian women readers, whose everyday lives in the late nineteenth century revolved around the home, often lacked the high public profiles of the writers.

In chapter four, Mitchell begins by exploring the question of whether there is a difference between a feeling and an emotion before ultimately asserting that she will deal with the two terms interchangeably. Her final chapter on female friendships, sibling relationships, and mother- daughter bonds discusses the solidarity that began to emerge in post-Unification Italy between middle-class women writers and readers which would go on to form a recognizable political female community and progressive social change.

She once more stresses the shared backgrounds between the women writers of this period and their readers. Her thorough close readings illustrate her points and are informative. Additionally, her theoretical apparatus sufficiently informs each chapter, and her incorporation into the text of reflections on romantic opera serves as yet another opportunity to better understand this literature. Italian Bookshelf Charlotte Ross. Discourse on Lesbianism and Desire between Women in Italy, ss.

For this reason, she has divided her book into three chronological parts: In the first part Ross explores medical debates on sexual degeneration of the late 19th century showing how the pathologization of homosexual behaviours was at times affected by an ambivalent vision of the subject of desire between women. The same happens to the motive of fiamma, the flame-like love between young girls in schools represented in many essays and fictions either as a step towards heterosexual love or as a form of corruption to be kept under control.

This coexistence could have been a beginning of a different history, but the third part shows the long lasting effects of the fascist strategy of ghosting female homoerotism: Italian Bookshelf Italian culture between s and s. To begin with, Ross has carried out an innovative treatment of the subject at the heart of Sameness and Eccentricity, which is inspired by a theoretical shift from gay and lesbian studies to queer theory.

Therefore, this factor might open up a further strand within studies on sexuality which could produce a theoretical reflection on such a hybrid relationship between past and present. A second point of interest of Sameness and Eccentricity lies in the relationship between representation and experience at its core. Such an episodic instability leads to questioning the priority of representation or experience in a cultural perspective and draws attention towards the circulation of role models as a cultural repertoire allowing individuals to perceive their own sexual identity in social and performative terms.

The relevance of a sociocultural repertoire leads to a further issue concerning fiction as the most structured and mediated form of representation. The texts analysed in Sameness and Eccentricity belong to different genres, but the analytic key is steady: Italian Bookshelf this kind of reading is actually suitable for fictional texts, since they do not deal only with cultural inputs, but also with rules concerning modes and genres, rhetorical figures, and intertextual features such as quotations, parody, rewriting.

On the contrary, it is aimed at comparing the results of her research with a different relationship between cultural approach and literary criticism. In this regard even the typically frequent, unhappy endings might be read as textual devices to escape censorship and paradoxically assert the right to narrate female homosexuality. As a final and general consideration, we might eventually ask ourselves how a dialogue between queer approach and close reading would make it possible to include literary criticism within an overall cultural research.

A possible solution would lie in a shared methodological reference to thematology, which is nowadays much more focused than previously on representation as an encounter of communicative strategies and socio-anthropological issues. The Atheism of Giacomo Leopardi. Chapter one outlines the philosophical evolution which led Leopardi from the youthful Inni cristiani to the dark negativity of the poem dedicated to Ahriman. Both chapters three and four are comparative in nature.

Both Mont Blanc and La ginestra are predicated on the overlap of philosophy and poetry, which produces the only space where what is beyond matter — infinity, for example — can be imagined or conceived through the artifice of language. Beside the emotional affinities, Veronese and Williams are quick to point out also the differences between the noblewoman and the Recanatese, primarily his empiricist and materialistic position, which ascribed thought to the realm of matter, denying the possibility of any knowledge within the spiritual dimension.

Unlike Christian consolation, which perceives human solidarity as giving life purpose and meaning, the one proposed by Leopardi is of classical origins primarily Epictetus ; it is a conflation of amor proprio and amor patrio, a sentiment guided by the recognition of the truth and inevitability of human suffering and of the limitation posited by nature to the human existence. The particular attack grants a tone that the authors see as prophetic and philosophical.

The same vox clamans in deserto, marginal and isolated, that had characterized Brutus and Sappho, returns here with the authority of the biblical tradition, where the presence of Solomon, Job Old Testament , and Christ New Testament is significant at many levels of the exegesis. Unquestionably the first to offer a new socio-historical, for some exceedingly Marxist, reading of the Recanatese, with Leopardi progressivo Luporini revolutionized the analytical paradigm, opening the possibility to new critical perspectives. Speaking in persuasive ways, Giacomo Leopardi encourages us to continue to examine his work and to accept its challenges.

Photography in Italian Literature. Published two months after Stillness in Motion: University of Toronto Press, , Enlightening Encounters focuses on the relationship between Italian literature and photography which has long been overlooked by scholars. The editors highlight sociological implications engendered by the encounter of visual and written codes, and socio-historical factors are singled out as responsible for the complex, peculiar exchange between Italian literature and photography.

The lack of scholarly studies is attributed to the identification of culture with high art by Italian academia, which has led to a disregard towards studies on interactions between literature and visual arts, such as photography and cinema. Through case studies on works of a different nature e. The eleven essays, structured in four sections, follow a metaphorical progressive merger between narrative and photography. Copiously referring to and questioning theoretical reflections on photography, mostly by Barthes and Benjamin, the whole book engages with the problematic, paradoxical nature of photography in the particular case of Italy.

Stressing its objective and subjective nature, temporal and spatial ambiguity, power of denoting and connoting, witnessing an absence and a presence, conveying reality and illusion, Enlightening Encounters makes the reader aware of the unusual dual status of photography. On the one hand, Lolla highlights the narrative use of photography as a device that stood not for reality, but that created a fiction within a fiction e. On the other hand, she scrutinizes the use of the alleged invisibility of photography in literature and social sciences.

Sociological implications of the encounter between Italian literature and photography, and the tensions generated by them, are further explored in two contributions from different sections. Enlightening Encounters has the merit not only of shedding light on a neglected field of Italian Studies, but also of doing so by accompanying readers on a journey that provides them with multiple occasions for reflection.

As the editors hope, the book succeeds in helping to pave the way for further research in the interaction between words and images in particular historical periods, specific literary genres and thematic studies. Italian Bookshelf Joseph A. Le tre sezioni sono precedute da una prefazione di Suzanne Noguere. Rosalia costituisce per Amato non soltanto una figura di riferimento che tiene le redini della famiglia e della cucina di casa, ma si profila anche come una maestra di vita a tutto tondo. Italian Bookshelf biglietto per far venire lo sposo promesso, Vincenzo, questi arriva in America molto malato e muore non appena sbarcato.

