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The roots of the Vermouth di Torino, which since 22 March 2017 is produced with an indication of protected origin (IGP) denomination, stretch back into the distant past. Over the years, interest in this Italian product of excellence has however been continually renewed, and the in-depth research carried out by the author, searching both through ancient volumes and newly found documents, confirms its value. Through the analysis of historical sources, concerning both liqueur-making and pharmacy, we discover the origins of vermouth and the evolution of aromatised wines. The book also examines raw materials, productive methods and traditional recipes. Curiosities on the various types of vermouth, the historical products, the brands of yesteryear and those that have re-emerged also form a major part of this research. Lastly, the key cocktails made with this fundamental product of traditional drink-mixing are presented, such as the Americano, the Negroni and the Martini Dry Cocktail. From this second book he started to organize the seminar Esperienza Vermouth, which has a double formula: one for amateurs and one for professionals.
A hospitable practice needs hospitable thinking and a way of believing. If, before being a right, existing is a debt that is extinguished only by becoming hospitable people, theology is called to favour coexistence among people by overcoming even its own self-understanding, when this is an obstacle to dialogue, helping to live this great change, and learning to welcome the spiritual riches that are for all. This, to the point of making a public contribution at the service of human and spiritual growth of humanity. A research of great value for a hospitable belief, which gives a theological foundation to a new paradigm of welcome and which opens up concrete perspectives for the indispensable interreligious dialogue.
To meet God means entering into a new relationship that urges us to reconsider the models that have fuelled our believing experience. God is a constant surprise, a surprise that generates a new theological syntax for thinking, praying and narrating the adventure of existence.
The secularization debate went through a big change during the last fifty years. Could this change be described as a paradigm shift? The volume, after an introduction that deeply analyses the “secularization” concept, picks up and discusses in eight chapters several exemplary figures in the recent debate (H. Blumenberg, D. Martin, C. Taylor, H. Joas, T. Asad, M. Gauchet, J. Habermas, G. Vattimo).Thus, the Author gives for the very first time, a systematic reconstruction of the changes and developments in this debate, ending in a real paradigm shift. The conclusion is however hesitant. It is unclear, Costa claims, whether this concept is still helpful to understand what is going on around us now and is in store for us in the near future. Winner of the Book Prize of the European Society for Catholic Theology (category: senior scholar)
Thanks to the new technologies, images have become the true obsession of our time. The Internet, smartphones, television, newspapers, and even the instruments of medical research, subject us to a daily bombardment, a constant flow of images which penetrate and overwhelm the canons of cultural transmission and of the interpretation of the present. The age-old conflict between image and word seems to have ended with the unexpected defeat of the latter. Is it possible to find our way through this new forest without adopting excessively reactive attitudes, tending towards a new iconoclasm? Will we be able to benefit from the potential of images, by recognizing the needs that their hyperproduction expresses, without suffering its violent consequences? The new task is to identify the model of reason for a world where images are no longer appearances but cultural environments.
Nicola Bergamo's in-depth study proposes an historical excursus on the evolution of relations between the nascent city of Venice and the powerful Byzantine empire, from the first Venetian settlements in the lagoon eaves of the Augustan X Regio Venetia et Histria, through the devastating gothic wars and the Longobard invasion, until the fiscal liberation of 1082 with the chrysobolla granted by the basileus Alessio I Comneno, which greatly increased the commercial fortune of the Venetians within the Mediterranean, consolidating what would become a shining thousand-year-old republic. A change also in the political power that from the exarch, the tribune and the magister militum would pass to the elite families who elected the first duces, and would move its centre of gravity from the primitive capital Civitanova on the mainland to the lagoon nucleus of Rivoalto around which the city would develop, seeking a solution to the continuous struggles between the patriarchates of Grado and Aquileia and the assaults of the Narentan pirates who crossed the ships on their way to Constantinople.The essay is accompanied by an introductory text by PierAlvise Zorzi.
A man stands out on the scene, a free man. He puts forth a new way of relating to the God of Israel. He is the heir. The one who knows how to receive and transmit what he has received by impressing his unique trait on it. Many are fascinated by this figure. Others are scared to the point of precipitating events until the man is killed. However, precisely in death, this figure will release his vision of God in all its strength. A vision that from then on will never cease to attract, to scandalize, and to provoke reality. Today like yesterday. The Christian dogmatics presented through engaging events, with the flavor of a contemporary novel.
An essay to approach the Bible as a source for an authentic spiritual life; a book that gives a biblical backing to the present revival of spirituality, avoiding any deviations or partiality.The author follows here two paths: first, he examines the Old and the New Testaments, focusing especially on the prophets, the psalms, Job, the Song of Songs, and the beatitudes. With the second path, card. Ravasi outlines a concise map of spirituality in the Scriptures, thus composing a unitary message.The final outcome is not only a guide to mysticism, but also an essential synthesis of biblical theology.
