Podcasts about farinata

Giuseppe Patota"A tu per tu con la Commedia"Editori Laterzawww.laterza.itChi ha detto che leggere la Divina Commedia sia un'impresa per pochi? Èvero che leggerla è arduo per la lingua in cui è scritta e l'enorme varietà di temi trattati, ma è un'avventura straordinaria. Giuseppe Patota, che ha dedicato parte dei suoi studi alla lingua di Dante, ha trovato il modo di rendere accessibile quest'opera magnifica e complessa perché possa essere capita e apprezzata anche da chi non la conosce, da chi la conosce poco e da chi l'ha conosciuta, ma non se la ricorda.«Capire la Divina Commediaè difficile. Della lingua in cui la scrisse, diventata la nostra soprattutto grazie a lui, Dante sperimentò tutte le possibilità espressive, comprese quelle che sembrano andare al di là dell'umano, sia verso il basso sia verso l'alto, e non è facile seguirlo in questo vertiginoso saliscendi.Poi ci sono i contenuti. Teologia e interpretazione dei testi sacri, filosofia, logica, morale, politica, diritto, letteratura e storia antica, scienza dei numeri e delle misure, musica, ottica, medicina, arte della guerra e della navigazione: non c'è aspetto della cultura antica e medievale di cui Dante non abbia appropriatamente detto qualcosa, nel suo enciclopedico poema.Infine, ci sono i personaggi che popolano l'oltremondo che il Poeta ha costruito. Tralasciando quelli appartenenti al mito o alla storia, e limitandoci a quelli che hanno popolato la cronaca dei tempi di Dante e di quelli di poco precedenti, l'unico motivo per cui continuiamo ad avere memoria dei nomi di Ciacco, Francesca da Rimini, Farinata degli Uberti o Ugolino della Gherardesca è dato dal fatto che i versi scritti da Dante li hanno resi figure immortali: se quei versi non fossero stati scritti, i loro nomi sonnecchierebbero in qualche documento d'archivio o in qualche cronaca medievale.Sì: capire la Commedia è veramente difficile. Per questo ho scelto i versi più significativi, curiosi o sorprendenti dei cento canti di cui si compone e li ho distribuiti in 114 presentazioni (per qualche canto ho avuto bisogno di qualche presentazione in più). Ho cercato di spiegare quei versi parola per parola, senza dare niente per scontato, collegando i fatti con gli antefatti.In questo modo, leggendoli canto dopo canto, farete lo stesso viaggio che ha fatto Dante: questo, almeno, è quello che spero.»Giuseppe Patota, professore ordinario di Linguistica italiana nell'Università di Siena, è socio corrispondente dell'Accademia Nazionale dei Lincei, Accademico della Crusca e dell'Arcadia, membro del direttivo della Fondazione “I Lincei per la scuola” e del comitato scientifico della Fondazione Natalino Sapegno. Ha al suo attivo circa centottanta pubblicazioni scientifiche, didattiche o divulgative dedicate alla lingua italiana, alla sua storia e al suo insegnamento. Alcuni suoi lavori sono stati tradotti e pubblicati in Francia e in Giappone. È condirettore, con Valeria Della Valle, delDizionario dell'italiano Treccanie direttore del Thesaurus Treccani, usciti in prima edizione nel 2018 e in seconda edizione nel 2022. Da oltre quindici anni è consulente di Rai Scuola per la realizzazione di programmi destinati all'insegnamento dell'italiano a stranieri. Per Laterza ha pubblicato Prontuario di grammatica. L'italiano dalla A alla Z (2013), La grande bellezza dell'italiano. Dante, Petrarca, Boccaccio (2015) e La grande bellezza dell'italiano. Il Rinascimento (2019).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Inferno della Divina commedia di Dante: la descrizione dei personaggi principali che il poeta incontra nel primo regno dell'oltretomba.

Oggi inauguro una rubrica domenicale, per raccontarvi le pietanze vegan che cucino a casa, così poi potrete invitarmi tranquillamente a colazione, pranzo o cena.FARINATA / FARIFRITTATA100gr farina di ceci300 gr AcquaSale QBOlio E.V.O. QBRosmarino a piacereCuocere per 30 minuti a 220°*****************Un podcast quotidiano su società, culture, filosofie, digital marketing, tecnologie e spiritualità.Ideato e condotto da Fabio Mattis alias lo Sciamano Digitale———————-☑️ Entra nel canale Telegram https://t.me/wearethenet

Bienvenidos a otro podcast de "Aventura Sonora" aquí en TERRAESCRIBIENTE. En esta ocasión vamos a escuchar "EL INFIERNO DE DANTE" Episodio Dorado de Terraescribiente. Regresando de la Tercera Cruzada, Dante descubre una escena devastadora en su hogar: sus sirvientes asesinados, su padre muerto y su amada Beatrice agonizando. Lucifer se lleva a Beatrice al Infierno, y Dante, consumido por la furia, lo persigue, guiado por el poeta Virgilio. En el Limbo, Dante descubre que Beatrice perdió a su hijo no nacido. Enfrenta a demonios en el primer círculo y derrota al guardián Caronte. En la Lujuria, su infidelidad pasada provoca que Beatrice pierda la fe. En la Gula, Dante destruye al monstruoso Cerbero desde dentro. En la Avaricia, enfrenta a su padre codicioso y lo arroja a una tina de oro hirviente. En la Ira, se encuentra con Filippo Argenti y presencia a Lucifer en Dis, proclamando su intención de casarse con Beatrice. En el círculo de los Herejes, Dante derrota a su rival Farinata. En el Bosque de los Suicidas, libera el alma de su madre. Finalmente, en la Fraude, Beatrice, transformada en un demonio, ataca a Dante. Devastado, confiesa su pecado más oscuro: permitir que el hermano de Beatrice asumiera la culpa de sus crímenes. Beatrice lo perdona, y Dante, suplicando perdón divino, desata un rayo de luz que congela a Lucifer. En la escena final, Dante se lanza al abismo hacia el Purgatorio para reunirse con Beatrice. Se arranca el tapiz, que se transforma en una serpiente hebrea, mientras Lucifer ríe, insinuando su futura venganza. Por favor sigue las redes y grupos: Canal de Whatsapp: https://whatsapp.com/channel/0029VaCcO2s1NCrQqLpfFR3u Twitter: https://twitter.com/TerraEscriba Telegram: https://t.me/+62_TRJVg-3cxNDZh Instagram: www.instagram.com/terraescribiente/ Tik tok: www.tiktok.com/@terraescribiente Youtube: www.youtube.com/@Terraescribiente También subscríbete a TERRAESCRIBIENTE en IVOOX, ITUNES Y SPOTIFY! Dale me gusta a cada Podcast y coméntalos! Ayuda mucho! Gracias!

This is program 432 of the independent artist show. Where's program 431? That's the program we did last Monday which will be released later on as part of a more lengthy show to be played later this year. I'll probably release that one later in the year. On this one, Gospel music to start us off. We'll play other stuff too. Set 1: Elizabeth King Soul Provider 03:39 Elizabeth King Be So Glad 03:57 Elizabeth King Anything That I Could Ever Want 03:18 Elizabeth King I Couldn't Hear Nobody Pray 02:53 Set 2: Acappella Desiring God 03:54 Acappella Walls Came Down 04:12 Acappella Wanna Be Like You 03:35 Acappella Heaven and Earth 04:43 Set 3: Keith Lancaster The Prize 02:48 Keith Lancaster Pleasing Him 04:27 Keith Lancaster Simple Reason 01:04 Set 4: Weyes Blood A Lot's Gonna Change 04:14 Weyes Blood Andromeda 04:31 Weyes Blood Movies 05:52 Weyes Blood Nearer to Thee 00:53 Set 5: Borders Edge Music Terra (Kuutana) 03:49 Borders Edge Music A Beautiful Day on New Earth (Kuutana) 04:32 Borders Edge Music Equinox (Kuutana) 03:38 Borders Edge Music Blue Forest (Kuutana) 04:29 Set 6: Gypsy Witch I Run O'er Misty Mountains 07:17 Gypsy Witch And Creep Where Wild Things Go 08:38 Gypsy Witch I Find My World In You 00:40 Set 7: Scott Lawlor for the heavens will vanish like smoke 09:15 Scott Lawlor they that watch for the morning 14:47 Set 8: Scott Lawlor & Jack Hertz Entering the Vestibule (Lasciate ogne speranza, voi ch'intrate) 06:33 Scott Lawlor & Jack Hertz 3rd Circle - Gluttony (Ciacco battered by rain) 07:21 Scott Lawlor & Jack Hertz 6th Circle - Heresy (the firy entombment of Farinata degli Uberti) 06:34 Scott Lawlor & Jack Hertz 9th Circle - Treachery (lucifer bound by eternal ice) 06:52 This is going to complete today's program. I hope that everyone enjoyed the wide variety of tunes and we'll be back on another edition of the show later on. Thanks so much for listening!