La sezione si conclude con una poesia che ripercorre la visita al cimitero di Detroit dove sono sepolti i suoi cari. Italian Bookshelf Sean Anderson. Modern Architecture and its Representation in Colonial Eritrea. An In-visible Colony, Il primo capitolo, Displaced in the Sun pp. Il secondo capitolo, Asmara: Italian Bookshelf marginalizzazione e alla valorizzazione di un concetto altamente politicizzato e di propaganda del moderno.

Italian Bookshelf Paolo Bartoloni. Svevo e gli ordigni di La coscienza di Zeno. His contribution to our understanding of Svevo, moreover, in addition to new insights, also addresses a longstanding tradition in the critical reception of the Triestine author. The second chapter offers a genealogy of La coscienza, outlined in letters and diary entries, as well as in the climactic progression in a streamlined character development from Alfonso and Emilio to Zeno.

The strongest parts of the book are the third and fourth chapters, in which Bartoloni reads La coscienza with philological meticulousness first, and theoretical acumen later. Bartoloni reveals his interpretative coordinates when he places Svevo in the context of the Mitteleuropa that produced novelists such as Robert Musil, Franz Kafka, and Joseph Roth.

It is indeed surprising how the scholarship on Svevo and Joyce abounds in biographical anecdotes that trace mutual influences, but registers a scarcity in comparative and intertextual readings. The result of this mutual interpenetration is a union between subject and object, between organic and inorganic life, that generates the quasi-subject and the quasi-object.

The result is a dense and broad network of critical approaches and evocative suggestions. The volume remains a highly recommended book and a welcome addition to Svevo Studies. Italian Bookshelf Marco Bellardi, Uno smisurato equilibrio. Italian Bookshelf giardino delle Esperidi: Le Conclusioni e la Bibliografia chiudono, efficacemente, il volume. Italian Bookshelf Stefania Benini. In her thorough study of Pier Paolo Pasolini, Stefania Benini tackles a major and complex theme of his work, that of the Sacred, a theme that has caused critical problems and raised interpretative questions for many scholars.

Most of them underline the strong influence that thinkers such Mircea Eliade, George Bataille and the ethno-anthropologist Ernest De Martino had on Pasolini. No resurrection is possible on either cross. What interests Pasolini is the immanent dimension of the sacred flesh. Italian Bookshelf Chapter three thoroughly examines the work Bestemmia that was both a screenplay and a poetic text.

However, it never became a film and it would have been interesting if the author had ventured to speculate on a possible reason for its not becoming film and therefore why it remained just a text — written language, which, for Pasolini is an inadequate representation of reality. Francis did not want to explain Christ, but make Him present to his followers. So does Pasolini, who does not want to represent Francis, but to make him act on the screen. And of course, the attraction for this character is based on his diversity, on his being an outsider who rejected the bourgeois condition.

The Sacred Flesh is an extensive and well-researched study. If there is a weakness, it is the excess and length of citations, especially those of secondary sources, and the frequent repetition of major points that weigh down this otherwise very enlightening study. Poets of the Italian Diaspora: A Bilingual Anthology is a groundbreaking work in diaspora studies at large, but particularly for Italian Studies, including Italian American Studies.

This anthology, which is obviously a work of great collaboration, passion, and dedication will remain a foundation for the field of Italian Diaspora Studies, and as the field continues to grow, I envision further editions. Poets of the Italian Diaspora represents the work of modern and contemporary Italian poets late 19th and 20th century who have resided and written abroad.

In all, eleven diverse countries are represented: Following Matteo, Francesco Durante offers seven critical and cultural considerations to the reader as a preface to enter the text with an open perspective. From there, the anthology introduces the collection alphabetically, by country, highlighting the work of roughly 80 poets, which is an amazing feat.

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The poetry itself runs the gamut, not focusing especially on migration but touching a variety of themes. Moreover, whereas the poets chosen embody numerous places throughout Italy, no particular region is accentuated. The layout of the anthology is easily accessible. With few exceptions, almost every page is bilingual, and when the poet did not write originally in Italian, the translation is provided at the bottom of the page. Italian Bookshelf endnotes would improve this aesthetic aspect as well as being more convenient for the reader.

The fruit of the labor of many, this anthology boasts a series of translators who have done a marvelous job manipulating both parola and significato for the reader. The anthology hosts 33 editors and translators from numerous countries, reiterating not only the expansive creative works of the authors themselves, but also the need both to translate and study them. The translations represent the original voices accurately and stylistically as closely as possible. Although the anthology will advance, and in many ways enhance, the field of Italian Diaspora Studies, a second edition of the work might in fact consider some of the following suggestions.

One of the most evident aspects is the amount of space devoted to the authors and countries presented. Three of the represented countries have fewer than 50 pages dedicated to them, while three others have over pages — one in particular has — which is a significant imbalance of attention. Second, while all the introductions are truly rich and provide the reader with noteworthy background information, there is very little structure amongst them, which seems crucial to the continuity of an anthology. Some offer a larger historical overview of the migration phenomenon while others begin with a strong critical analysis of select authors and poems.

Moreover, as attention to the topic of diaspora poets continues to grow, research revolving around additional countries hosting Italian migrant poets should be included — for example, Russia and Francophone countries such as Luxembourg, along with a larger representation of women poets there are roughly 15 women out of 80 poets discussed. Additionally, the editors might consider inviting another literary critic to offer a second critical model to address the poetry collected, thereby offering more than one critical lens to address this precious literary collection.

In closing, I would like to highlight the laborious efforts of the editors, Luigi Bonaffini and Joseph Perricone. Their book is a wonderful beginning collection that I am confident will be expanded and reworked over time. Italian Bookshelf studies, creative writing translation studies , along with Italian and Italian American studies, and will be utilized by students and academics alike.

Representing Migration in Contemporary Media and Narrative. Along with terrorism, migratory streams are the distinctive feature of our contemporary world, the source of most of the phobias of Western countries and one of the privileged topics of media representations. Representing Migration in Contemporary Media and Narrative aims to provide a comprehensive overview of this phenomenon by approaching it from several disciplinary perspectives.

