Frittate: Quaderni di cucina (Italian Edition)

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Questo sito usa Akismet per ridurre lo spam. Scopri come i tuoi dati vengono elaborati. Vi allego il procedimento con il lievito madre che con il lievito istantaneo. Povitica, pane dolce alle noci. Riscaldare il latte e sciogliervi il lievito madre. Riporre in una terrina leggermente oliata e lasciare lievitare fino a raddoppio, circa 6 ore. Aggiungere la vaniglia e mescolare. Lasciar raffreddare. Questo composto deve avere la consistenza di una cremina, quindi se risulta asciutto aggiungere un pochino di latte.

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De Crescenzo, Luciano. Falco, Giorgio. Pagine di storia medievale. Rome: Lavora, Foresti, Arnaldo. Boccaccio," Giornale storico della Letteratura italiana 78 : Aneddoti della vita di Petrarca. Brescia: Vannini, Hauvette, Henri. Lee, Charmaine. Pade, H R. Jensen, L. Rome: L'Erma di Bretschneider, Dizionario Biografico degli Italiani. Rome: Editoria dell'Istituto dell'enciclopedia italiana, Les Angevins de Naples. Paris : Presses Universitaires de France, Boccacce et Naples. Paris: Droz, Monaco: Imprimerie de Monaco Levarie Smarr, Janet.

Turin: Franco Cesati Editore, Librandi, Rita. Limentani, Alberto. Monti, Mario. Morosini, Roberta. Il viaggio di Florio dall' 'imaginare' al vero conoscimento," Studi sid Boccaccio, 27 : Daria Valentini and Janet Levaire Smarr. P, Zyg Baransky and Theodore Cachey. Layman, SC: Bruccoli Clark, forthcoming. Niccolini, Francesco. Padoan, Giorgio. Florence: Olschki, Rea, Domenico. Ninfa Plebea. Naples: Pironti, ; Rpt. Russell Ascoli, Albert. Sabatini, Francesco. Saggi editi dal al , ed. V Coletti, R.

Coluccia, P. D'Achille, N. De Blasi, L. Lecce: Argo, Cava de' Tirreni: Edizioni Scientifiche Italiane, Torraca, Francesco. Naples: Pierro, Wilkins, Ernest Hatch. A History of Italian Literature. Cambridge: Harvard U. While he was still living, however, he wrote most copiously in Latin as a way of safeguarding his name with posterity. With his unfinished epic poem in Latin, Africa, on the theme of the sec- ond Punic war, he earned the crown of poet laureate in a solemn ceremo- ny held in Rome in Time's inexorable ticking and its power to oblit- erate horrified Petrarch, both personally and professionally.

At a difficult juncture in the history of the Italian vernacular, while Italy was not politi- cally or linguistically unified, the poet was troubled by the susceptibility of his Italian poems to being distorted by common readers. He repeatedly swore indifference toward the vernacular compositions. Significantly, there is very little mention of Laura in Petrarch's exten- sive Latin writings and no mention of her in the oration delivered by the poet on the occasion of his highest professional achievement, his corona- tion as poet laureate in Rome, where he alluded, instead, to the mytholog- ical story of Apollo's consecration of the laurels as a result of his pursuit of a nymph who assumes arboreal form in a metamorphosis effected to escape his possession, as the paradigm of the poet's pursuit of his laurels.

His Fragmenta, seemingly composed out of compulsion to redress his most immediate longings for Laura, tell a multi-faceted story rather that focus- ing exclusively on an elusive woman. With them Petrarch exposes the most intimate nuances of his illegitimate passion for her and of his moral cri- sis , insisting on the uniqueness of his predicament, yet he was prudent to include in the collection multiple poems on entirely different subjects pol- itics and friendships, for instance , poems which would illustrate how the vernacular functions in the real world and not just in matters of the heart.