Divina comedia Libro de Dante Alighieri CANTO DECIMO MI maestro avanzó por un estrecho sendero, entre los muros de la ciudad y las tumbas de los condenados, y yo seguí tras él. —¡Oh suma virtud—exclamé—que me conduces a tu placer por los círculos impíos! Háblame y satisface mis deseos. ¿Podré ver la gente que yace en esos sepulcros? Todas las losas están levantadas, y no hay nadie que vigile. Respondióme: —Todos quedarán cerrados, cuando hayan vuelto de Josafat las almas con los cuerpos que han dejado allá arriba. Epicuro y todos sus sectarios, que pretenden que el alma muere con el cuerpo, tienen su cementerio hacia esta parte. Así, que pronto contestarán aquí dentro a la pregunta que me haces, y al deseo que me ocultas. Yo le repliqué: —Buen Guía, si acaso te oculto mi corazón, es por hablar poco, a lo cual no es la primera vez que me has predispuesto con tus advertencias. —¡Oh Toscano, que vas por la ciudad del fuego hablando modestamente!, dígnate detenerte en este sitio. Tu modo de hablar revela claramente el noble país al que quizá fuí yo funesto. Tales palabras salieron súbitamente de una de aquellas arcas, haciendo que me aproximara con temor a mi Guía. Este me dijo: —Vuélvete: ¿qué haces? Mira a Farinata, que se ha levantado en su tumba, y a quien puedes contemplar desde la cintura a la cabeza. Yo tenía ya mis miradas fijas en las suyas: él erguía su pecho y su cabeza en ademán de despreciar al Infierno. Entonces mi Guía, con mano animosa y pronta, me impelió hacia él a través de los sepulcros, diciéndome: "Háblale con claridad." En cuanto estuve al pie de su tumba, examinóme un momento; y después, con acento un tanto desdeñoso, me preguntó: —¿Quiénes fueron tus antepasados? Yo, que deseaba obedecer, no le oculté nada, sino que se lo descubrí todo; por lo cual arqueó un poco las cejas, y dijo: —Fueron terribles contrarios míos, de mis parientes y de mi partido; por eso los desterré dos veces. —Si estuvieron desterrados—le contesté—, volvieron de todas partes una y otra vez, arte que los vuestros no han aprendido. Entonces, al lado de aquél, apareció a mi vista una sombra, que sólo descubría hasta la barba, lo que me hace creer que estaba de rodillas. Miró en torno mío, como deseando ver si estaba alguien conmigo; y apenas se desvanecieron sus sospechas, me dijo llorando: —Si la fuerza de tu genio es la que te ha abierto esta obscura prisión, ¿dónde está mi hijo y por qué no se encuentra a tu lado? Respondíle: —No he venido por mí mismo: el que me espera allí me guía por estos lugares: quizá vuestro Guido "tuvo" hacia él demasiado desdén.

Gibt es eigentlich die italienische Küche? Jein. Pasta, Pizza und Risotto werden im ganzen Land gegessen, alles weitere ist je nach Region verschieden. Wir schauen mal wieder nach Ligurien, wo das Essen mild schmeckt und das Basilikum duftet. Moderation: Carolin Courts und Genussexperte Helmut Gote Von WDR 5.

Left alone with his small petulant daughter, Stefano finds himself falling for Barbara, who owns the bottega next door to his farinata place on the Italian Riviera. But a visit to the mountains on his day off sets things right.Follow us at www.gattafilms.com.B is for Bisexual - short stories by Laura P. Valtorta

When deciding about childcare, and whether aunts and their girlfriends are the best teachers, Stefano and Renata consult a coven of witches, at the insistence of aunt Elena. Is the coven prejudiced in favor of the strong female babysitters?B is for Bisexual - short stories by Laura P. Valtorta

In the last episode of this podcast, we've looked at Count Ugolino's speech as a narrative arc, taking apart and looking at the ways both the poet Dante has changed the historical record and the details that may be too removed by time for us to see clearly. Join me, Mark Scarbrough, as we now situate the last great sinner of hell, Count Ugolino, inside the larger framework of Dante's INFERNO. Ugolino gets the longest speech in INFERNO. What's it doing here? How does it echo other parts of INFERNO? How does it sum up INFERNO? Giant questions with attempted answers--as always on this podcast. Here are the segments of this episode: [01:42] Once again, my English translation of this passage: INFERNO, Canto XXXIII, lines 1 - 78. If you'd like to read along, print it off, or drop a comment, please go to my website, markscarbrough.com. [06:52] Here's a list of the seven great sinners of INFERNO: Francesca da Rimini, Farinata degli Uberti, Pier della Vigne, Brunetto Latini, Ulysses, Guido da Montefeltro, and Count Ugolino. [13:04] The great sinners convey dramatic stories, provoke profound ambivalences, and offer a deeper understanding of the human condition. [19:16] Count Ugolino and Archbishop Ruggieri as one of the three great pairs in INFERNO. [20:23] Echoes between Francesca da Rimini and Count Ugolino: the beginnings and endings of INFERNO. [23:15] Echoes among Francesca, Ugolino, and Aeneas: heroism or irony? [26:15] Echoes between Ciacco the glutton and Ugolino: the insanity of the damned, the trustworthiness of the damned. [29:40] Echoes between Filippo Argenti and Ugolino: the uses of rage. [30:56] Echoes between Farinata and Ugolino: the possibilities of peace. [34:54] Echoes between Cavalcante and Ugolino: where is my son? [36:31] The schismatics and Ugolino: the body in pain, the body in political strife. [38:46] Four possible reasons for Ugolino's placement in INFERNO: 1) as a test for the reader, 2) as a tragic figure of fallen humanity, 3) as a ravenous wolf who blocks the way (as in Canto 1), and 4) as a repeated strategy of moving from narrative clarity to interpretive murk.