This choice allows the book to display different points of view: The intersection of these two taxonomies — the media involved and the role of the subject — is the conceptual grid through which the book works as a profitable tool for inquiring into the contemporary world. A Destination or Place of Damnation? In order to avoid misleading representations, different solutions could be taken into consideration: The first two essays aim to disclose the field of inquiry from two antithetical perspectives.

Millicent Marcus and Paolo Russo, on the contrary, take into account particular case studies: It is a pleasure to confirm that this volume fulfills such a premise by providing a fundamental and comprehensive instrument to understand this epochal phenomenon of contemporary migrations. Italian Bookshelf Simona Bondavalli. Pier Paolo Pasolini, Adolescence, Fascism. Il presente volume affronta lo studio delle tematiche giovanili nel corpus letterario e cinematografico di Pasolini con esegesi matura e un linguaggio ricco e raffinato.

Il secondo capitolo offre un'interessante e chiara analisi di due dei romanzi di maggior successo, Ragazzi di vita e Una vita violenta, che contravvengono ai classici canoni estetici e culturali del Bildungsroman e della cultura borghese. Il terzo capitolo analizza questo ritrovato ottimismo che trova il suo coronamento ideologico nel romanzo del , Il sogno di una cosa, in cui gli adolescenti descritti sono aperti ai cambiamenti e alle innovazioni della nuova epoca, ma allo stesso tempo hanno un occhio rivolto alle tradizioni.

Bondavalli evidenzia in maniera convincente la critica di Pasolini, nei modi ma non nella sostanza, alla rivoluzione del Sessantotto italiano. Italian Bookshelf Bernard J. Bruno, is a son of Italian immigrants, who grew up in Chicago. His parents immigrated to the United States in the early twentieth century for economic reasons. As Bruno explains, his father fought in Europe in World War I and earned his citizenship certificate through his US Army discharge after he was badly wounded in the battle of Chateau Thierry.

Afterwards he completed his studies in law school and was licensed to practice law in the state of Illinois, the Federal Courts, and the United States Supreme Court. It offers a glimpse of the everyday life of Italian Americans in the past with all its nuances, good and bad. In A Tear and A Tear in My Heart, we encounter multiple types of characters, whose paths have crossed with Bruno at some point in his life.

The stories represent husbands and wives, children, families and friends, bosses, petty criminals, priests, and nuns. The wife was responsible for all the housework and chores, including raising the children, but the husband had the right to impose corporal punishment on misbehaving children. That is for the woman. Gasper ends up losing all respect: Some stories depict characters who take justice into their own hands after the law fails them.

Consequently, Paci runs away and immigrates illegally in a boat to America, cutting all ties to his family. In Chicago he runs into Dante and Vito from his hometown in Italy. Paci confesses his crime to them: I know that He said that you should not kill but when he boldfaced lied that he told the truth to the Magistrate, that he did not rape my sister, this I could not accept. That is when I decided to do it. Paci spends the rest of his life selling popcorn in the street, poor and homeless.

Four stories portray his own family: Telling their stories, Bruno reflects on their sacrifices: Then I find tears in my heart. The mother thinks that she is going to marry him. She explains to her son: Italian Bookshelf Massimo Cacciari. These are the 7 that were left out the previous year, plus three which are chosen by luck of the draw.

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And the same happens on the 16th of August. The ceremony and the way the approach to the race is lived have an incomparable power of seduction. Starting from the draw of the three lucky contrade. Then, the secret negotiations to enrol a skilled jockey they are always the same, famous, in great demand, loved and loathed, just like the stars in other sports. The horses are assigned to each contrada by draw too, this is called the "tratta" and it gives place to the most important decision: If, instead, the horse isn't worthy of trust, the people will decide to race against a rival contrada, because all the contrade or almost have one or more loyal allies, but also one or two sworn enemies.

And there is no bigger disgrace than the victory of the Palio by a rival contrada. Victory justifies any means: There are also people who would go as far as to sedate the horse of a rival contrada, this is why, after the "tratta," a group of people from each contrada never leave their horse out of their sight, they keep watch, they nurse him, they feed him.

And the morning of the Palio, they take the horse to church, to receive the blessings of the contrada's priest. Before the Palio, test runs take place on the tuff track that is set up on the edges of the Campo. Meanwhile, the tension rises, and clashes between boys or men of rival contrade aren't uncommon.

The evening of the "Prova generale," a sort of dress rehearsal, people in u. Spieghiamo subito una cosa: Ognuna ha la sua chiesa, la sua fontana, dove ad ogni bimbo viene fatto il battesimo da contradaiolo. Ci vorrebbe un libro intero per raccontare tutto. Ma ci proviamo ugualmente. Le contrade sono 17, antichissime, risalgono al Rinascimento. E lo stesso avviene il 16 agosto. A partire dalla estrazione a sorte delle tre Contrade fortunate. E poi via via nelle trattative segrete per assicurarsi un fantino di valore sono sempre gli stessi, celebri, richiesti, amati e odiati come le stelle dello sport.

Per riuscirci vale tutto: E la mattina del palio lo accompagnano in chiesa, dove il parroco provvede alla sua benedizione. Prima del Palio si fanno varie prove sulla pista in tufo che viene allestita su bordi di piazza del Campo. Intanto la tensione cresce, e non sono infrequenti scontri tra ragazzi e uomini di contrade nemiche. La sera della prova generale in ogni contrada, anche quelle che non corrono, si montano tavoli per le strade e si cena tutti insieme. Si calcola che u. It is estimated that, in the streets of Siena, some people eat, sing and chant hymns and profane prayers, and make toasts, many toasts!

The day of the Palio, the atmosphere is electric. In the morning, the jockey's Mass is celebrated, after which takes place the umpteenth trial. Then, in each of the 17 contrade, the "Comparse", or historical figures, dress up in their traditional costumes for the "Corteo storico" the historic cortege. They will parade on the Campo, along the track: The lucky ones, selected by their contrada for this event, will have been practicing months in the squares of the city.

When the horses enter the Campo, some fifty or sixty thousand people are already waiting in the centre of the square. About 75 seconds are all it takes to complete the prophetic three laps. Often with disastrous falls, in the turns of the Casato and of San Martino where protection mattresses are set up. Sometimes, jockeys get thrown off: With the palio well in sight and the jockey triumphantly on their shoulders, the people from the winning contrada run to the Basilica of S.

Maria di Provenzano, on the 2nd of July, or to the Duomo, on the 16th of August: An then, on with the partying, which will last weeks.