Zanmaria Millevoi, the murderous tailor from Contrada di San Mattio; Elena Sciarles, the woman burned in her house in the Chiovere di San Girolamo; Vittoria Basadonna, the noblewoman killed in the Gritti palace in San MattioMoisé; Giovan Battista Bombonati, the hairdresser from Vicenza who thought up the scam of the pot of spirits; Chiara Pentarina, the cook accused of having put poison in her master's broth in San Paterniano; the nameless drowned man fished out on the edge of the Ponte della Panada... are the protagonists of some crime stories that happened in Venice in the second half of the eighteenth century and of which we have news through the documents preserved in the State Archives.Davide Busato, deepening the development of these emblematic cases, reconstructs the working methods of the police who investigated at the time of the Serenissima and the Magistrates who coordinated the investigations, giving ample emphasis to the many curious little details of daily life of the time that emerged from the reading of the interrogations.
With the fall of the Serenissima (1797) and the French domination, later followed by the Austrian one, the most decadent period of its millenary history began for Venice: between the increasingly evident poverty and the upheaval of the sumptuous social customs that had characterised the city, even in the field of prostitution, the new oppressive climate was perceived with an increase in the rules of behaviour and health and hygiene controls, as well as the purely fiscal management of the wolves. Once the era of the cultured courtesans who had fascinated kings and travellers was over, that of the poor, maltreated and sometimes problematic women, often a step away from criminalisation or expulsion from the city, began. Elisabetta Tiveron, through the stripping of archive documentation, the analysis of the distribution of the houses of tolerance and the judicial events of some prostitutes, reconstructs a still little known area of 19th century Venetian history.
In the fifteenth century, Venice was the first Italian centre to produce and disseminate books printed using mobile printing presses throughout Europe, thanks to the resourcefulness of many printer-publishers - such as Giovanni da Spira and Aldo Manuzio - and the prudence of the Veneto Senate, which immediately realised the importance (also commercial) of this new means of disseminating ideas. The Serenissima also played an important role in forming a different way of understanding gastronomy through the publication of cookbooks - some of which were famous, such as those by Cristoforo Messisbugo, Bartolomeo Scappi, Platina and Panunto - which introduced chefs and lovers of good food to the elaborate dishes that were served at the sumptuous court banquets of the major Italian princes: unusual recipes, faithful to the taste of the time, such as salt cod with black butter, capon in French fracassea, dried merlucce and eel cake from Lent... but also practical advice on how to order the dishes with grace and perfection or how to chop the meat by playing acrobatic games to leave the diners amazed.
An essay that re-examines the figures of Francesco il Vecchio and Francesco Novello da Carrara, their vision, the adventure of an entire city in the light of an entirely new interpretative key. For the first time, fourteenth-century Padua is examined within the geostrategy of the time, weighing on the one hand the ambitions and on the other the forces available. The result is surprising, leading to a re-evaluation of the last two Lords of Carrara and their choices: bold, without doubt, but not at all utopian and in many ways inevitable.Intelligent and valiant on a personal level, cultured and cunning, of unquestionable courage even in the face of death, tragic with even epic traits for both, Francesco il Vecchio and Francesco Novello are here saved from the singular oblivion to which they have been condemned. Above all, they are given back the dimension of great statesmen as they were. They had bad luck but, perhaps, for this very reason they are even more worthy of remembrance and reflection.
"From Altino to Venice" wants to present the first phase of the history of the Serenissima through its crucial knots: the birth of the Doge's Palace, the rise of Rivoalto, the cult of St. Mark and the formation of the city, the invasion of the Hungarians, the policy of Doge Peter II Orseolo and the domination of the Adriatic, the first Crusade, the birth of the Great Council, the policy of Frederick Barbarossa and the Lombard League, the peace of 1177.Franco Bordin analyses - through narrative sources, documents (treaties, wills, decrees...) and historians' interpretations - the life of the city through the complex plot of historical events and its continuous development in the political, constitutional, economic, urban, religious and artistic fields. It is a fundamental work both for the passionate reader of History and for the scholar.
"Walks in Venice" is a detailed guide rich in historical-artistic information able to satisfy the needs of the most demanding traveller, but also the spontaneous curiosity of those who simply want to relax by immersing themselves in the particular iridescent atmospheres of light and water of this unique city.The twelve lagoon itineraries proposed by Ernesto Maria Sfriso - a writer with a long experience as a tourist guide in Venice - aim to accompany the visitor step by step in the discovery of the magnificent palaces, the splendid churches, the numerous civic or private museums and the historical monuments that follow one another along the calli and squares of each sestiere, dwelling punctually on the rich harvest of works of art that the Republic of Venice has been able to produce and welcome during its millenary history of political and commercial power.The routes also lead to the islands surrounding Venice - Murano, Burano, Torcello, the Lido, but also to the smaller convents and cultural centres - to then move inland through Mestre and on to visit the stately homes along the route to Treviso, the beautiful Venetian villas that are reflected in the waters of the Riviera del Brenta, and finally the airy streets of Chioggia.