While our region hosts a veritable treasure trove of art masterpieces and stunning vistas, a big chunk of its popularity abroad is linked to stuff you can eat and drink only in this neck of the woods. While it is true that to fully appreciate the amazing products of this land you would need to take things slowly, life doesn't always cooperate. What happens if you don't physically have enough time to fix a proper meal for yourself and your family? Are you doomed to yet another visit to an unhealthy foreign fast food? Don't you worry, my dear listener: Tuscany has plenty of ways to grab a bite on the go without breaking the bank. Few are as tasty, healthy and inexpensive as the street food that has conquered the hearts of many Tuscans for a few centuries. This very simple recipe was born completely by chance, some say after one of the most important events of the history of this land and hasn't looked back ever since. As we're a litigious bunch, Pisa and Leghorn keep on squabbling about who has the best recipe but it doesn't really matter much. If you know where to look, there are plenty of places where you can get this flat cake that, while exceedingly simple, is also very hard to master. That's why this week What's Up Tuscany will bring you to the Tyrrhenian coast to tell you the tale of the "cecina", the street food that has been popular under the Leaning Tower for at least seven centuries. Follow us in our journey into the fascinating story of this traditional comfort food, as we'll also tell you the original recipe that could allow you to bake a perfectly reasonable cake in your very own kitchen. We will find out if the variant served in Leghorn is better than the one in Pisa and if the sancta sanctorum of the "torta" is better than the traditional king of the "cecina", the famous Montino pizzeria. Word to the wise: lock your fridge when you listen to this episode - you might get very hungry. Let us know if you like this kind of episode or not. We would be very glad to have a chat.Email: podcast@larno.itFacebook: https://www.facebook.com/larno.itTwitter: @arno_it / @WhatsupTuscanyLINKS TO SOURCES (ITALIAN ONLY)https://ekiros.com/cecina/https://www.gazzettadelgusto.it/prodotti/farinata-di-ceci-origini-e-storia/https://www.cosmopolitan.com/it/lifestyle/cucina-ricette/a39956147/la-cecina-e-il-piatto-perfetto-per-aperitivi-sfiziosi-ecco-la-ricetta/http://www.italianoegenuino.it/pisa-toscana-la-cecina/https://theblackfig.com/2016/01/la-cecina-street-food-toscano-e-tradizione-culinaria.htmlhttps://it.wikipedia.org/wiki/Farinata_di_cecihttps://www.tuscanypeople.com/5-e-5-antica-torteria-gagarin/https://melamario.wordpress.com/2010/05/06/5-e-5-una-specialita-livornese/BACKGROUND MUSICPipe Choir - Bom Bom Breakthrough (Instrumental)Pipe Choir - The Opening Closing (Instrumental)Wayne John Bradley - Pick You Up (Instrumental)Pipe Choir - Coffee and Time (Instrumental)Wayne John Bradley - Blues Rock Original InstrumentalAll released under Creative Commons Attribution 4.0 International Licensehttps://soundcloud.com/pipe-choir-2/pipe-choir-bom-bom-breakthrough-creative-commons-instrumentalhttps://soundcloud.com/pipe-choir-2/p-c-iii-the-opening-closinginstrumentalcreative-commonshttps://soundcloud.com/ayneohnradley/pick-you-up-slow-poprock-style-instrumental-creative-commonshttps://soundcloud.com/pipe-choir-2/p-c-iii-coffee-and-time-creative-commons-instrumentalhttps://soundcloud.com/ayneohnradley/blues-rock-original-instrumentalcreative-commonshttp://www.pipechoir.com/

Se è vero che la Toscana ha un patrimonio enorme di tesori artistici e paesaggi da sogno, buona parte della popolarità di questa terra all'estero è dovuta a cose che si possono bere e mangiare solo dalle nostre parti. Si sa che il modo migliore di apprezzare gli incredibili prodotti di questa terra è di prendersela comoda, dedicandogli il tempo che meritano. Peccato però che la vita spesso decida di fare di testa propria. Cosa succede quando non hai tempo di prepararti un pasto come si deve e ti devi ritagliare una pausa pranzo in un pomeriggio complicato? Sei per forza costretto ad ingurgitare qualcosa in fretta o (orrore degli orrori) fare un salto al fast food? Per fortuna in Toscana non mancano opzioni più che valide per mangiare qualcosa al volo senza chiedere un mutuo. Pochi di questi street food sono tanto gustosi, economici e persino buoni per la salute del panino che ha conquistato il cuore di tanti toscani da almeno sette secoli. Questa ricetta semplicissima, fatta di tre soli ingredienti, sarebbe nata per caso dopo uno dei momenti chiave della storia di questa terra e non ha fatto che diventare più popolare da allora. Visto che se non litighiamo non siamo contenti, Pisa e Livorno si sono messe a discutere su chi abbia il panino migliore ma questa ennesima rissa tra vicini non è molto importante. Se sai dove andare, ci sono parecchi posti dove gustare questa antica specialità tanto semplice quanto difficile da fare come si deve. Ecco perché questa settimana What's Up Tuscany vi porterà sulla costa toscana per raccontarvi la storia della cecina, lo street food che ha sfamato la città della Torre Pendente dal Medioevo. Se ascolterete l'episodio intero scoprirete la storia di questo "comfort food" e la ricetta originale che vi permetterà di cuocere una bella cecina nella vostra cucina. Cercheremo di capire anche se il famoso "5 e 5" livornese sia meglio della cecina pisana e se il sancta sanctorum della "torta" sia superiore al Montino, cuore pulsante dell'amore dei pisani per il loro panino dorato. Occhio, però: mettete il lucchetto al frigo. Se ascoltate questa puntata vi verrà sicuramente una gran fame. Fateci sapere cosa ne pensate ai link qui sotto. Saremmo davvero felici di fare due chiacchiere :-)Email: podcast@larno.itFacebook: https://www.facebook.com/larno.itTwitter: @arno_it / @WhatsupTuscanyI LINK ALLE FONTIhttps://ekiros.com/cecina/https://www.gazzettadelgusto.it/prodotti/farinata-di-ceci-origini-e-storia/https://www.cosmopolitan.com/it/lifestyle/cucina-ricette/a39956147/la-cecina-e-il-piatto-perfetto-per-aperitivi-sfiziosi-ecco-la-ricetta/http://www.italianoegenuino.it/pisa-toscana-la-cecina/https://theblackfig.com/2016/01/la-cecina-street-food-toscano-e-tradizione-culinaria.htmlhttps://it.wikipedia.org/wiki/Farinata_di_cecihttps://www.tuscanypeople.com/5-e-5-antica-torteria-gagarin/https://melamario.wordpress.com/2010/05/06/5-e-5-una-specialita-livornese/BACKGROUND MUSICPipe Choir - Bom Bom Breakthrough (Instrumental)Pipe Choir - The Opening Closing (Instrumental)Wayne John Bradley - Pick You Up (Instrumental)Pipe Choir - Coffee and Time (Instrumental)Wayne John Bradley - Blues Rock Original InstrumentalAll released under Creative Commons Attribution 4.0 International Licensehttps://soundcloud.com/pipe-choir-2/pipe-choir-bom-bom-breakthrough-creative-commons-instrumentalhttps://soundcloud.com/pipe-choir-2/p-c-iii-the-opening-closinginstrumentalcreative-commonshttps://soundcloud.com/ayneohnradley/pick-you-up-slow-poprock-style-instrumental-creative-commonshttps://soundcloud.com/pipe-choir-2/p-c-iii-coffee-and-time-creative-commons-instrumentalhttps://soundcloud.com/ayneohnradley/blues-rock-original-instrumentalcreative-commonshttp://www.pipechoir.com/

Dante l'inferno nella divina commedia: Canto decimo 10 - Farinata degli Uberti, Cavalcante dei Cavalcanti.Il nostro Dante fa una brutta figura con Cavalcante e si becca una brutta profezia di esilio da Farinata.se hai voglia di farti quattro risate con amici, parlare di attualità, ascoltare cicli interessanti, farci domande e passare un po di tempo in modo spensierato seguici. siamo anche su podcastseguici su www.ioluielaltro.it telegram https://t.me/ioluielaltrofacebook https://www.facebook.com/paginaioluielaltro#ioluielaltro #umorismo #risate

First, leprosy. Then rabies. And now dropsy. The medieval hospital of horrors just gets worse in the tenth of the evil pouches (the "malebolge") of fraud. Join me, Mark Scarbrough, as we meet one of the great sinners of hell--who is actually something of an undiscovered character. Poor Master Adam. He doesn't get the love that Francesca, Farinata, and Ulysses get. But the counterfeiter Master Adam may be just as important, given the sheer amount of space Dante gives him in INFERNO. Here are the segments of this episode of the podcast WALKING WITH DANTE: [02:21] My English translation of the passage: INFERNO, Canto XXX, lines 46 - 90. If you'd like to read along or drop a comment about this episode, please go to my website, markscarbrough.com. [06:33] The theological problem of "bad-born" people. [10:24] A man who looks like a lute, a very high-class instrument. [12:18] Falsifiers with various diseases and medieval notions of dropsy. [14:52] Master Adam, the sarcastic narcissist. [17:41] Home, sweet home--that is, Master Adam's contrapasso. [22:25] Only three lines on his sin--but more about water in this very watery canto. [25:29] Master Adam: the biggest source of hatred so far in INFERNO and a direct threat to the new economic order. [34:14] Master Adam versus Adam in the Garden of Eden (and the new Adam, Jesus). [36:23] References to Adam at the bottom of hell. [37:17] An obscure reference to Virgil's Eclogues (and by the way, where is Virgil in all this?) [40:23] Speculations about Master Adam's large space in INFERNO. 1) Master Adam: the bottom of the universe. [41:27] 2) Master Adam: the sum of the problems of the damned. [42:44] 3) Master Adam: the new Adam, not like Jesus, but a guy from the coming, modern world.