Already, on the night of the victory, no one sleeps: The following day, the first celebration dinner is organized, with long tables set up in the middle of the streets. Corteges of sneer at the rival contrade take place. These scenes will go on until the real Victory dinner, which takes place only a few weeks later, after the celebrations organized by the committees nominated by the contrada. There will be sketches to mock the rivals, some rather impressive drinking binges, speeches by the contrada's Captain and the jockey. All around, hundreds and hundreds of people from the contrada, seated at the tables along the streets.

At the head of the table, the true protagonist: Per sfilare poi sul Campo, lungo la pista: Quando i cavalli entrano nel Campo, in mezzo alla piazza ci sono mila persone. Spesso con cadute rovinose alle curve del Casato e di San Martino dove vengono appoggiai materassi di protezione. A volte i fantini vengono disarcionati: Scosso o montato, non appena il cavallo taglia il traguardo sotto il palco dei Giudici, i contradaioli vincenti corrono sotto il palco a richiedere a gran voce il drappellone, ovvero il palio, una tela dipinta spesso da pittori celebri in un recente passato anche da Guttuso, Sassu, Fiume.

Col palio in vista, il fantino in trionfo sulle spalle, i contradaioli vittoriosi corrono alla Basilica di S. E poi via con le feste che dureranno per settimane. Il giorno successivo si allestisce la prima delle cene di celebrazione, ovviamente con lunghi tavolacci montati lungo nelle strade. E partono i cortei di scherno nei confronti delle contrade nemiche. Ci saranno scenette per sbeffeggiare i nemici, solenni bevute, discorsi del capitano di Contrada e del fantino. Attorno, centinaia e centinaia di contradaioli, ancora una volta a tavola lungo la strada.

Rosso cremisi; alleata Bruco; nemica Oca Valdimontone: Once you've left Siena behind, all around, you are spoilt for choice. Everywhere, there are things to see, to taste, to admire. Any guide can confirm this with data, addresses, historical facts. But it is even more enjoyable to lose yourself in villages not mentioned by the travel book you bought: Head North West, towards Florence, you'll find Monteriggioni, a boutique-village, set securely within its walls.

And then San Gimignano, with its towers, a perfect example of how, even in the Middle Ages, the skyline could be the symbol of a city. Or you can head u. Vai a nord ovest, verso Firenze, e trovi subito Monteriggioni, paesino-bijoux, incastonato, al sicuro, tra le sue mura. South, between the Val d'Orcia and Val di Chiana: Land of exceptional wines and choice meats, of ancient villages, each one very proud of its own identity, for it comes from centuries of history.

Between medieval palaces and gothic or Romanesque churches. Walking up and down over steep, stone paved roads, prying in the handicraft shops. Admiring the serene peacefulness of its people, thinking that, truly, the quality of life in these lands of Tuscany is as good as it gets. That everything proceeds with the right rhythm, the natural one. And if you look around yourself, you'll realize why. It will happen while you travel from one village to the next and notice that the wonders are right there: While you drive, you'll feel submerged by a landscape that was designed with the sole aim of relaxing your eyes.

The gentle slope of the hills, the vivid colours: And atop each hill, a farmhouse, a single one, made of stone, in perfect harmony with the landscape: The are no other buildings that can bother your sight: It's well worth stopping here for a few days: Tra palazzi medievali e chiese gotiche o romaniche. Colline dalle curvature dolci, colori vivi: E sopra ogni collina un casale, uno solo, di pietra, perfettamente in armonia col paesaggio: Non si sono altre costruzioni che possano infastidirti la vista: Vale la pena di fermarcisi per qualche giorno: One can literally dive in the extraordinary scenery of Siena's lands.

This is possible in Bagno Vignoni, an excellent starting point, just a few kilometres away from San Quirico d'Orcia, easily within reach of all the marvels of the Val d'Orcia and Val di Chiana. Don't think of the usual hilltop village. Actually, don't even think of a village. This is a hamlet of barely a dozen stone houses, most of which around a square that is probably unique in its kind: Yes, a pool, right there, in the middle of ancient buildings, there is a tub, unchanged through the centuries, with its spring in the middle and its arcade on the side: The more expert cinema buffs might remember the pool-square in Andrei Tarkovskij's "Nostalgia.

But that's no problem, just a few metres from it there is the Hotel Posta Marcucci, which our ideal starting point for excursions. Because, upon returning from a visit to a neighbouring village, from a sampling of cold meats and a tasting of Brunello di Montalcino or Nobile di Montepulciano, one can slip into a swimming suit and dive into the Hotel's big swimming pool. This might not sounds like a very special thing, but one should actually see the basin of the "Piscina Val di Sole," a hillside pool where, soaking in neck high water, one feels like part of the scenery, among the fields, the vines, the flowers.

Before the eyes, the tower of Rocca d'Orcia, the village perched on the opposite hill, and the Park of Val d'Orcia, a Unesco World Heritage protected site. And it's still not all: Anyone, even the most sensitive to the cold, will be able to relax fully, even when surrounded by snow. It's been this way for more than a century: From the great-grandfathers, Agostino and Stella, to Leonardo and Riccardo Marcucci, the actual proprietors. More than a Hotel, it is a great big house where, among armchairs and velvets, freely goes about his business Minou the cat, who the Marcucci brothers call the "Chief Executive.

Truly, being based in Bagno Vignoni is a good and relaxing idea. Non immaginate il classico paese sul cucuzzolo. Anzi, non immaginate nemmeno un paese. Ma bisogna vedere cosa significa: E dove si mangia divinamente. E che vengono cucinati secondo le ricette tramandate attraverso le generazioni dalle donne di casa.

One should stay at least a week in Siena and its outskirts. Otherwise, one might not have sufficient time to taste all the wines of the area, which — certainly, you already know — are exquisite. There is an area, straddling across the communes of Florence and Siena, which is called Chianti: But many other delights also come from this region, such as the Nobile di Montepulciano and, most of all, Brunello di Montalcino, one of the most refined wines in the world. Brunello, from the Sangiovese grape, is rigorously produced and bottled exclusively in the area of Montalcino.

It has an intense red ruby colour, with garnet shades resulting from the 5 years of ageing 6 for the riserva. The wine from Casanova di Neri is a Brunello, produced by Giacomo Neri and his family in the area of Castelnovo dellAbate in the commune of Montalcino, obviously. The Wine Spectator, after tasting some wines from the whole world, elected the one from Casanova di Neri as wine of the year for In other words, it's the best there is. We need not split hairs too much: Simply pay a little attention to the prices, some can be astonishing: But don't let this discourage you, there are excellent Brunellos for a lot less and they are always worth it.