This image, further- more, suggests the paradox of Petrarch's lyrical project in its entirety. Laura's hair, at times flowing in the wind, at times knotted by it, provides the link between the defining themes of the text and its formal logic. Petrarch's Fragmenta, to some extent, seem to be the spontanous expression of an unbridled passion, yet they are meticulously collected and ordered.

As soon as the Fragmenta allow Petrarch to enjoy momentary release from his relentless obsession, they also renew the emotions that they should redress. Laura's image throughout the Fragmenta is that of a different order of being, a flickering apparition with attributes rather than features. Her shimmering figure comes in and out of focus and her full description, the poet would have us believe, transcends his rhetorical competence "manca l'ardir, l'ingegno et l'arte" — "there fails my daring, my wit, and my art" [ Thus Petrarch relies on the enumeration of a limited number of formalized discrete physical attributes that he reiterates hypnotically, attributes which never come together into a portrait.

She laughs "dolce ride" — "sweetly laughs" [ It is the poet who recollects her words "voi diceste allora"- — 26 — Mourning Laura "you said then" [ Paradoxically, Laura grows increasingly available after she dies, when she appears in the poet's dreams "in sonno" [ The key question to address is not what the Rime sparse are about, but rather what position they individually adopt on the fluidity of perception that they depict with so much virtuosity.

In spite of its introductory capacity, it does not firmly situate the poet: Voi ch'ascoltate in rime sparse il suono di quei sospiri ond'io nudriva il core in sul mio primo giovenile errore, quand'era in parte altr'uom da quel ch'i' sono: 1. Sonnet 1 introduces a subject whose attitude of repentance is incom- plete, an incoherent self, besieged by an inner conflict who swings between lucidity and emotion, encapsulated in the utterances "piango" and "ragiono. And yet, seemingly, Petrarch inaugurated his lyrical sequence with this sonnet in order to suggest that identity should be undivided, static and finished.

Petrarch teases the reader with the phantom of a conversion which would give a strong sense of direction to his text and structure its content in a — 27 — Isabella Bertoletti manner comparable to the use of a vanishing point for organizing spatial per- spective. By postponing his conversion, the signifying horizon of his lyrical collection vanishes giving way to its multiplicity and points of dispersal. In an unpersuasive palinodie move the poet, like Guido da Montefeltro in Dante's Inferno, xx entertains the fallacious position of recanting a crime yet undisclosed and looking for absolution before sin- ning.

It is, in fact, only in sonnet 2 that Petrarch confesses his offense, his "errore," and then proceeds to reiterate it throughout the scattered rhymes. It did not seem to me a time for being on guard against Love's blows; therefore I went confident and without fear, so my misfortunes began in the midst of the universal woe. The presentation of the initial Ovidian scene of wounding in sonnet 2 is accommodated to a Christian setting when sonnet 3 uncovers the litur- gical occasion Good Friday that rendered the poet unarmed and thereby brings the drama of the Fall to bear on his amorous experience.

Suffering is advanced as the condition for writing and his poetry, pouring out of a torn subject, seems almost to hem- orrhage from his wounds. With its allusions to physical death in sonnets 2 and 3 , however, Petrarch reminds his readers that beginnings and epilogues tend to be one and the same in habitual narratives of conversion. In poem 5 the sequence culminates with the simultaneous naming and scattering of the woman who has thus remained unidentified : "LAUdando" 5. The final syllable of her name, in the poem's final line, coincides with the poet's last breath and her death "il fin".

The poet, who now chooses to identify with Apollo the Sun , secularizes the spectacle of Christ's crucifixion when the sun was reverently concealed and displaces it with the audacity of his professional endeavour. It is Laura, not the mystery of the incarna- tion, who exceeds his grasp and requires stronger shoulders the "omeri," which reverently allude to Petrarch's ideal mentor, Homer. The poet's mental image of Laura is the sensual basis of a love that Petrarch is unable to sublimate into a symbolic occasion for elevation.