Welcome to broadcast 341. Tunes today and less talk. Set 1: Panacea Dragaicuta 03:54 Peggy Duquesnel Trottin' 04:01 Phil Rey Sky Invader 03:02 prettyhowtown my home is not my home 04:38 Putinki Church Choir O Victorious Leader 01:15 Aphex Twin Carn Marth 02:33 Set 2: Six13 Shema 05:16 Roger Jaeger Rescue 03:11 Philip Wesley Wishing for Home 04:08 Maccabeats Go the Distance 04:04 Kate Ryan Can You Fix This 03:58 Heather Hutchison All Your Lies 02:05 FC Kahuna Hayling 06:46 Emancipator Anthem 05:20 Set 3: Scott Orr 73 02:33 Scott Orr You'll Never Get To Heaven With That Attitude 03:28 Ian Boddy Glade 09:18 Incierto Orkestra Reversibilite 04:10 Jessica Sinclair Autumn 05:34 Joshuah de Jesus & Buena Vibra Sextet Guaguanco Para Tite 05:32 Scott Orr You'll Never Get To Heaven With That Attitude (Reprise) 04:23 Set 4: Scott Lawlor a day's journey into the wilderness 20:04 Scott Lawlor & Jack Hertz 6th Circle - Heresy (the firy entombment of Farinata degli Uberti) 06:34 The Gateless Gate/Scott Lawlor The Deep Ones Call 19:36 Jack Hertz Entering Orbit 05:27 Later Days, R Duck & Jack Hertz Mendel 12:46 End of program

Dopo il viaggio sulla Riviera di Ponente, lo chef Oldani e Pierluigi Pardo decidono di fare un salto anche sulla Riviera di Levante. Prima di iniziare, viene a trovarci Marco Frittella, direttore editoriale di Rai Libri e attento conoscitore delle bellezze d'Italia e di realtà agricole sostenibili. Il nostro viaggio sulla Riviera di Levante parte da un grande classico di questa parte di Liguria. Siamo a Recco e la specialità di cui parliamo non ha bisogno di troppe presentazioni: il direttore del Consorzio Lucio Bernini ci offre una bella scorpacciata di Focaccia di Recco. Da Recco, prendiamo la A12 Autostrada Azzurra, oppure la più panoramica e tortuosa SS1 per arrivare a Lavagna dove, a due passi dal mare, incontriamo Ivan Maniago, giovane chef del ristorante"Impronta d'acqua". Uno spumante può affinare in fondo a un lago? Certo che sì! È l'esperimento diventato realtà del visionario vignaiolo Alex Belingheri che sta per recuperare il suo Nautilus CruStorico dell'Agricola Vallecamonica dalle profondità del Lago d'Iseo, dopo 48 mesi. Concludiamo il nostro viaggio in Riviera Ligure spostandoci da Lavagna verso La Spezia sempre attraverso la A12 Autostrada Azzurra perché lì ci aspettano i ragazzi dell' Istituto Alberghiero "G.Casini" diretto dalla preside Margherita Gesu per la loro ricetta della Farinata.

Capolavoro fondante della letteratura mondiale, la "Commedia" è opera di inesauribile potenza fantastica. La descrizione dantesca dell'Inferno ha forgiato il nostro immaginario: quella cavità buia, in cui ristagna un'aria fosca attraversata da lamenti è, per i lettori di oggi come per quelli di oltre sette secoli fa, il luogo elettivo del male.Mentre scendono da un girone al successivo Dante e Virgilio si imbattono in una galleria di personaggi capaci di imprimersi a fuoco nella memoria: la passionale Francesca da Rimini, l'orgogliosa eresia di Farinata degli Uberti, la curiosità insaziabile di Ulisse, il conte Ugolino e la sua atroce storia. Canto dopo canto, il viaggio del pellegrino Dante verso la salvazione ci conduce nel centro congelato della terra, all'origine del male, per uscire infine a riveder le stelle. 

Capolavoro fondante della letteratura mondiale, la "Commedia" è opera di inesauribile potenza fantastica. La descrizione dantesca dell'Inferno ha forgiato il nostro immaginario: quella cavità buia, in cui ristagna un'aria fosca attraversata da lamenti è, per i lettori di oggi come per quelli di oltre sette secoli fa, il luogo elettivo del male.Mentre scendono da un girone al successivo Dante e Virgilio si imbattono in una galleria di personaggi capaci di imprimersi a fuoco nella memoria: la passionale Francesca da Rimini, l'orgogliosa eresia di Farinata degli Uberti, la curiosità insaziabile di Ulisse, il conte Ugolino e la sua atroce storia. Canto dopo canto, il viaggio del pellegrino Dante verso la salvazione ci conduce nel centro congelato della terra, all'origine del male, per uscire infine a riveder le stelle. 

Capolavoro fondante della letteratura mondiale, la "Commedia" è opera di inesauribile potenza fantastica. La descrizione dantesca dell'Inferno ha forgiato il nostro immaginario: quella cavità buia, in cui ristagna un'aria fosca attraversata da lamenti è, per i lettori di oggi come per quelli di oltre sette secoli fa, il luogo elettivo del male.Mentre scendono da un girone al successivo Dante e Virgilio si imbattono in una galleria di personaggi capaci di imprimersi a fuoco nella memoria: la passionale Francesca da Rimini, l'orgogliosa eresia di Farinata degli Uberti, la curiosità insaziabile di Ulisse, il conte Ugolino e la sua atroce storia. Canto dopo canto, il viaggio del pellegrino Dante verso la salvazione ci conduce nel centro congelato della terra, all'origine del male, per uscire infine a riveder le stelle. 

Capolavoro fondante della letteratura mondiale, la "Commedia" è opera di inesauribile potenza fantastica. La descrizione dantesca dell'Inferno ha forgiato il nostro immaginario: quella cavità buia, in cui ristagna un'aria fosca attraversata da lamenti è, per i lettori di oggi come per quelli di oltre sette secoli fa, il luogo elettivo del male.Mentre scendono da un girone al successivo Dante e Virgilio si imbattono in una galleria di personaggi capaci di imprimersi a fuoco nella memoria: la passionale Francesca da Rimini, l'orgogliosa eresia di Farinata degli Uberti, la curiosità insaziabile di Ulisse, il conte Ugolino e la sua atroce storia. Canto dopo canto, il viaggio del pellegrino Dante verso la salvazione ci conduce nel centro congelato della terra, all'origine del male, per uscire infine a riveder le stelle. 

Capolavoro fondante della letteratura mondiale, la "Commedia" è opera di inesauribile potenza fantastica. La descrizione dantesca dell'Inferno ha forgiato il nostro immaginario: quella cavità buia, in cui ristagna un'aria fosca attraversata da lamenti è, per i lettori di oggi come per quelli di oltre sette secoli fa, il luogo elettivo del male.Mentre scendono da un girone al successivo Dante e Virgilio si imbattono in una galleria di personaggi capaci di imprimersi a fuoco nella memoria: la passionale Francesca da Rimini, l'orgogliosa eresia di Farinata degli Uberti, la curiosità insaziabile di Ulisse, il conte Ugolino e la sua atroce storia. Canto dopo canto, il viaggio del pellegrino Dante verso la salvazione ci conduce nel centro congelato della terra, all'origine del male, per uscire infine a riveder le stelle. 