Loyal to tradition and, therefore, to rivalry too, each territory has its wines. In Montepulciano one can find the excellent Nobile, less refined than Brunello, but not so different in the end. And from the same region, one can find Rosso di Montepulciano. Chianti, as we mentioned, is produced just a little to the North. Careful to the denomination: There is also the Chianti Colli Senesi, usually more perfumed and easier to drink, even for those who are less accustomed to wine.

As you might have guessed, the commune of Siena, a lot like the rest of Tuscany, is a land of red wines, ideal to accompany the refined meats of the area one must try the "Fiorentina" steak. But there also a few whites: We could not finish without mentioning Vin Santo. Just as, when one is in Tuscany, he will not be able to finish a dinner without asking to have a glass of it, accompanied by its cantucci. It is a wine u. A Siena e dintorni bisognerebbe restare almeno una settimana.

Diversamente si rischia di non avere tempo a sufficienza per assaggiare tutti i vini della zona. Solo fate un poco di attenzione ai prezzi, potrebbero stupirvi: Nella parte nord, come si diceva, si produce il Chianti. Ma qualche bianco non manca: Esattamente come, quando sarete in Toscana, non potrete terminare una cena senza farvene portare un bicchierino, corredato dai suoi cantucci. It has an amber colour, it can be dry or "amabile" sweet and rather alcoholic at least 16 degrees.

In the small glass, one will dip the cantucci, the characteristic dry almond cookies. And, in Tuscany, only when the cantucci will have soaked up all the Vin Santo from the glass, will dinner truly be considered finished. Nel bicchierino che vi porteranno intingerete i cantucci, ovvero i caratteristici biscottini secchi alla mandorla.

Francigena street, La via Francigena, the road of the P il grims. It was originally created by the Longobards to allow them to reach their dukedoms beyond the Appennino mountains. It was subsequently widened by the Francs, hence the name Francigena. It is Europe's backbone: He designed the route and its halts, on the way back from Rome, where the Pope had given him the Pallium, a white woollen stole, sign of the Episcopal mission, granted by the Pontiff to metropolitan Archbishops.

Used for more than a thousand years by merchants, kings and commoners, the road, from a religious point of view, needed to be travelled by foot, for penance reasons, with a distance of kilometres par day. The example to follow is already known: Part of this ancient road can be travelled by shifting from San Gimignano — Siena, to Viterbo. These are the halts that we suggest, for an itinerary of at least five days, to travel not on foot, but with the necessary steadiness to appreciate and savour the art and the many great local things even at the table. We are certain that history will find its place at every meal and with every sip.

Attraversata per oltre un millennio anche da mercanti, sovrani e gente comune, la via, dal punto di vista religioso, doveva essere percorsa prevalentemente a piedi, per ragioni penitenziali, con un percorso di chilometri al giorno. E queste sono le tappe che vi consigliamo, per un itinerario di almeno cinque giorni, da percorrere non a piedi, ma con la necessaria calma per poter gustare arte ed eccellenze locali anche a tavola.

Even before being a fief of the Bishops of Volterra, this was an ancient Etruscan and then Roman settlement. San Gimignano was liberated in the thirteenth century only to fall under Florence a century and a half later. The city, entirely surrounded by walls, is still articulated on the plans of the Francigena road, that runs through it from East to West. The two main squares open up atop the hill, the square of the Cisterna a triangle surrounded by buildings the square of the Potere the power , which divides the Duomo the cathedral from the Municipal Palace.

The appeal of San Gimignano besides the art collections, endowment of the religious orders and kept since the Florentine ages are the towers. In the Middle Ages, every important family in the city built one. With time, the rivalry — every one wanted his tower to be taller than the neighbour's — had left a unique heritage. Of the 72 built in the Middle Ages, only 14 are still standing. The soul of the city is Santa Fina: In cima alla collina si aprono le due piazze principali, quella della Cisterna triangolo contornato da edifici e quella del Duomo, la piazza del Potere divide il Duomo dal palazzo Comunale.

A few kilometres North of Siena, one will encounter this city on the road in from Florence.

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A square, a hamlet, a few vegetable gardens: They call it "la Corona" the crown: Pochi chilometri a nord di Siena, la si incontra sulla strada arrivando a Siena da Firenze. Una piazza, un gruppo di case, qualche orto: La chiamano la Corona: As a matter of fact, it was taken as a model for the crown that wreathed Italy's head on the old coin. The fourteen towers, built between and , represent Siena's attempt to stop Florence's expansion. The defensive impact is obvious: Today, 12 of those 14 towers are still standing, two were destroyed during the Second World War.

Only 42 people live between these walls year-round; the borough is rich with handicrafts shops: In the area that marks the confluence between the Arbia and the Ombrone, Buonconvento is, historically, a place of meetings, clashes and exchanges. Le quattordici torri edificate tra il e il rappresentano il tentativo senese di controllare la continua espansione fiorentina. Oggi di quelle 14 torri ne restano 12, due sono state distrutte durante la Seconda Guerra Mondiale. Before we carry on with our tour, a curiosity for movie lovers: Valdorcia, with its castles, farmhouses, monasteries and noble palaces, has seduced cinematographers and spectators from around the world.

It would be sufficient to mention the route between Montepulciano and San Quirico d'Orcia: Also known as the pearl of the s, Montepulciano is famous other than for its wines for its u. Basta partire da piazza Grande: Start from the Piazza Grande: Very esteemed are also the churches of Sant'Agostino and Santa Lucia. It is in Montepulciano that was founded the Monte dei Pegni Monte Pio , the first Pawn Bank, the original version of the modern day bank Monte dei Paschi di Siena; also, in the Oratory of San Girolamo, a pharmacy from the s is still being kept.

About 45 kilometres south of Siena, San Quirico is of Etruscan origins. This site, at the boundary between the Sienese Republic ad the Papal territories, was for a very long time a place of passage for armies, Emperors, Popes and illustrious men. Its territory of 42 square kilometres is one of the smallest of the commune. Between San Quirico d'Orcia and Pienza, for enthusiasts of history and taste , a halt at the "Taverna del Barbarossa": Skillfully restructured, it still shows today intact architectural details from the past just take a look at the fireplace!