Intermittently penitent, Petrarch recognizes the danger of a desire that has caused his own spiritual degeneration into a fragmented being. In his most directly personal work, the scathingly introspective De secretu confiictu — 29 — Isabella Bertoletti curarum mearum, xb Petrarch undertakes a prolonged attempt at spiritual healing. During a three-day dialogue between himself and his spiritual mentor, St. Augustine, he searches his soul and portrays his secular and spiritual aspirations competing in a struggle that endures into a lingering conflict rather then ending in conversion.

In the Fragmenta, analogously, he correlates his long and painful pursuit of Laura to a continuous strug- gle which fails to produce a definitive religious epiphany. Against the lofty background of Augustinian orthodoxy it is Laura who merits the applause of the Saint, while Petrarch can bring himself only to confess his failure in relation to his simultaneous commitments to a view of agency and author- ship as resolved, coherent and self continuous. Laura's unwavering virtue "Contra autem ilia propositi tenax et semper una permansit" — "She always held firm and true to herself" [p.

The implacably personal tale of Petrarch's amorous afflictions sugges- tively designated by Augustinus in the Secretum as a plague, "tuam pestis" [p. The dedicatory letter brings his response to the tragedies of epidemic loss to the forefront and thus locates his introspec- tive writing within a large, historical perspective: Ecce, iam fere omnia tentavimus, at nusquam reques Tempora, ut aiunt, inter digitos effluxerunt; spes nostre veteres cum amicis sepulte sunt. Millesimus trecentesimus quadragesimus octavus annus est, qui nos solos atque inopes fecit.

Familiares, 1. Time, it is said, slipped through my fingers; my old hopes are buried with my friends. The year has left me alone and in despair. In Petrarch's Rime the death of Laura occurs during an outbreak of the great epidemic of Petrarch's lyrical collection is condemned to exist in time, haunted by this stunning, almost insolent coincidence: Laura's death occurs on an anniversary of the day in which the poet first saw her, a sym- metry blatantly advertised by Petrarch's identical presentation of the two dates in the final terzine of sonnets and It is no accident that the date of the poet's entry into the labyrinth of love his spiritual death and Laura's physical death are coordinated.

Since the collection is punctuated with fifteen poems com- memorating his first encounter with Laura which later converges with her death, 30, 50, 62, 79, , , 1 18, , , , , , , , , ranging from to , each anniversary is a reminder of Laura's enduring hold over Petrarch's life. Whether Laura is dead or alive, the poet's perception of time is dangerously scanned in relation to her.

Even when she is alive, however, Laura seems dead, and mourning the essential ingredient to formulate a poetics which identifies in human frailty the stimulus behind human endeavours. Laura's shimmering golden hair, scattered and knotted by the wind, her luminous eyes, her bearing, her voice, belong to a previous — 31 — Isabella Bertoletti time and state of being in the same way Petrarch's fragmented self is always linked to its past and imagined through metaphors of loss and desire.

In a letter addressed to Phillip, Bishop of Cavaillon Familiares As you will be reading this letter, I will be dying, you are dying while I am writing to you, the two of us are dying, we are all dying, we are always dying, we are never living while we are here. The transitory nature of time is punctuated by the dizzying rate of metamorphoses in canzone This composition is reassessed by its companion poem, , as the end of the collection approaches, which depicts the demise of things known to be immortal and erects a poignantly enduring monument to impermanence.

Death looms large over the Fragmenta, casting a huge shadow which introduces and propels the narrative forward towards its fulfillment, marking the relentless passage from frailty to silence, eternity, and disintegration in poem In a desperate attempt to relieve the anxiety provoked by the inex- orable and unrepeatable events with which life is saturated — it has already brought Laura and will invariably usher the poet and his work to a state of oblivion — Petrarch looks for solutions to contain his dispersion and steady his course.