We have watched a sinner burn up from a snakebite and reconstitute right in front of the pilgrim Dante's eyes. But who is this damned guy? The answer to that question is as complicated as it gets. Join me, Mark Scarbrough, as we explore the revelation of the sinner (Vanni Fucci), the problems with the historical record, and his sin (theft, although maybe not). Vanni Fucci comes shrouded in historical ambiguities. And he comes into INFERNO comes hauling behind him a giant prophecy about Dante's fate in exile. Here are the segments of this episode of the podcast WALKING WITH DANTE: [01:30] My English translation of the passage: Inferno, Canto XXIV, lines 121 - 151. If you'd like to read along, you can find this passage on my website, markscarbrough.com. [04:28] The revelation of who this is: Vanni Fucci. [09:40] What does Dante the pilgrim want to know? And did Dante the poet actually know Vanni Fucci? [14:09] The first part of Vanni Fucci's reply: shame. [17:31] The second part of Vanni Fucci's reply: the confession of his crime. [24:13] The third part of Vanni Fucci's reply: the (ostensible) "prophecy" of the Black/White Guelph war in Tuscany that will lead to the poet's exile. [28:15] Three points about this prophecy: its metamorphoses and metaphorics. [31:21] One final point about Fucci's prophecy: it's the last of four such prophecies given to Dante the pilgrim in INFERNO (Ciacco's in Canto VI, Farinata's in Canto X, Brunetto Latini's in Canto XV, and Fucci's here). [33:51] The final revelation of Fucci's motives: to make the pilgrim suffer. Nobody gets out of hell unscathed.

La ricetta della "Farinata di ceci" di Giorgio Zerio di Pordenone:

In this episode, Dinesh lays out Putin's endgame in the Ukraine, and asks if there is a way to thwart his objectives.  A progressive writer discovers the virtues of American power, at a time when Dinesh and other conservatives are becoming ambivalent about it. Dinesh offers a Republican strategy for dealing with Biden's Supreme Court nominee Ketanji Jackson. Dinesh reveals how unions can be integrated into a new and expanded GOP.  Dinesh introduces the haughty politician Farinata in Dante's circle of heretics.  See omnystudio.com/listener for privacy information.

Join me, Mark Scarbrough, for this special episode of the podcast WALKING WITH DANTE. This episode is my interview with Kristen Hook, a Dantista who is writing her dissertation at UC-Berkeley on Inferno, Canto X. She's most interested in Guido Cavalcanti, the son of the man who raises his chin up over the edge of the heretics' tomb where Farinata is having his pissing match with our pilgrim, Dante. You might want to go back and review Canto X. Or just settle in. Kristen Hook will lead us into unexpected depth on this episode. I hope you find the water deep, maybe even over your head. Because there's always more to Dante's COMEDY than you might even imagine. Support this podcast

Brunetto Latini's got questions. Too bad the pilgrim, Dante, doesn't seem to want to answer them. Or better, Dante only seems to want to confess to this teacher. (Anybody who has ever been a teacher knows this gambit: ask a question, get the truth, not the facts you were after.) This is indeed the game that teachers and students play/ Especially when their roles are reversed. And must they descend to this level of competition between them? If so, Brunetto might well come out on top. He's got a history lesson about Florence and a prophecy for the pilgrim's fate, the exile that Dante the poet already faces. That said, Brunetto's prophecy is a challenging, rhetorical knot. Should we take it at face value? Should we trust everything Brunetto says? Especially when he uses such coarse language? And vaults (at the same time) to such rhetorical heights. Join me, Mark Scarbrough, as we explore the hidden agendas and strange twists in this passage. The pilgrim Dante may think he has the upper hand. His teacher, Brunetto, has other ideas. Here are the segments of this podcast episode: [01:23] My English translation of INFERNO, Canto XV, lines 46 - 78. If you want to follow along, they're on my website, markscarbrough.com, under the header "Walking With Dante." [04:09] Brunetto's questions and the pilgrim's confession. Dante seems intent on telling Brunetto his plight--using Brunetto's own words and perhaps clarifying exactly what went on in Canto I of INFERNO. Do you need an older writer to help you say what you want to say about yourself? Maybe you do. [16:45] Brunetto's history lesson and prophecy of the pilgrim's (and poet's) plight. This passage is the oddest mix of vulgar language and rhetorical gamesmanship. Is that the heart of Brunetto's poetics? Because it might also be the heart of Dante's. [26:35] A little about INFERNO as a whole: it's partly about unlearning what the pilgrim (and maybe the poet) Dante has learned. We've already seen this with Francesca and Farinata. But now we start to see it with the very nature of poetry itself. Support this podcast

Dieser herzhafte Kuchen aus Kichererbsen ist eine italienische Spezialität, die nicht in jedem Restaurant auf der Karte steht. Das Rezept von Johannes Richter lässt sich vielseitig kombinieren.

Finally, a blasphemer. A monk who wrote a heretical treatise? A priest who tainted orthodoxy? A run-of-the-mill atheist? Nope. A classical figure out of Statius' poem THE THEBIAD: Capaneus. Wait, can a mythical figure who wanted to take down a mythical god commit blasphemy in a Christian context? For Dante he can! Join me, Mark Scarbrough, as we explore this center passage of Canto XIV of INFERNO. We're among those who have committed (or have tried to commit) violence against God. But the passage turns on a figure out of mythology. What sort game is Dante playing? Or what game are we supposed to play with him? Here are the segments for this episode of WALKING WITH DANTE: [01:12] My English translation of this passage. [03:20] Dante the pilgrim tweaks Virgil, his guide. Rivalry? Or is something more thematic at play in this passage? [06:13] It's Capaneus on the sands! A giant. Our first. From myth. Which is a giant problem, to say the least, in a canto devoted to that most Christian sin, blasphemy. [08:41] An exploration of Capaneus' position toward the torments of hell--which reminds us a little of Farinata's. But Capaneus' speech is nothing like Farinata's! [12:12] Why is Virgil irritated by Capaneus? An intriguing question. And a bit about the poetics here. The rhyming words match those in other passages with enraged figures. What's going on? [17:35] Why and how is Capaneus an exemplar (or exemplum) of blasphemy? [24:07] There's a bit of heresy running under this passage on blasphemy, under this entire canto. Can you provoke God to any action? Can you make the unmoved mover move? In the Middle Ages, the answer is slowly becoming "yes"--which causes all sorts of philosophical problems. Support this podcast

Pizza Margherita ist in ihrer Schlichtheit so legendär und lecker, dass unserem Genuss-Experten Helmut Gote diese Pizza immer die liebste bleiben wird. Wir schauen auf Pizzas und sehr köstliche Varianten. Moderation: Carolin Courts und Genussexperte Helmut Gote

Pier seemed to have come to a conclusion in his last speech with Virgil and our pilgrim, Dante. But he's clearly not done. Prompted by Dante, Virgil asks the shade how it got to be a bush and (more tellingly) whether it can escape. This is a passage rife with problems: Virgil's dualism, at odds with a Christian understanding of the resurrection; Dante-the-pilgrim's on-going silence in the face of his own sorrows; Pier's rhetorical flourishes which become less and less pronounced the closer he gets to speaking about the Last Judgment, the end of time. If anything, Pier's second speech in Canto XIII of Inferno brings up more questions than it answers. This is complicated literary territory. Join me, Mark Scarbrough, as I take it step by step, exploring one of the most dazzling cantos of Inferno. Here are the segments for this episode: [01:14] My English translation of the passage from Canto XIII of Inferno: lines 79 - 108. If you'd like to see this translation "in the flesh" (hello, Pier!), it lives on my website, markscarbrough.com. [03:26] The passage starts with someone's hesitation. Whose? Virgil's? Pier's? It's more complicated than you might think. [05:06] The first words of our pilgrim, Dante, since way back in Canto XI. And he doesn't say much--except to reiterate the problem of belief and trust in a literary context. Why has our pilgrim been silent? I have several answers, including the notion that we might be in a thematic progression since Canto X with Farinata. [09:31] Virgil's response to the pilgrim--and a literary tie-back to Canto X. [12:07] Virgil seems caught in a potential heresy. The old classical poet appears to be a dualist, thinking the mind and body are separate things. [14:46] Pier's second speech--and the answer to what happens to the suicides in the resurrection. [20:57] The story of the metamorphosis itself: an infernal take on one of Jesus's parables and a tribute to Ovid, all in one short passage. [24:48] Pier's final moments: a strange fusion of Dantean heresy (theological suicide? literary suicide?) and Pier's final honesty after so much rhetorical fandango. [27:54] A final shot: there may be a reference to Judas Iscariot running throughout all of Pier's speeches. Support this podcast