Few people know it, but Italo Svevo lived for over fifteen years in Venice, at the Sacca Serenella on the island of Murano, commuting, a little anonymous and a little dark, between this strip of land surrounded by the lagoon and his native Trieste. His father-in-law Gioacchino Veneziani's father-in-law, Gioacchino Veneziani's father-in-law, had a heavy burden as director of the Murano branch of the large Trieste underwater paint factory, but duty came first.This long period is marked by hours and hours spent waiting for the chemical preparation to be melted in the furnaces; by his assiduous correspondence with his wife Livia, who remained in Trieste; by nights stolen from sleep to write or reflect; by shrill notes torn from a violin that seemed to mockingly parody the torment of his frustrated soul. Paolo Puppa reconstructs, starting from the original correspondence of the writer from Trieste, the stay of Ettore Schmitz-Italo Svevo in Murano, giving life to a real monologue of the soul.Svevo appears there in all his human weakness, torn between the anxiety to write and the duty to work, between the passionate love for his wife and living with an island that is not always a friend.Only the sunsets in the lagoon, the wandering through the calli, the Venetian festivals know how to make the sensitive eyes of the writer shine, recluse almost in a hermitage surrounded by water. "Svevo a Venezia" has a preface by Elvio Guagnini, director of the magazine of Swabian studies in Trieste and full professor of Italian literature at the University of Trieste. The full text will be recited by Mario Valgoi at the Conservatory of Trieste with the accompaniment of the pianist Carlo Carratelli.
"In America you lose sight of each other. In fact, you get lost everywhere and not only in sight. Especially us who move frequently between distant places on the planet. But the greater the distance, the more we continue to think of each other when we are alone in the evening.Every now and then we meet according to unexpected coincidences. Magical coincidences according to some, not according to us who consider them the most natural things in this world.That is, either everything is magic or nothing is. "What is the point of asking whether Astolfo is intelligent or not? Like all Astolfi in today's world it has nothing to do with the physima of intelligence, it is something else, it is something secret that emanates waves of its own. [...] Astolfo possesses magic, he has magic". Speaking of Astolfo, a journey around the active inertia, the ambiguous indolence, the guilty innocence of a humanity, sometimes provided with "flat affective encephalogram", depicted between the end of the second and the beginning of the third millennium in what we would biologically identify with the strength of its future: the unconscious and restless youth of its heirs.Astolfo, a child "of staggering beauty and full of vitamins & minerals", is the "Histrionic and brilliant" representative of him, a child "of staggering beauty and full of vitamins & minerals", who gathers in himself mystery and fascination, innocence and wickedness, a fundamental non-will and at the same time a mediocritas aura deprived of Horace's common sense.In the destiny of this child born in the mid-sixties, orphaned of a father, defined as a "swirling visionary" possessing magic - which, not by chance, bears the name of the noble paladin from Ariosto who flew to the moon to recover Orlando's lost wits - in the silhouette of this elusive and charismatic boy facing the door of a new era, glistens in various places a shadow of despair.The vain deeds are narrated by Hugo Alexander Blatt, a cosmopolitan scholar of Hapsburg origin, who feels and pursues Astolfo as a disturbing ghostly presence, an involuntary demiurge and defenceless victim, a permanent engine of actions and passions always evoked with vague detachment, with light and sometimes tragic irony.The universe in which Hugo Blatt and Astolfo move is a world without borders, ensnared by globalisation, without a geographical or cultural centre - "The centre doesn't hold and why should it hold, the centre? Indeed, why should there be a centre?" -, a boundless planet, after all extremely small, in which there is a frantic crowd of mothers, cousins, ex-husbands and lovers, bound by affectionate and at the same time detached relationships, who chaotically cross paths in the four corners of the continents.However, a geographical and emotional centre can be seen in the novel and it is Venice, "magnet city for the world", a natural convergence of latitudes and longitudes, a point of catalysation of movements and thoughts, the only place where some of the characters reach one of their rare certainties, that in this world "to express the truth at least about oneself" is "the only thing to do, to try". "I like to think that reading this novel will make one want to go back to Pier Maria Pasinetti's narrative path, to reopen his novels so unusual and precious, apparently arduous and difficult, in reality so rich in humour and life, so carefree, painful and profound. Because, as with Astolfo's A proposito di Astolfo, behind the ostentation of his own artifice, the relationship between verisimilitude, fiction and reality appears clear and well governed and the adventure of the narrator-girl of words and destinies immediately becomes the adventure of his reader".From the preface by Silvana Tamiozzo Goldmann