Augustinus admonishes him, in the Secretum, that he renounce earthly thus impermanent pursuits. The Saint, thus, discredits the secular, courtly rationalizations adopted by Franciscus to justify him- self, when he maintains that his love for Laura should become a path to sal- vation. The poet, at times, is painfully conscious of the action he must take in order to correct his mistakes. The insistence on the word "altro" reminds us of Augustine's words in the Secretum, where the saint describes his conversion: "transformatus sum in alterum Augustinum," — "I became transformed in another Augustine," p.

The intermittently penitential moments in the Rime reiterate this view: "cosa bella e mortal passa e non dura" — "this beautiful mortal thing passes and does not endure" This knowledge, however, does not inspire a radical and permanent change. Petrarch candidly confesses his weakness in the concluding line of a poem that echoes the Secretum and, just like the prose dialogue, closes with a failed conversion: "et veggio '1 meglio, et al peggior m'appiglio.

Petrarch's lack of resolution is underscored by the strategy dis- played in the organization of his lyrical sequence. In either case, unwilling, or unable, to give up his investment in a mortal object, he accommodates his sinful predicament to a monumentalization of his passion. His sin, pri- marily, is not that of having strayed from religion for a worldly passion, but that of having made his love into a religion. Peter's — the cloth carrying the imprint of Christ's image at the time when he was walking on Golgotha to be crucified.

The significance of the cloth is predicated upon the simultaneous belief in the truth of an incarnate God and in the belief that His visage is reproduced, perfectly, upon the cloth. Petrarch daringly employs the reliquary for poetic effect by inverting its legitimate claims: Christ figures as mere metaphor or image "sembianza" while Laura has become a type of Christ "forma vera".

Charlemagne is hopelessly infatuated with a woman. He shamelessly over- looks both his imperial and his private duties, so much so that his public image is ruined and his own spiritual salvation jeopardized. When the woman suddenly dies everybody celebrates the emperor's deliverance from disgrace. The emperor, however, secretly refuses to accept the inevitable and embalms the woman. He then carries on ghastly trysts with her dead body which is described with a language that is openly reminiscent of Laura's idolatrous metamorphoses. Charlemagne clads his defunct lover with purple cloths and covers her with jewels: cuius nee morte lenitus furor, sed ipsum obscenum cadaver et exangue translatus est, quod balsamo et aromatibus conditum, honustum gemmis et velatum purpura diebus ac noctibus tam mis- erabili quam cupido fovebat amplexu.

Petrarch extrapolates from this episode a general illustration about the enslaving power of love certainly one suitable to his enamored condition. In the Rime, though, he acknowledges his inability to disassociate himself from the mundane force of love and concedes that his devotion is endur- ing, constant, and all consuming even after Laura's death. This unusual tribute to the power of poetry is understandable, since Petrarch is engaged in a prolonged and unsuccessful campaign to sway an — 35 — Isabella Bertoletti unresponsive woman. Most urgently, Petrarch is invested in gaining mastery over the disordering force of death.

The representation of death and con- tainment of its devastating effects is central to the Fragmenta, to Petrarch's poetic project, and is no less challenging than Orpheus's undertaking. Death, like Laura, is a signifier of absence that incessantly recedes towards an unreachable signified. The poet, who has blas- phemously displaced the wounds of Christ on the cross with his own gap- ing body and transformed Christ into a figure for his erotic torment, 29 is forever subjected to the woman who has crucified him "con saldi chiodi fisso" nailed there firmly' [ The text, seem- ingly unfinished, arrives to its readers in its pure materiality as a dismem- bered corpus, entrusted with a story which can fall apart as soon as it is assembled.

Staking his claim to life eternal, Petrarch evades the narrative replica- tion of his earlier, spiritual death through sin, the effects of eros on his identity, and, at the same time, he eludes his secular undoing by the liter- al binding and unbinding of a disseminated manuscript. In order to fulfill an aberrant fantasy and transcend his post lapsarian sexual and mortal body the sight of putrefaction, decay and corporeal incompleteness Petrarch tenders his limbs to public viewing, turning himself into a poetic spectacle like Christ and Laura , and makes a reliquary of the woman who has caused his agony.