Into the City of Dis! Fr. Branson and Donovan discuss the Epicurean heretics that Virgil and Dante meet in the 6th circle. We meet the proud Farinata who gives Dante a prophecy of his future. Finally, after passing the last of the heretics, we'll cover the discussion on the landscape of hell. Join our reading group here: https://gtcc.co/dantegroupme Listen to our main podcast here: https://gtcc.co/podcast

Today we meet Farinata, a Florentine who reveals to Dante the fact that those in Hell cannot see the present but only the future.

Nel decimo Canto, Dante, guelfo “bianco” e in quanto tale condannato all’esilio nel 1302, incontra fra i dannati nel sesto cerchio dell’ Inferno – quello dove si trovano le anime che hanno peccato di incontinenza e in particolare di eresia – due fiorentini illustri. Si tratta di Farinata degli Uberti, che era stato capo dei ghibellini, e di Cavalcante de’ Cavalcanti, padre dell’amico di gioventù del poeta, Guido. Così Firenze fa da sfondo alle disquisizioni tra i personaggi, tra lotte di fazioni e ricordi nostalgici. Introduzione e voce di Carlo Colognese Illustrazione di Gustavo Doré Episodi precedenti:Parte QuintaParte QuartaParte TerzaParte SecondaParte Prima CANTO DECIMO Ora sen va per un secreto calle,tra 'l muro de la terra e li martìri,lo mio maestro, e io dopo le spalle. «O virtù somma, che per li empi girimi volvi», cominciai, «com'a te piace,parlami, e sodisfammi a' miei disiri. La gente che per li sepolcri giacepotrebbesi veder? già son levatitutt'i coperchi, e nessun guardia face». E quelli a me: «Tutti saran serratiquando di Iosafàt qui tornerannocoi corpi che là sù hanno lasciati. Suo cimitero da questa parte hannocon Epicuro tutti suoi seguaci,che l'anima col corpo morta fanno. Però a la dimanda che mi faciquinc'entro satisfatto sarà tosto,e al disio ancor che tu mi taci». E io: «Buon duca, non tegno ripostoa te mio cuor se non per dicer poco,e tu m'hai non pur mo a ciò disposto». «O Tosco che per la città del focovivo ten vai così parlando onesto,piacciati di restare in questo loco. La tua loquela ti fa manifestodi quella nobil patria natioa la qual forse fui troppo molesto». Subitamente questo suono uscìod'una de l'arche; però m'accostai,temendo, un poco più al duca mio. Ed el mi disse: «Volgiti! Che fai?Vedi là Farinata che s'è dritto:da la cintola in sù tutto 'l vedrai». Io avea già il mio viso nel suo fitto;ed el s'ergea col petto e con la frontecom'avesse l'inferno a gran dispitto. E l'animose man del duca e prontemi pinser tra le sepulture a lui,dicendo: «Le parole tue sien conte». Com'io al piè de la sua tomba fui,guardommi un poco, e poi, quasi sdegnoso,mi dimandò: «Chi fuor li maggior tui?». Io ch'era d'ubidir disideroso,non gliel celai, ma tutto gliel'apersi;ond'ei levò le ciglia un poco in suso; poi disse: «Fieramente furo avversia me e a miei primi e a mia parte,sì che per due fiate li dispersi». «S'ei fur cacciati, ei tornar d'ogne parte»,rispuos'io lui, «l'una e l'altra fiata;ma i vostri non appreser ben quell'arte». Allor surse a la vista scoperchiataun'ombra, lungo questa, infino al mento:credo che s'era in ginocchie levata. Dintorno mi guardò, come talentoavesse di veder s'altri era meco;e poi che 'l sospecciar fu tutto spento, piangendo disse: «Se per questo ciecocarcere

Nel decimo Canto, Dante, guelfo "bianco" e in quanto tale condannato all'esilio nel 1302, incontra fra i dannati nel sesto cerchio dell' Inferno - quello dove si trovano le anime che hanno peccato di incontinenza e in particolare di eresia - due fiorentini illustri. Si tratta di Farinata degli Uberti, che era stato capo dei ghibellini, e di Cavalcante de' Cavalcanti, padre dell'amico di gioventù del poeta, Guido. Così Firenze fa da sfondo alle disquisizioni tra i personaggi, tra lotte di fazioni e ricordi nostalgici.Introduzione e voce di Carlo CologneseIllustrazione di Gustavo DoréEpisodi precedenti:Parte QuintaParte QuartaParte TerzaParte SecondaParte PrimaCANTO DECIMOOra sen va per un secreto calle,tra 'l muro de la terra e li martìri,lo mio maestro, e io dopo le spalle.«O virtù somma, che per li empi girimi volvi», cominciai, «com'a te piace,parlami, e sodisfammi a' miei disiri.La gente che per li sepolcri giacepotrebbesi veder? già son levatitutt'i coperchi, e nessun guardia face».E quelli a me: «Tutti saran serratiquando di Iosafàt qui tornerannocoi corpi che là sù hanno lasciati.Suo cimitero da questa parte hannocon Epicuro tutti suoi seguaci,che l'anima col corpo morta fanno.Però a la dimanda che mi faciquinc'entro satisfatto sarà tosto,e al disio ancor che tu mi taci».E io: «Buon duca, non tegno ripostoa te mio cuor se non per dicer poco,e tu m'hai non pur mo a ciò disposto».«O Tosco che per la città del focovivo ten vai così parlando onesto,piacciati di restare in questo loco.La tua loquela ti fa manifestodi quella nobil patria natioa la qual forse fui troppo molesto».Subitamente questo suono uscìod'una de l'arche; però m'accostai,temendo, un poco più al duca mio.Ed el mi disse: «Volgiti! Che fai?Vedi là Farinata che s'è dritto:da la cintola in sù tutto 'l vedrai».Io avea già il mio viso nel suo fitto;ed el s'ergea col petto e con la frontecom'avesse l'inferno a gran dispitto.E l'animose man del duca e prontemi pinser tra le sepulture a lui,dicendo: «Le parole tue sien conte».Com'io al piè de la sua tomba fui,guardommi un poco, e poi, quasi sdegnoso,mi dimandò: «Chi fuor li maggior tui?».Io ch'era d'ubidir disideroso,non gliel celai, ma tutto gliel'apersi;ond'ei levò le ciglia un poco in suso;poi disse: «Fieramente furo avversia me e a miei primi e a mia parte,sì che per due fiate li dispersi».«S'ei fur cacciati, ei tornar d'ogne parte»,rispuos'io lui, «l'una e l'altra fiata;ma i vostri non appreser ben quell'arte».Allor surse a la vista scoperchiataun'ombra, lungo questa, infino al mento:credo che s'era in ginocchie levata.Dintorno mi guardò, come talentoavesse di veder s'altri era meco;e poi che 'l sospecciar fu tutto spento,piangendo disse: «Se per questo ciecocarcere vai per altezza d'ingegno,mio figlio ov'è? e perché non è teco?».E io a lui: «Da me stesso non vegno:colui ch'attende là, per qui mi menaforse cui Guido vostro ebbe a disdegno».Le sue parole e 'l modo de la penam'avean di costui già letto il nome;per