For a real dive back in the Middle Ages: A flag tossing and longbow competition that takes place inside the Horti Leonini gardens, in a two day festival of falconry, among medieval taverns, in the four quarters of the village Borgo, Canetti, Castello e Prato. No more than thirteen kilometres from Montepulciano, Pienza, was declared a World Heritage site in The city was built by will of Pope Pius II from which it takes its name: It is a tiny jewel of architecture which, thanks to masterful tricks of perspective, appears much bigger than what it really is: Nearby, it is possible to visit the Monastery of S.

Anna in Camprena, where were shot many of the outdoor scenes of Minghella's "The English Patient" Michelozzo; sui due lati palazzo Cantucci, il palazzo del Capitano e il palazzo dei Nobili. Per un vero tuffo nel Medioevo: Gare di bandiere e di archi nella parte alta degli Horti Leonini, in una due giorni di spettacoli di falconeria tra taverne medioevali nei quattro quartieri Borgo, Canneti, Castello e Prato.

I think that Franca Mazza would agree. While she was busy carving out her plans, and listening to her ambitions, the road curved and suddenly she found herself at an entirely different destination. We made our own flour and bread. Animals, milk, mushrooms and wine, everything came from that farm. But paradise for some is a prison for others. But learning to speak French? It was so difficult — the teasing and the bullying that you have to face. Coping with the cold was another factor that was difficult to get used to. But in Montreal — it lasted so long!

But it turned out that she inherited something else — their sense of adventure. Mix food with passion and you have a combination that is as potent as the light that pulls a moth to a flame. So, I became a stewardess instead. There is so much diversity, so much life to experience! But I also needed the hustle and bustle of city-life. I just love it — it is equally a part of who. A city is filled with adventure, with challenges. I thrive on the chaos. There is little doubt that her years in Calabria made an indelible mark upon her. For a while the pace was fine, but I still needed more.

I started to give cooking classes, but I really missed my clients. The relationships that I have with them, they are like family; they will be around for a lifetime. Along with her duties at the golf course, Mazza gladly caters for events that range from ten people to one thousand.

And while Mazza is always happy to. Bananas leaves, terracotta tile and wood have all figured prominently for her platings. He was always curious and very excited about. The restaurant would be packed and I would have clients and their guests eating in my kitchen. It would be a sweltering hot night, no air conditioning and they would refuse to leave!

We were always open to trying new things. Whether it is located in a home. I just love to impress; letting my mind go and just getting really creative! It brings you into a. It is a room that exudes sustenance and depth, character and profoundness. Pretension and posturing cannot exist in a place that is defined by care,. Absolutely nothing escapes her eye. Food binds people together; it deepens bonds, providing sustenance to the body and. She tells me that even during large, elegant events, guests will come.

That is why people are drawn to the kitchen and that is why people are drawn to Franca Mazza. Parmigiano sticks and honey. Torta mascarpone and cubed mango. Best as a snack or dessert. Cut the parmigiano in sticks size does not matter. Its how you prefer place the sticks in a plate; square,rectangular On a porcelain tile or even on wood. Drizzle the cheese with honey or pear jam. Use your imagination and try different types of honey. Thyme, wild flowers, acacia Layers of mascarpone and gorgonzola. Together they become a delicacy for the palate.

Throw the cubes in the plate. Beef tenderloin with sea salt and balsamic vinegar. On the cook top, heat up a skillet with a few grains of sea salt. Place the cubes of tenderloin in the skillet and cook each side for approximately 1 minute. Drain the mozzarella di bufala and set it aside. Cook the pasta as usual. Keep it al dente.

Place the cooking cream and bring to a boil. Add the butter, the seppia ink and the white pepper. Mix with a wooden spoon. Now you should have a grey rich texture. Incorporate the pappardelle in the sauce. Mix for a few minutes. Remove from the stove. Wrap the pappardelle around a pair of chop sticks. Place them in a corner of the plate. The mozzarella di bufala break it up with your hands and place half in each plate. Place the cubes of beef tenderloin in a different corner of the plate. Add a few grains of sea salt, a few drops of olive oil and a few drops of red balsamic vinegar.

Tuna Tartare, Fennel and avocado salad. Tuna loin grams. Delicately place it over the slices of tuna. Add the sea salt and the white pepper.

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Add a few drops of olive oil and press half the lemon. Avocado and fennel salad. Clean the fennel head. In a salad bowl. Slice the fennel and the avocado. Add salt,pepper, mint leaves,olive oil, white balsamic vinegar and squeeze the orange. Fish always looks fabulous served on glass. Separate the tuna in half and place it in each plate. Add a spoonfull of salad and serve.

Add extra lemon if necessary. She presents a guided tour of a gastronomic tradition steeped in history and nourished by rich regional traditions with breathtaking landscapes as background. From Sicily to Tuscany di Stasio and her team reveal to a North-American audience the secrets of a locally-based cuisine by exploring first-hand market-places, restaurants, wine cellars and countrysides. Simplicity, tradition, tasty ingredients are the recurring words when she speaks about food in Naples, Amalfi, Ischia, in the Southern part of the Italian peninsula, the Chianti region in central Italy, or Modena in the northern part of the country.

What motivated you to do the series in Italy? Where did the idea come from? There are many reasons that brought me to do the series. It is natural that I should be interested in Italian cuisine, since I am of Italian origin and also because it is my favourite kind of food. The best kind of cuisine for me is the one that uses basic ingredients.

Pour moi la cuisine par excellence est une cuisine simple. It is the extreme simplicity of Italian cuisine that attracted me as well as the quality of the products being used and its long, illustrious tradition. I wished to gather a broad picture of Italian gastronomy by visiting several regions.

I realize laugh that six television programs are not enough to cover the entire spectrum of Italian cuisine. I hope I was able to give a taste of it. I did the research myself and I loved doing it. I already had some contacts, friends and people I know in Italy as well as people involved in the importation of food products from Italy. My aim was to go beyond the recipes one can get from a book.

I wished to combine food with the life-style and the attitude people have towards food in Italy. I have always been fascinated by the long time allocated to the preparation of the meal, by the meticulous choice of the kind of wine to be drunk with a specific ingredient or kind of pasta to use with a particular sauce. My feeling was like everywhere else in the world, Italians have become addicted to the fast food trend.

Now I can say that generally they have to a much less degree. How does the Italian tradition inspire you in the way you cuisine? A meal is the cornerstone of Italian lifestyle. The joy of eating does not go away with age or social class. Sitting together around a table establishes a natural, unpretentious union that in Italy, by and large, is still present.