In the way in which the saintly bodies or fragments — 36 — Mourning Laura thereof revered in shrines will be restored to eternal wholeness and har- mony in Paradise, the idol of Laura is the vehicle whereby the poet's own dismembered body and the extension of his self into a fragmented extra- corporeal existence the Fragmenta will be collected in the "real" world beyond, as a vehicle of his future worldly fama and his secular salvation.

NOTES 1 An eloquent example of Petrarch's denunciations of his vernacular poetry designated as nugae or nugellae is in a letter addressed to Boccaccio SenilesXNll, 3 , where he declares that his vernacular texts do not merit serious attention. All references to Petrarch's poetry are from Giovanni Ponte, ed. Francesco Petrarca. Rime sparse. Milano: Mursia, ; the source of all translations is Robert M. Durling ed. I will refer to the lyrical collection as Fragmenta from the Latin title given by Petrarch, Rerum vulgarium fragmenta or as Rime sparse from the first verse of sonnet 1.

All further references to the Rime sparse will be included in the text with poem and line number. See, for instance , ; , ; , On the monumental influence of Petrarchismo in defining the standard of female beauty in the visual arts, see Elizabeth Cropper "On Beautiful Women, Parmigianino, Petrarchismo and the Vernacular Style.

Sara Sturm-Maddox reviews the distinguishing elements of the physical description of Laura as well as her confined repertoire of actions. Baltimore: Johns Hopkins UP, : The Petrarchan lyric, according to Mazzotta, suffers a loss of referential function and becomes and exercise in poetic self-objectification, "The Canzoniere and the Language of the self". For instances of her post mortem utterances, see poems , , , , , In and , she offers the poet assurance that she is waiting for him in Paradise. See T. MLN : Italica 58 : Sara Sturm-Maddox discusses the "cosmic disturbances associated with the death of Christ" presented in 3.

He borrows, for instance, from the Aeneid and the Metamorphoses in his portrait of Laura: her flowing hair and elu- sive demeanor strikingly evoke Virgil's Venus when she materializes, disguised as a huntress, to assist her son Aeneas and departs, hastily, as he is about to recognize her and Ovid's Daphne narrowly escaping Apollo's rapacious attentions as she becomes transformed into a laurel. On the Ovidian subtext see Peter Hainsworth. Petrarch's Metamorphoses: Text and Subtext in the 'Rime sparse. New Haven: Yale UP, The Aeneid and Metamorphoses rehearse the myth of the origin of Rome but support diametrically antithetical attitudes towards it..

Enrico Fenzi Milano: Mursia, I will include all page numbers in the main text. All translations are my own. Carlo Calcaterra Nella selva del Petrarca Bologna: Editore Licinio Cappella, presents a useful discussion or Augustine's influence on Petrarch "Sant'Agostino nelle opere di Dante e Petrarca" and argues that the influence of the saint went beyond the Secretum; Adelia Noferi L'esperienza poetica del Petrarca Firenze: Le Monnier, , ; offers a suggestive correlation of the lyrical poetry and Secretum; N. Storia e racconto nel "Canzoniere" del Petrarca Bologna: Il Mulino, place the Rime at the center of the literary project that inspires dia- logue.

Simona Vigezzi Milano: Rizzoli, : esp. See also Umberto Bosco, Francesco Petrarca.


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Bari: Laterza, , All translations are mine. For the gloom and pessimism, as well as obsession with death, which followed the outbreak of this catastrophe epidem- ic, see Millard Meiss, Painting in Florence and Siena after the Black Death Princeton: Princeton UP, Martinelli, "Feria sexta aprilis: la data sacra nel Canzoniere del Petrarca. Robertson, Jr. Vincent ed. Brand, K.