Dante, our pilgrim, leaves Farinata's tomb almost unwillingly--at least, he has to force himself back to Virgil and continue his journey. Something about the encounter with the heretics in the sixth circle of hell is so profound, it stops the forward momentum of COMEDY for a bit. But there's more ahead, including the tomb of a heretic pope and the foul smell of the lowest pits of hell. We're about to enter the abyss, what could be called "Tartarus," the place the poet Vergil and his hero Aeneas couldn't go, the place Dante-the-poet dares to go. Join me, Mark Scarbrough, as we get a first whiff of the worst parts of hell and take refuge under a tomb that contains the second piece of writing in hell but that causes more problems than it solves. Here are the segments of this episode: [00:56] More about Dante-the-pilgrim and Farinata. I think I've finally figured out how to describe their fraught relationship. [03:17] My English language translation of this passage from INFERNO: Canto X, Line 121b, through Canto XI, Line 15. [05:38] The first knotty problem in this passage: Dante's (well) disobedience of Virgil. His guide has been signaling him to move on. He hasn't. In fact, he's asked more questions of Farinata. What's going on here? And why are there so many references to the first canto of INFERNO in this passage? [14:26] Virgil makes Dante a promise about a beautiful woman's eyes. Who is this woman? And even more pressingly, why is this promise never fulfilled in COMEDY? [19:47] A bit of the plot: the stench of lower hell and our first glimpse of the abyss. [22:00] A tomb with an inscription--to a pope! With maybe a bishop in tow! Who are these people? (Mind you, no one really knows.) Might there be an artistic answer for this garbled passage? Support this podcast

The answers to these important questions--why is Farinata in the sixth circle of hell and why is he damned at all?--may lie in the structure of Canto X of INFERNO. And it also may lie in the nature of the self as Dante understands it. Join me, Mark Scarbrough, in this interpolated episode of the podcast WALKING WITH DANTE. I'll step back from the weeds of Canto X to talk about Farinata, Cavalcante, the thematics of this very wild canto, and even its structure, all in a way to get at the central problems of this canto, Dante's art, and the very nature of the self for Dante. Here are the segments of this episode: [01:03] Why is Farinata damned? He was accused of the Cathar heresy. I'll explain what that was--and why it may or may not be enough to damn him to this circle of INFERNO. [10:12] A quick look at the difference between Farinata and Cavalcante in Canto X. Their differences may have more to do than just physical affect but may bring to light certain thematics in this difficult canto. [12:39] The basic structure of Canto X: a chiasmus. If we look how this canto runs, it's something like this: Dante hides something from Virgil--Farinata arises--Cavalcante arises--Farinata continues--Dante tells Virgil everything. That means that Cavalcante is the fulcrum of the canto. What does that mean for its meaning? [19:36] Farinata isn't the only one who tells the future. Ciacco back in Canto VI did as well. What's the difference between these two? [24:40] Shame, vendetta, and the nature of the self for Dante. Support this podcast

We finish up our time with Farinata with a discussion that gets stranger by the minute. There's definitely a camaraderie between our pilgrim and this Ghibelline warrior. The grander question? Is there a camaraderie between our poet and Farinata? There are many strange things in this passage toward the back of Canto X in INFERNO. 1) Farinata's discussion of how the damned see time. 2) Dante's desire to be absolved of something--but what? 3) Our pilgrim's attempts to mitigate the sufferings of the damned. And 4) our pilgim as a peacemaker, someone who finally gets a Ghibelline to talk to a Guelph. Join me, Mark Scarbrough, as I explore one of the strangest conversations in INFERNO, a passage so rife with problems and unresolved issues that our poet will find the need to bring it up twice more, in each of the subsequent canticles, once in PURGATORIO and once in PARADISO. Here are the segments of this episode: [01:06] My English translation of this passage from INFERNO: Canto X, lines 94 - 121a. [02:51] We're not done with Farinata because this very conversation will be referenced twice more, once in each of the subsequent canticles of the poem. [03:35] Camaraderie and even benevolence. Our pilgrim and this warrior have come along way together. In fact, our pilgrim wants to grant Farinata something that Farinata could never have had in this life: peace. [09:45] Dante-the-pilgrim asks a fundamental question: How do the damned know the future? At the same time, it seems he's misdirecting his real problem. Sure, he's asking to solve a metaphysical knot. But isn't there a personal knot that also needs to be untied? [13:06] Farinata offers a shocking answer about how the damned see time. What's more, the farthest point ever referenced in time is put in Farinata's mouth. Why not in St. Paul's? Or someone far more worthy? Why does Farinata extend our view of time farther (and further) than anyone else? [21:05] The pilgrim finally repents--for the first time in COMEDY. But what exactly is he sorry for? And do his words cover his guilt? [27:24] Who else is in that tomb with Farinara? Two storied figures: one from history and one with a family tree in COMEDY. [31:55] And then Farinata withdraws, going as he arrived: in Stoic glory. Support this podcast

After the episode with Cavalcante among the heretics, a passage about human pain, loss, and suffering, we return to Farinata, our Greco-Roman statue--who becomes less so over the course of the strange, twisty passage in INFERNO. Join me, Mark Scarbrough, as we explore the roots of Dante's art: What does it mean to be human? Who loses their humanity in this passage? Not Farinata, strangely enough. Certainly not Cavalcante in the last passage. And not our poet. Instead, our pilgrim may be the one who still cannot overcome the cycles of shame and vendetta, who then loses his humanity at a moment when human loss seems most pressing. Here are the segments of this episode: [01:29] My English translation of the passage from INFERNO: Canto X, lines 73 - 93. If you'd like to see this passage or start a discussion about it, find it on the website walkingwithdante.com. [03:43] A bit of a descent into the linguistic weeds, all about the term "magnanimo," used to describe Farinata and possibly a more difficult adjective that we might first imagine. How is Farinata "austere" (as I translated it) or "magnificent" or "powerful"? Maybe not as much as we think. [10:46] Heretic or hero? And while we're at it, can politics and art even talk to each other? Or do they always talk past each other? Can in fact they even hear each other? [15:10] We discover that we are in a landscape of exiles: Virgil, Farinata, Cavalcante, his son, and even our pilgrim, Dante (and certainly the poet behind him). [23:13] The full scope of Farinata's humanity. No, he will never become a humanist poet. But he does soften. There may be historical reasons for that. And there may be structural reasons from the poem itself for that. [27:14] How do you lose you humanity? And who is losing it in this passage? The answer is more shocking than at first blush. Support this podcast