After the two tragedies avoided in summer 2019, the theme of the cruises ships in the lagoon has returned to international prominence. For too many years Venice has been waiting in vain for the solution to what is only one of the serious problems that afflict the city (tens of millions of tourists who besiege it every year, thousands of apartments Airbnb and the consequent hemorrhage of residents, the scandal of the Mose, the most useless and expensive public work in Europe) and the solution can only be one: out the ships from the lagoon. This long story, that in France has been defined a récit, tries to give voice to those who live in Venice and is forced to suffer the sieges of mass tourism. In an alternation between the lagoon and Saint Nazaire, where most of the cruise ships are built, the narrator and his companion do the accounts with the consequences of these epochal anomalies. They are looking, like other Venetians, for a possible key to resistance in a city where obstacles are increasing day by day, in the face of the indifference of institutions often hindering themselves. Venice, which has become the crossroads and the emblem of an era finally forced to come to terms with a nature that is showing us the bill, that tells us to hurry, that time is up. A book that tries with the word to find an alternative route, a possible and necessary reversal of course to save the most beautiful and fragile city in the world, and with it the entire planet. The series: Taccuini d'Autore collects books on the road. Texts that travel around the world, crossing the frontiers of writing, crossing this abstruse era looking for traces of meaning, meeting stories, landscapes, characters. Books that accompany us in our daily lives and in ours elsewhere.
Prefazione di Francesco D'Agostino In nome di un falso progresso e di una falsa libertà, si registra un profondo cambiamento di mentalità e di comportamenti in riferimento alle principali questioni che scottano: persona, amore, famiglia e vita. Tali cambiamenti, sostenuti da interessi economici e ideologici, sono orientati ad oscurare la verità sulla Creazione dell’uomo. Ciò comporta, di conseguenza, un attacco anche ai fondamentali diritti umani, diritti che nessuna maggioranza può attribuire ma solo riconoscere e tutelare. Il volume, che alla luce della ragione e della fede offre spunti di riflessione per avviare il confronto sui valori in gioco nelle attuali questioni bioetiche, è rivolto a tutti, in particolare a chi è impegnato nell’emergenza educativa. Rappresenta un agile manuale che, in forma dialogica, tocca l’abc di alcuni valori non negoziabili per promuovere un coraggioso Sì all’amore e alla vita. Per il bene della persona, della famiglia e della società.
L'idea di raccogliere gli scritti del Vescovo Padre Massimo Giustetti si è delineata già a pochi giorni dalla sua morte. Non avere più a disposizione quotidianamente la sua persona, la sua parola, la sua vita evangelica ha immediatamente rimandato a quel ricco patrimonio di scritti che il Vescovo Massimo ha lasciato. Ci si è accorti che era necessario riprendere e fare memoria di quelle parole che hanno dato un orientamento alla vita pastorale e che, per molti, hanno segnato un percorso profondo nel proprio cammino di fede. Il Vescovo Massimo ha sempre avuto ben presente il _triplex munus_ del Vescovo, interpretando in chiave impegnativa per la sua vita quotidiana il dovere di _santificare_ , di _insegnare_ , di _governare_. Il presente volume è dedicato al _munus_ _episcopalis_ dell'insegnamento; tuttavia è chiaro che i tre doni non si esprimono a compartimenti stagni, ma sono un tutt’uno nella vita di un Pastore, che governando insegna, insegnando santifica e si santifica... Ciò risulta ben chiaro da questa raccolta di _scritti_ _pastorali_ , suddivisi, secondo un ordine cronologico, in base alla diocesi a cui sono stati rivolti: nell’ordine, quindi, Pinerolo, Mondovì e Biella. Anche attraverso questa scelta si vuole rendere omaggio all’altissimo senso della Chiesa Locale, della sua dignità, del suo personale volto da salvaguardare in quanto nucleo fondamentale in cui si manifesta l’unica Chiesa di Cristo, convinzione che ha sempre animato lo stile di governo del Vescovo Massimo Giustetti.
A vent'anni dalla celebrazione liturgica al Colosseo della «Passione di Cristo» di Mario Luzi (1999-2019), l'Associazione Centro Culturale Cassiodoro ripropone il testo poetico dello scrittore, illustrato dal maestro Alberto Schiavi. È un omaggio a questi due grandissimi artisti italiani e anche un invito a meditare e rivivere il martirio del Figlio di Dio, che prima di riconfermarsi nella gloria ha voluto scendere (per il nostro riscatto) nell'abisso del dolore sfidando e vincendo la morte.