Foster U. See Robert M. Durling's seminal discussion of sestina 30 in "Petrarch's 'Giovane donna sotto un verde lauro. The jewelled cross has also escha- tological significance. In his article on poem 30, Durling points out that the New Jerusalem is described in Apocalypse 21 as being "decorated with 12 kinds of pre- cious stones, including topaz.

Also, see Robert M. Baltimore and London: Johns Hopkins, : esp For Christ to redeem humanity by his death he had to be thoroughly man in every aspect, thus the insistence with which artists represented his genitalia which he connects to the debates about his circumcision. The night before the violent destruction of his flesh Christ designates the ontological presence of his body in its manifestation as the Eucharist. The Eucharistie body and the resur- — 40 — Moukninc; Laura rected body, each of them incorruptible, underwrite the ontological alliance of body and soul and the exclusion of the flesh, which is understood to fill out the body imprecisely.

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Petrarch, unable to disengage from his earthly love and appro- priates the terminology of Christianity for his own cult of Laura and for his audi- ence's reverence of the Fragmenta. NY: Columbia UP, On the sociopolitical significance of the body and on the centrality of the body in the Middle Ages, seen as a period in which incarnational aesthetics governed thus not a purely metaphysical period see Jacques Le Goff, 77? Storia della morte in Occidente dal Medioevo ai giorni nostri. Simona Vigezzi.

Milan: Rizzoli, Barolini, Teodolinda. Belfiore, Elizabeth. Bodei, Remo. Ordo amoris. Bronfen, Elisabeth. Over Her Dead Body. Manchester: Manchester U. Bosco, Umberto. Brown, Peter. New York: Columbia U. Bynum, Caroline Walker. The Resurrection of the Body in Western Christianity, Calcaterra, Carlo. Nella selva del Petrarca. Bologna: Editore Licinio Cappella, Cropper, Elizabeth. Didi-Huberman, Georges. Durling, Robert M. The Figure of the Poet in Renaissance Epic. Cambridge, MA: Harvard U. Dutschke, Dennis. Foster, Kenelm.

Povitica: un Pane Dolce alle Noci e Cioccolato dalla Croazia - Pane, burro e marmellata

Vincent on his retirement from the chair of Italian at Cambridge. OR Brand, K. Foster — 41 — Isabella Bertoletti and U. Cambridge, UK: W. Heffer, Greene, Thomas M. New Haven: Yale U. Hainsworth, Peter. Petrarch the Poet. London and New York: Routledge, Italian Studies 34 : The Languages of Literature in Renaissance Italy.

Oxford and New York: Clarendon Press, Harrison, Robert Pogue. The Body of Beatrice. Baltimore: Johns Hopkins U. R, Iliescu, Nicolae. Il Canzoniere petrarchesco e Sant'Agostino. Javitch, Daniel. Le Goff, Jacques. The Medieval Imagination. Arthur Goldhammer. Chicago: University of Chicago Press, Martinelli, Bortolo. Petrarca e il Ventoso. Bergamo: Minerva Italica, Mazzo tta, Giuseppe. Meiss, Millard. Painting in Florence and Siena after the Black Death.

Princeton: Princeton U. Noferi, Adelia. L'esperienza poetica del Petrarca. Florence: Le Monnier, Petrarca, Francesco. Giovanni Ponte. Milan: Mursia, Enrico Fenzi. Pertrarca, Francesco. Florece: Sansoni Editore, Petrarch's Lyric Poems. Robert M. Robertson, D. A Preface to Chaucer. Roche , Thomas P. Petrarch and the English Sonnet Sequence. Roche, Thomas P. Santagata, Marco. I frammenti dell'anima. Storia e racconto nel "Canzoniere" del Petrarca.

Segai, Charles. Orpheus: The Myth of the Poet.


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