Factionalism run amuck! In this passage from INFERNO, our poet (and our pilgrim, Dante) comes face to face with the suffering he himself has caused. It takes a brave writer to face his fears head on. Can Dante? Here's how it goes down: A shade rises up next to Farinata. This one's a Guelph, part of the faction that is Farinata's great enemy. This one's also Farinata's in-law, the man who married his son to Farinata's daughter. And the man whose son our poet Dante sent into exile. The son who died in exile. The guilt is palpable yet curiously understated. Join me, Mark Scarbrough, as we explore some of the most complicated bits of INFERNO that we've yet discovered, all about political and poetic rivalries, and the pain that humans inflict on each other with their blood-thirsty desire for tribalism. This is a tough passage, full of interpretive knots, some of which have kept scholars busy for (quite literally) centuries. I can't possibly answer all the questions. My hope is that this episode starts you on a journey to figure out the passage (and others!) in COMEDY. Here are the segments of this episode: [00:51] My English translation of this passage from INFERNO: Canto X, lines 52 - 72. If you'd like to see this translation or start a conversation with me about any portion of COMEDY, join me on my website: markscarbrough.com. [02:38] An overview of the rings of hell until now--and the way this sixth circle may differ from what's come before. [06:00] The arrival of Cavalcante de' Cavalcanti, hauling himself up onto his knees in the tomb next to Farinata. Who is this? And why is he so important to Dante (both our poet and our pilgrim)? [08:55] Cavalcante's rather caustic reply to the pilgrim--which may tell more of the truth than he means. Dante is truly moving by his "high genius," despite the apparent sneer from the old man. And more, too. Cavalcante reveals himself to be a doting father. This is an amazingly nuanced portrait of a figure in hell. [11:56] Who is Guido Cavalcanti, Dante's poetic rival? [15:53] The central point of the entire canto: Dante-the-pilgrim and indeed Dante-the-poet come face to face with their own complicity in the sufferings of Florence brought on by factionalism in all its forms. [16:58] Surely, the most difficult line in all of COMEDY! Centuries of scholarship have not made it any clearer. But I have another answer, outside the traditional readings. What if it's garbled on purpose? [22:23] Cavalcante misunderstands Dante-the-pilgrim. Misunderstanding may be the heart of Dante-the-poet's notion of heresy. But there may be more afoot here. What if the poet is showing us that the pilgrim is not ready to use language properly because he is still sunk down in Florentine factionalism? [28:28] The first of two structuring devices that may at work in Canto X: Acts 17 and the moment St. Paul is questioned by the Stoics and Epicureans in Athens. [29:44] The second structuring device that may be at work in Canto X: the way Boethius in THE CONSOLATION OF PHILOSOPHY weaves poetry and theology/philosophy together in one text. [31:57] Finally, the Dante scholar Peter Took's fantastic notion that the poet Dante may be trying to offer busy people like you and me a hint of the contemplative life by writing poetry that needs to be puzzled out. [34:54] One more time through the passage: INFERNO, Canto X, lines 52 - 72. Support this podcast

Rising out of the burning sarcophagus, pulling himself upright, Farinata confronts Dante-the-pilgrim from the tombs of the heretics. But this is no ordinary encounter between our pilgrim and one of the damned. This is an encounter with history, with one of Dante's bitter enemies, with someone who brought about so much bloodshed for Dante-the-poet's family and faction. What would happen in hell if you met your historical enemy? The one who killed off swaths of your family? How would you treat them? Join me, Mark Scarbrough, on this episode of WALKING WITH DANTE in which we find out that even in INFERNO, even down in hell, as far as the sixth circle, human tribalism still runs white hot. Even death doesn't stop humans from wanting to slit each other's throats. It's a grim moment in INFERNO--and one that stands just before the next passage, in which it gets grimmer, and then in which, two episodes ahead, it all turns on a dime and becomes so very much a part of the human comedy. Here are the segments of this episode: [01:42] My English translation of the passage from INFERNO: Canto X, lines 22 - 51. As well as some bits about the difficulties in this passage. [05:08] Who was Farinata? [09:56] Farinata as a twisted representation of Christ. [14:37] Farinata and language [20:53] Farinata and politics [25:50] Can Farinata hold hell in contempt? Is that possible? Maybe there's an answer in Lucan's Pharsalia. [30:29] One more time through the passage. Support this podcast

Ricetta Del Cuore Farinata Di Ceci - Erba Ribelle Con Cristina --- Send in a voice message: https://anchor.fm/notewebradio/message

- Farinata degli Uberti - Sapienza registica di Dante - Il pensiero dominante - Il disprezzo dell'inferno - Guelfi e ghibellini --- Send in a voice message: https://anchor.fm/stefanodambrosio/message

Whether you know it as socca, cecina, torta, or farinata di ceci, this popular street food has a story to tell. With just chickpea flour, water, olive oil, salt, and a really hot oven, you have everything you need to make this savory vegan treat!Get exclusive access to the recipes in each episode by joining the Italian Dish Cooking Club on Patreon! https://italiandishpodcast.com/chickpea-socca-farinata-di-ceci/In this episode: Make Farinata di Ceci (+ resting time)Learn about how this now popular street food was born all because of a naval victory in 1284, a storm, and a bit of old-school arroganceTake a walk down memory lane as I retell a day-trip to Lucca my family and I took shortly after my wedding in 2016 and the first time we all ate cecina.Questions or comments about the recipe? Suggestions for our next episode? Get in touch via Instagram @italiandishpodcast or send us an email at contact@italiandishpodcast.comBuon appetito! Ciao!Support the show (https://www.patreon.com/italiandish?fan_landing=true)

Chaque jour, dans "L'Équipée sauvage", Olivier Poels vous donne une recette dernière minute pour votre plat du soir. Ce mardi, la farinata, un plat à base de pois chiches.

Il Canto X dell'Inferno di Dante Alighieri è quello in cui emergono le figure di Farinata degli Uberti e Cavalcante de' Cavalcanti. Dante e Virgilio si trovano nel Sesto cerchio, all'interno della città di Dite, dove sono puniti gli eretici.In questa pillola analizziamo insieme il Canto, scoprendone eventi, temi e protagonisti.Se vuoi approfondire: https://www.studenti.it/canto-x-inferno-dante-testo-parafrasi-figure-retoriche.htmlColonna sonoraBlippy trance / Poppers and prosecco - Kevin Mac Leod - https://incompetech.com/Effetti sonori: https://www.zapsplat.com

In this lecture, we (a) review the major events of Circle 5: wrath and sullenness; (b) we reach The Gate of Dis and watch the drama unfold between Virgil, Dante the Pilgrim, the Fallen Angels, the Furies, and the Heavenly Messenger; (c) then we begin our descent to Circle 6 and meet our first heretics there (the Epicureans and Farinata degli Uberti). --- Send in a voice message: https://anchor.fm/alexander-schmid9/message Support this podcast: https://anchor.fm/alexander-schmid9/support

Claire Thomson uses store cupboard basics to cook a creative and thrifty dish.

In this canto our duo walk among the tombs of the city of the dead where they meet two once feuding aristocrats who must now share a grave for eternity. We'll learn about the noble Epicureans and their views on the immortal soul and get further insight into the poet's view of the past , present, and future of the civil war in his homeland of Florence.Visit www.patreon.com/danteshistory

In this canto our duo walk among the tombs of the city of the dead where they meet two once feuding aristocrats who must now share a grave for eternity. We'll learn about the noble Epicureans and their views on the immortal soul and get further insight into the poet's view of the past , present, and future of the civil war in his homeland of Florence.Visit www.patreon.com/danteshistory

In this lecture, Professor Mazzotta discusses Inferno 9-11. An impasse at the entrance to the City of Dis marks Virgil’s first failure in his role as guide (Inferno 9). The invocation of Medusa by the harpies that descend while they wait for divine aid elicits Dante’s first address to the reader. The question of literary mediation, posed in the previous lecture in the context of Inferno 5, is explored further, and the distinction Dante draws between the “allegory of poets” and the “allegory of theologians” is introduced. Inferno 10 is read with a view to view to the uniqueness of the sin it deals with - heresy. The philosophical errors of the shades encountered here, Farinata and Cavalcante, are tied to the political turmoil they prophecy for Florence. From the disorder of the earthly city, Dante moves on to the order on its infernal counterpart, mapped by Virgil in Inferno 11. The moral system of Dante’s Hell is then discussed with a view to its classical antecedents.

In this lecture, Professor Mazzotta discusses Inferno 9-11. An impasse at the entrance to the City of Dis marks Virgil’s first failure in his role as guide (Inferno 9). The invocation of Medusa by the harpies that descend while they wait for divine aid elicits Dante’s first address to the reader. The question of literary mediation, posed in the previous lecture in the context of Inferno 5, is explored further, and the distinction Dante draws between the “allegory of poets” and the “allegory of theologians” is introduced. Inferno 10 is read with a view to view to the uniqueness of the sin it deals with - heresy. The philosophical errors of the shades encountered here, Farinata and Cavalcante, are tied to the political turmoil they prophecy for Florence. From the disorder of the earthly city, Dante moves on to the order on its infernal counterpart, mapped by Virgil in Inferno 11. The moral system of Dante’s Hell is then discussed with a view to its classical antecedents.

Epistola Can Grande della Scala Ep. XIII: « Il soggetto di tutta