I believe this makes a lot of difference. You can have someone over and prepare a simple meal without having to perform. What counts is the pleasure and the happiness of sitting together around a table. This is for me a defining trait of Italian culture. It is this simplicity, this lack of pretentiousness that creates friendliness and conviviality. Italians, at least according to the perception many North Americans have of them, can be very colourful people. During your trip you met all sorts of persons.

Did you notice a common denominator in their character? Les Italiens tout comme les paysages qui les entourent sont souvent des personnages hauts en couleur. As well as conviviality. In some cases we had to deal with people that had never heard of us, but it was always simple. Which made my life simple because my goal was also to go and visit people and observe how they cooked at home. Simplicity, conviviality and good food is a defining trait also of Italians or their descendents living in North America. People do not follow a standard recipe. People love cooking using their flair, never using a book.

In Italy cuisine is based on feelings. Both women and men have their own special touch. They cook to a large extent according to what they can find at the market and the peculiar recipe developed in the family. I am talking about traditional cuisine, of course. There are obviously, more elaborated kinds of recipe, but my aim was to discover the way people cook in different regions of the country. In your opinion why is Italian cuisine so popular worldwide? Rather than spreading the taste, like we tend to do, Italian food relies on few basic ingredients.

This enables it to focus on flavours with more precision. Obviously this requires high quality products. It is a must! If a recipe requires a cup of ground basil, that is exactly what it takes. In the television series I taped, one of my aims was to show viewers a simple way of cooking. I wanted to teach them to respect regional cuisines based on fresh products because this makes all the difference. I also inserted in my programs a pinch of dolce vita that is hidden somewhere in every Italian soul.

During the shooting the nicest part was to be received by different people. We were allowed to go in their kitchens and still feel at ease. It all boils down to a lifestyle based on simplicity and openness. Which dish or product did you enjoy most during your stay in Italy? The fresh mozzarella produced daily is what I liked the most. I just loved it as well as ricotta di pecora which cannot be found in North America unfortunately. They are magnificent products. Huge lemons from around the Amalfi region also captivated me.

The pizza with tomato and mozzarella prepared by Motta in Naples made me go crazy. I just could not stop eating it. What about the most practical lesson you learned? I have learned that pasta is alive and one has to get the feel of it to extract its full potential. In other words, just following a recipe is not enough in the kitchen. You have to know when the fresh pasta lacks humidity, when you need to add more oil and so on. No artichoke will give you the exact same sauce. I loved discovering these little but fundamental tricks.

For instance pasta has a different flavour if you first put sauce in the bowl and then you add and mingle the pasta. There are other regions I still wish to visit. During my trip I loved the island of Ischia, near Capri and Naples as well as the towns in the bay of Naples. The richness of Italian cuisine is simply amazing.

I just opened a little door for North American viewers and I hope I put acquolina in bocca to them. Et la ricotta di pecora ricotta de brebis aussi. Ce sont deux produits magnifiques. Le truc le plus utile? La Florence que je connais. Bologne est un centre extraordinaire pour la gastronomie. Bucatini alla matriciana Recipe: In a large frying pan, heat the oil and brown the meat over low heat for 10 minutes until it takes on a lightly golden colour.

Transfer to a plate with the cooking fat, while making sure that a bit of fat is left in the pan for frying the onion. In the same pan, fry the onion over low heat for a few minutes or until it is lightly browned. Add the pepper and let it infuse the flavour for the desired length of time based on how spicy you wish the dish to be mild to very spicy , that is anywhere from minutes to minutes.

Remove the pepper after this time. Add the tomatoes to the pan, season lightly and increase to medium-high heat. Place the meat back in the sauce and let simmer 10 minutes. Meanwhile, cook the pasta in a large pot of well-salted boiling water, according to the instructions on the package, depending on the type of pasta used.

Strain the pasta, add it to the sauce and stir so it is nicely coated by sauce. Serve immediately and garnish each serving generously with Pecorino. Retirer ensuite le piment. Remettre la viande dans la sauce et laisser mijoter 10 minutes. If you are using larding bacon, blanch it in boiling water for 1 minute.

Guanciale is made from cured pork jowl that has not been smoked. Si vous utilisez le bacon, le blanchir dans une eau bouillante pendant 1 minute. Ferri Tales Having lunch with a girlfriend is probably one of my favourite ways to spend an afternoon. Lively conversation is served alongside tempting food with amusement and insight spending equal time at the table. My lunch with actress Claudia Ferri turned into exactly that kind of affair. Although I had never met her before, she greeted me with open arms.

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It was a memorable afternoon heightened by delicious food, lively discussion and of course, lots and lots of laughter. He fell in love with a French-Canadian woman, Lucette Bedard from Quebec, and married her a few years later. The couple returned to Italy for a romantic, extended honeymoon, but then decided to make their lives in Canada. Throughout his lifetime, Gregorio Ferri worked in a variety of fields. Rather than worrying about what the future holds, the family seems to embrace it. Their world is large; a terrain defined by curiosity and good will. We really are a multi-cultural, open family.

Different members of my family married into various cultures — Egyptian,. Just imagine what our Christmases were like! When you can understand and have an appreciation of a culture through food, how can you go back? For some people, acting is a very uncertain, unstable business. There are no guarantees and the rewards are often few and very far between.

Along with talent, launching into. It is obvious that the entrepreneurial gene was handed down through generations. A person must have the presence of mind to have faith in the future and refrain from pushing the panic. It was a sideline. From the age of twelve, I knew that this is what I wanted to do. I like to think of my career as a tree — the branches might be pointing in a bunch of different directions, but they are all directed towards the sky.

I make very conscious choices about the way that I want to behave with this career. When the soul whispers, many turn away in fright. But for others, a job takes on an added meaning. It becomes a playground for personal growth, a place where the character is stretched beyond its limits and shaped in new ways. This is definitely the case for Ferri. And while she is undeniably ambitious, she is both humorous and grounded about her goals. You have to measure every single step. I might not yet be internationally known, but look how many more people know Claudia Ferri than 10 years ago!

