Aonia edizioni. L'espressione "Cavalleria rusticana" richiama d'impulso alla mente un'opera lirica di successo alla quale si associano automaticamente i nomi di Giovanni Verga, per il soggetto, e di Pietro Mascagni, per la musica. Il "legame mentale", in realtà, nasconde una "separazione" che fu quanto mai netta e diede vita ad una accanita vertenza giudiziaria che contrappose per molti anni, e con molto accanimento, i due grandi artisti. All'origine di tutto c'è la novella "Cavalleria rusticana" che Giovanni Verga scrisse a Milano nell'inverno del 1879 (mentre già lavorava al romanzo "I Malavoglia") e che venne pubblicata per la prima volta l'8 marzo del 1880 sulla rivista "Fanfulla della Domenica". La novella raccontava in poche pagine di grande "realismo" espressivo la conclusione tragica della passione di un giovane siciliano, Turiddu Macca, per una bella compaesana, Lola...

MAFIA. CAMORRA. ’NDRANGHETA. The Sicilian mafia, known as Cosa Nostra, is far from being Italy’s only dangerous criminal fraternity. The country hosts two other major mafias: the camorra from Naples; and, from the poor and isolated region of Calabria, the mysterious ’ndrangheta, which has now risen to become the most powerful mob group active today. Since they emerged, the mafias have all corrupted Italy’s institutions, drastically curtailed the life-chances of its citizens, evaded justice, and set up their own self-interested meddling as an alternative to the courts. Yet each of these brotherhoods has its own methods, its own dark rituals, its own style of ferocity. Each is uniquely adapted to corrupt and exploit its own specific environment, as it collaborates with, learns from, and goes to war with the other mafias. Today, the shadow of organized crime hangs over a country racked by debt, political paralysis, and widespread corruption. The ’ndrangheta controls much of Europe’s wholesale cocaine trade and, by some estimates, 3 percent of Italy’s total GDP. Blood Brotherhoods traces the origins of this national malaise back to Italy’s roots as a united country in the nineteenth century, and shows how political violence incubated underworld sects among the lemon groves of Palermo, the fetid slums of Naples, and the harsh mountain villages of Calabria. Blood Brotherhoods is a book of breathtaking ambition, tracing for the first time the interlocking story of all three mafias from their origins to the present day. John Dickie is recognized in Italy as one of the foremost historians of organized crime. In these pages, he blends archival detective work, passionate narrative, and shrewd analysis to bring a unique criminal ecosystem—and the three terrifying criminal brotherhoods that have evolved within it—to life on the page.

Il formaggio: un alimento che accompagna la nostra vita da millenni. Nutriente, gustoso, piacevole, tutti ne conosciamo l'utilizzo. Come è nato il formaggio? Dalle origini ad oggi, acqua sotto i ponti ne è passata davvero tanta. Ciò nonostante, scopriamo con sorpresa che molte varietà di formaggio sono rimaste inalterate o quasi dall'età imperiale romana. Ovvio che fior di scrittori e poeti si sono sbizzarriti a citarlo nelle loro opere. Questa antologia ci dà una panoramica casuale (gli autori non sono sistemati in modo organico, ma in modo casuale, come una manciata di parmigiano sugli spaghetti): non troverete un elenco ordinato, tutto è una sorpresa, come il piatto di un grande chef che non ci svela la sua ricetta, così non troverete l'indice! Il tutto per una gustosa ricerca culturale della letteratura italiana senza precedenti che spazia dal medioevo al primo novecento. Buona lettura e (perché no?), buon appetito...

The extraordinary cultural Renaissance in the northern Italian courts of the late 15th and early 16th centuries is the subject of this volume. It starts with Baldessar Castiglione's Book of the Courtier (1528) which encapsulates this sense of renewal: his experiences at court and their subsequent rewriting form the backbone of the work. The author then addresses questions of biography, gender, genre, and the varied roles of the courtier, expanding the perspective of Castiglione's text to include the lives and writings of other courtiers and patrons. What was it like to be a courtier? What were the problems associated with such a lifestyle? The importance of women in court circles is also highlighted in studies of one of the most notable of female patrons Isabella d'Este (1474-1539) and of the theoretical developments in writing about gender, stimulated by such women. Stephen Kolsky's analysis of both well-known and comparatively obscure texts brings out the diversity of practices that constituted court society and their centrality to our understanding of the Renaissance.

Terpening shows that not only did Dolce make interesting contributions to Italian literature, but he also played a decisive role in the formation and diffusion of late Cinquecento culture.

Originally published under the title: Garibaldi and his enemies. Boston, Little, Brown, 1965.

The 1916 silent film Cenere (Ashes) features the great Italian actress Eleonora Duse (1858-1924) in her only cinematic role. In her meditative approach to her craft, she reprised for the screen all the "mother roles" she had created for the theater. Marking the film's 100th anniversary, this collection of essays brings together for the first time in English a range of scholarship. The difficulties involved in the making of the film are explored--Duse's perfectionism was too advanced for the Italian movie industry of the 1910s. Her work is discussed within the creative, political and historical context of the silent movie industry as it developed in wartime Italy.