Recipes from the kitchens and restaurants of Italy's new culinary masters, who combine an innate sixth sense for quintessentially Italian flavor with a contemporary approach, defining an exciting new gastronomy. Everybody loves Italian food. It is among the most talked about, written about, and globally popular. But as travelers have sought out culinary experiences in off-the-beaten-path destinations elsewhere in the world, in Italy even consummate foodies eat the same postcard versions of traditional dishes, occasionally making forays into a handful of fine-dining favorites. Yet by far the country's most interesting cuisine is to be found outside of well-trodden establishments, and it's as varied and full of personality as it is delicious. This generation of chefs has come a long way from their nonna's kitchen: they approach tradition with a respectful yet emancipated perspective; they rethink the formats of the Italian restaurant; they are rediscovering foraging and farming; they introduce serious cocktail programs. This book covers thirty-two chefs and restaurateurs who are reinterpreting the "greatest hits" of Italian dining: from trattorias to fine dining, from aperitivo to pizzerias. Laura Lazzaroni takes her readers on a visual north-to-south tour of this new cucina italiana, stopping at restaurants, inns, farms, and pop-ups all across the country, showing in stories and recipes the multitude of approaches, influences, and ingredients that compose this movement, which is paving the way for the country's gastronomic rebirth.

All the essential techniques, profusely illustrated with step-by-step photographs. How do you recognize a San Marzano tomato? How do you shape tortellini? How do you cut scallopine? Everyone loves Italian food, but the ingredients and techniques can be new territory and plain recipes can take you only so far. To make sense of it all, you need La Cucina Italiana. With more than 3,000 step-by-step photographs, this veritable encyclopedia guides you through all the essential building blocks of this cuisine. The images remove the guesswork from the more than 500 recipes included, allowing you to truly master the art of Italian cooking. Reflecting the philosophy of the cuisine itself, La Cucina Italiana puts ingredients first, explaining the different types and the best use of each. Then it supplies you with multiple methods for preparing those ingredients, ranging from simple to complex. Thus the book is suitable both for beginners and more advanced chefs who want to perfect their techniques. Sprinkled throughout are sidebars such as "The Right Tool," "Chef’s Secrets," and "Advice and Tips." Perhaps the most user-friendly publication ever on Italian cooking, La Cucina Italiana is like a compact cooking school you can keep on your shelf.

The Casa Italiana—a neo-Renaissance palazzo located on Amsterdam Avenue near 117th Street—has been the most important expression of the Italian presence on Columbia University’s campus since its construction in 1927. As a site of interdisciplinary scholarship and promotion of Italian culture, the Casa Italiana has made a substantial contribution to the academic study of Italy in America and the understanding of Italian cultural identity abroad. Celebrating the Casa’s ninetieth anniversary, From Da Ponte to the Casa Italiana documents and recounts the history of the individuals, both Italian and American, who contributed to the formation of Columbia University’s rich tradition of Italian studies. Barbara Faedda’s succinct yet detailed historical survey begins at the dawn of Italian studies at Columbia with Lorenzo Da Ponte, Mozart’s witty librettist who became the charismatic founder of the New York Metropolitan Opera and Columbia’s first professor of Italian. Covering figures such as the former revolutionary Eleuterio Felice Foresti, Faedda elucidates the complex and often controversial dimensions of the Casa’s history, highlighting protagonists such as the talented but equivocal Giuseppe Prezzolini and Columbia’s president Nicholas M. Butler, as well as Italian-American students and community members. The Casa played a significant role in U.S.-Italian relations from its foundation, and at one point it came under fire, accused of ties to Mussolini and pro-Fascist leanings. Synthesizing archival documents with the work of historians, From Da Ponte to the Casa Italiana tells the compelling stories of the Casa and several of its leading figures, whose influence on the university can still be felt today.

This book aims to contribute to the knowledge of the cultural and linguistic relations between Italy and the Crown of Aragon in the 15th century. In particular, it studies some relevant aspects of the chivalric romance entitled Curial e Guelfa, written in Italy around 1443-1448 in Catalan, but mainly Italian in spirit, sources and onomastics. It is probably the very first work of a genre known as “humanistic chivalry”, the epitome of which will be Ariosto’s Orlando furioso. The literary context of Milan and Naples (The Three Crowns, Troubadour Lyrics, Humanism) is analyzed in the first part of the volume. It is this context that made possible the gestation of the Curial, an extraordinary anonymous romance, which was most likely written by the knight Enyego d’Àvalos (Inico d’Avalos), born in Toledo but raised in Valencia. The second part of the volume is devoted to the study of some lexical, stylistic and syntactic aspects of the Curial, which show the author's excellent knowledge of Catalan and the constant influence of Italian in the romance. Questo libro si propone di contribuire alla conoscenza delle relazioni culturali tra l'Italia e la Corona d’Aragona nel XV secolo. In particolare, studia il romanzo dal titolo Curial e Güelfa, scritto in Italia intorno al 1443-1448, dotato di italianità, fonti e onomastica, ma scritto in catalano. È probabilmente la primissima opera di un genere noto come “cavalleria umanistica| , la cui epitome sarebbe l’Orlando Furioso dell’Ariosto. Questo volume analizza il contesto letterario di Milano e Napoli che ha reso possibile questo straordinario romanzo anonimo, di cui conosciamo ormai con quasi assoluta certezza che il suo autore era Enyego o Inico d'Avalos. I contributi in questo volume approfondiscono alcuni degli aspetti lessicali, stilistici e sintattici di Curial e Güelfa, e mettono in evidenza l'eccellente conoscenza del catalano da parte del suo autore, nonché la presenza onnipresente della lingua italiana. El libro pretende contribuir al conocimiento de las relaciones culturales entre Italia y la Corona de Aragón en el siglo XV. En concreto se ocupa de la novela Curial e Güelfa , gestada en Italia hacia 1443-1448, de espíritu, fuentes y onomástica principalmente italianos, pero redactada en lengua catalana. Es probablemente la manifestación más primeriza del género literario conocido como “caballería humanística”, que tendrá su punto culminante con el Orlando furioso, d’Ariosto. Este volumen analiza el contexto literario de Milán y Nápoles que hizo posible esta extraordinaria novela anónima, de la que ahora sabemos con casi absoluta certeza que su autor fue Enyego o Inico d’Avalos. Las contribuciones de este volumen profundizan en algunos de los aspectos léxicos, estilísticos y sintácticos de Curial e Güelfa, y destacan el excelente conocimiento del catalán de su autor, así como la presencia omnipresente de la lengua italiana.

IRDA EDIZIONI I nonni pensano di lasciare qualcosa di sostanzioso ai loro nipoti. Io non ho sostanze, vi ho dato già un quarto e un ottavo dei miei geni. Ora, vi lascio le mie idee. Fatele girare se Vi convincono... "Giuseppe De Leo"