It is a means to an end — a way to pay the bills and live a certain lifestyle. In order to be complete, you have to learn from the whole spectrum of emotions. That is the thing to remember - we might often experience joy, but do we stop and really learn those lessons from it? So many people are used to learning through misery. But who do you become when you are fulfilled; when you are a strong, empowered, happy, loved and a healthy person? Ferri tells me a story about when her father passed away. Frida Kahlo - Photo: But they had already dried up for the season. But a month later, when his cousins were making the journey from Rome to Santa Caterina for his funeral, they came across trees full of zagare!

There are her three daughters: Gabriella, Camille and Marika. Actors and actresses are in a unique position because people really pay attention to them. What is wrong with using that status in a commendable, positive way. Instead, it is a place that is constantly expanding, constantly bringing new challenges as well as new. Why would you want to denigrate that?

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You have to make a difference where you can — I would love to be a goodwill ambassador for the UN. Attila Dory 5-Durham County - Role: Roxy Calvert - Photo: Things must fall into place by a certain date, in order to get to Point C, start at Point A, satisfy the conditions for Point B and then move on to the next desired. Born in Campobasso, and raised in Quebec, Ramacieri favours a more free-style approach. His recipe for success? Combine imagination with an entrepreneurial spirit; mix in a heaping dose of passion, and flavour with ingenuity and open-mindedness. Giovanni Ramacieri was born with an entrepreneurial spirit.

When he was 17, the young Ramacieri came to his first set of cross-roads regarding his career. His father gave him a choice — either he could continue in school or begin to work in construction. Seizing the opportunity, Ramacieri started his career cutting stones and bricks, quickly soaking up as much information as he could about the industry.

His entrepreneurial spirit kicked into high gear. Even though Ramacieri was the first man in Canada to become a dealer of the manmade stones that were used on exterior facades and on interior projects, the administration at Emco was a little dubious at first. In an interview for the Toronto Star Weekly they recounted: This was our first Brandstone Dealer in Canada.

He was young, eager and willing to learn. He was a good working man and bragged about his working abilities. The credo is simple: Make your customers happy and they will in turn help you sell to their friends. Everything is in my head; I love to give myself a challenge. He embraced the architectural and artisanal possibilities of the product, travelling the world — from Brazil to Spain, Italy to China - to find original and beautiful tiles for his customers. The company grew exponentially, employing over people and taking on mammoth jobs.

Mondo rubber built a plant in Quebec in order to supply the necessary ingredient and after being approached by Ramacieri, Mapei set up a Canadian division in Montreal and supplied the special flooring adhesive. Rather than letting his clients be overwhelmed by a blinding choice of colours and styles, Ramacieri grouped the tiles in cabinets, with each drawer revealing a different colour or motif. As a result, clients were able appreciate. In honour of his achievements, he was given a prestigious tribute by the Canadian government — the Commemorative Medal for the th Anniversary of the Confederation of Canada.

When a person is enjoying a whirlwind career they often seek solace in a quieter, calmer private life. But Ramacieri prefers to have all aspects of his life firing. But the house is so much more than just a place to live. Within the main house is another smaller house, smack dab in the middle of the living space. At first glance, one immediately assumes that this is the. In , Ramacieri bought a beautiful piece of land in Piedmont, it was a picturesque retreat 45 minutes. But it proves to be the exact opposite.

In order to complete the job properly, he decided. The smaller house contains an original method to create humidity. Turn the water on and its roof becomes a burbling. He approached two companies in Italy to complete the tracks. The smaller building is at once pleasing to the eye and extremely functional. A large trap door in the middle of the kitchen opens to reveal a set of steep stairs.

Begin your descent into the shadows and you will notice that the entire underside of the door is covered with labels from bottles of wine. Along with a healthy collection of bottles, the. A space that is absolutely begging for more laughter and get-togethers that last long into the night. To complete the tour, we amble down a short path and arrive at La Baracca sul fiume — a colour cabin lost amid the trees. Composed of a single colourful room perched high atop the.

In order to get the formula just right, Ramacieri uses specially constructed barrels, grapes imported from Italy and flat rocks dug from the beds of the Modena river. What more could you possibly hope for in a shady, summer retreat? If we paid attention to stereotypes,. This is the site where he raises geese,. This is also where he prefers to receive his guests for a meal or a drink. Along with housing a. But listen to Ramacieri and he gives a far more compelling version. His most recent project is Spa Bagni. Purchased in , Ramacieri has created a beautiful day spa that overlooks the Simon River.

Guests flock to this idyllic spot in all seasons, to relax in its Finish saunas, restful whirlpools and Turkish steam baths. One of the most popular activities, balneotherapy takes place in the dead of winter. Guests alternate between the heat of its saunas and brief dips into the glacial waters of the river. The effect is both invigorating and relaxing.

Most recently Ramacieri added a new outdoor whirlpool complete with sea salt, waterfall and a cave. There is much to admire about Giovanni Ramacieri. There is his free spirit, his boundless imagination and of course, his amazing entrepreneurial abilities. But what marked me the most during our meeting was his boundless energy and sense of fun. At a time when our society tends to put such emphasis on youth, it is so refreshing to see a man so unconcerned about his age.

Life at any stage is meant to be lived, and that is exactly what Giovanni Ramacieri is doing. By Shauna Hardy ometimes it creeps along infernally, sometimes it passes too fast to even be noticed, but no matter how it chooses to behave, time always passes, one minute after another, one day after the next. Lancaster watches have a rich and interesting history. In the mid 's, Christiaan Huygens, a Dutch astronomer and inventor, moved to Switzerland seeking religious asylum. He set up a precision timepiece factory and upon his deathbed, Huygens revealed the secrets of the firm to his best apprentice, Edward Higgins, in order that he may carry on the watch-making tradition.

Under Higgins watchful eye, the company grew into an industrial outfit. No longer just worn by the rich nobility, the watches were items coveted by merchants, bankers and professionals. The Lancaster collection was re-launched in by Alvea, a leading Italian company that specializes in luxury goods. Today, Lancaster watches are sold in over. The watches are also available through a few exclusive distributors throughout the world. By deciding to import the Lancaster brand, I was hoping to add some excitement to the market place.

The brand is one of the most prestigious in the accessories market. Along with state-of-the-art craftsmanship, the watches are defined by their colourful bands often featured u. With its ceramic band in shades that range from pale pink to midnight black and the option of a mother of pearl face decorated with up to diamonds, the Ceramik model is a sophisticated, sensual homage to the modern woman. The strong, bold lines of the glasses not only sculpt the.

People change their wardrobes, why not their watches? The Lancaster brand has become a bit of a status symbol.