lrodrig8/pdf documents/Italian Program by Cengage Learning

Licensed to: iChapters User
Licensed to: iChapters User
CIAO! Seventh Edition
Carla L. Riga
Editor in Chief: PJ Boardman
Publisher: Beth Kramer
Executive Editor: Lara Semones
Senior Content Project Manager:
Esther Marshall
© 2011, 2007, 2003 Heinle, Cengage Learning
ALL RIGHTS RESERVED. No part of this work covered by the copyright herein
may be reproduced, transmitted, stored, or used in any form or by any means
graphic, electronic, or mechanical, including but not limited to photocopying,
recording, scanning, digitizing, taping, Web distribution, information networks,
or information storage and retrieval systems, except as permitted under
Section 107 or 108 of the 1976 United States Copyright Act, without the prior
written permission of the publisher.
Assistant Editor: Katie Latour
Editorial Assistant: Maria Colina
Marketing Manager: Mary Jo Prinaris
Marketing Coordinator: Janine Enos
Senior Marketing Communications Manager:
Stacey Purviance
For product information and technology assistance, contact us at
Cengage Learning Academic Resource Center, 1-800-423-0563
For permission to use material from this text or product,
submit all requests online at cengage.com/permissions
Further permissions questions can be e-mailed to
[email protected]
Media Editor: Morgen Murphy
Senior Print Buyer: Elizabeth Donaghey
Library of Congress Control Number: 2009935088
Senior Art Director: Linda Jurras
Student Edition:
Text Designer: Jerilyn Bockorick
ISBN-13: 978-1-4282-8837-9
Photo Researcher Coordinator: Pre-PressPMG
ISBN-10: 1-4282-8837-6
Cover Designer: Harold Burch
Production Service and Compositor:
Pre-Press PMG
Cover image: Aurora photos;
Prow of a gondola, Venice Italy, RM
Heinle, Cengage Learning
20 Channel Center Street
Boston, MA 02210
USA
Cengage Learning products are represented in Canada by Nelson Education, Ltd.
For your course and learning solutions, visit academic.cengage.com
Purchase any of our products at your local college store or at our preferred online store
www.ichapters.com
Printed in the United States of America
1 2 3 4 5 6 7 13 12 11 10 09
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Licensed to: iChapters User
Capitolo preliminare
Venezia. Piazza San Marco. Sullo sfondo: una nave da crociera
La pronuncia italiana
Vocali
Dittonghi
Consonanti
Consonanti doppie
Sillabazione
Accento tonico
Intonazione
Parole affini per origine
Nouns
Adjectives
Verbs
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Licensed to: iChapters User
2
Capitolo preliminare
La pronuncia italiana
To access the audio recordings, visit
www.cengage.com/italian/ciao.
CD 1, Track 2
There are 21 letters in the Italian alphabet. The written forms and names are:
a
b
c
d
e
f
a
bi
ci
di
e
effe
g
h
i
l
m
n
gi
acca
i
elle
emme
enne
o
p
q
r
s
t
o
pi
qu
erre
esse
ti
u
v
z
u
vu (or vi)
zeta
Five additional letters appear in words of foreign origin:
j
k
i lunga
cappa
w
x
doppia vu
ics
y
ipsilon (or i greca)
The following sections deal primarily with spelling–sound correspondences
in Italian and their English equivalents. Listen carefully to your instructor, and
then repeat the examples. Practice the pronunciation exercises recorded on the
CD that correspond to the Capitolo preliminare; they have been devised to help
you acquire good pronunciation. In describing Italian sounds, we will make use
of the international phonetic symbols (shown between slash marks). You will
notice that pronunciation in Italian corresponds very closely to spelling. This is
particularly true of vowel sounds.
1. Vocali (Vowels)
CD 1, Track 3
The five basic vowel sounds in Italian correspond to the five letters a, e, i, o, u.
The pronunciation of e and o may vary slightly (closed or open sound).*
Unlike English vowels, each Italian vowel represents only one sound. Vowels
are never slurred or glided; when pronouncing them, the lips, jaw, and tongue
must be kept in the same tense position to avoid offglide.
The vowels will be presented according to their point of articulation, i being the first of the front vowels and u the last of the back vowels, as illustrated
in the following diagram:
i/i/
u/u/
e/e/
o/o/
o/ɔ/
e/ε/
a/a/
i
e
e
a
o
o
u
/i/
/e/
/ε/
/a/
/ɔ/
/o/
/u/
is like i in marine.
is like a (without glide) in late.
is like e in let.
is like a in father.
is like o in soft.
is like o in oh.
is like u in rule.
i vini di Ri.mini
se Ebe vede te
ecco sette fratelli
la mia cara mamma
oggi no
nome e cognome
una mu.sica pura
*Closed and open pronunciation of e and o are illustrated by the following words: e (and),
è (is); o (or), ho (I have). The pronunciation of these two vowels often varies regionally.
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Licensed to: iChapters User
La pronuncia italiana
2. Dittonghi (Diphthongs)
CD 1, Track 4
When i and u are unstressed and precede or follow another vowel, they form
with this vowel a diphthong and acquire the semivowel sounds /j/ and /w/.
i
u
/j/
/w/
is like y in yet.
is like the w in wet.
più piano lei e lui
un uomo buono
When two semivowels combine with a vowel, they form a triphthong (miei,
tuoi, guai).
The vowels that form a diphthong or a triphthong are pronounced with
just one emission of voice and correspond to just one syllable.
3. Consonanti (Consonants)
CD 1, Track 5
Many single consonants are pronounced in Italian as they are in English. The
sounds of the consonants b, f, m, n, and v present no difference in the two
languages. Several consonant sounds, however, need special attention because
of the manner in which they are pronounced or the way they are spelled. In
general, Italian consonants are clear-cut and without aspiration.
h is always silent:
ha
hanno
ahi!
oh!
hotel
d /d/ and t /t/ are similar to English but more dentalized:
due
tre
denti
Ti.voli
vado
alto
grande
tempo
modo
molto
p /p/ is as in English but less plosive:
papà
Pa. dova
dopo
piano
parola
q /kw/ is always followed by the letter u and is pronounced like qu in quest:
qui
quando
Pa.squa
quale
quaderno
l /l/ is produced more forward in the mouth than in English:
la
lira
lei
libro
li. ngua
r /r/ is trilled. It is pronounced by pointing the tip of the tongue toward
the gum of the upper front teeth:
Roma
caro
treno
amore
vero
s /z/ is pronounced as in rose when it is between vowels or when it begins
a word in combination with the voiced consonants b, d, g, l, m, n, r, and v:
rosa
paese
esame
snob
sviluppo
s is voiceless /s/ as in sell in all other cases:
sto
stu.dio
destino
rosso
sera
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
3
Licensed to: iChapters User
4
Capitolo preliminare
z is sometimes voiced /dz/ as in beds, sometimes voiceless /ts/ as in bets:
/dz/
zero
zeta
/ts/
romanzo
mezzo
marzo
pizza
Vene.zia
gra.zie
c and g before i or e are soft /č/,/ǧ/ as in chill and gentle:
cento
gesto
baci
gentile
ciao
giorno
Ce.sare
via.ggio
ci.nema
pa.gina
c and g in all other cases are hard /k/,/g/ as in call and go:
poco
pago
caffè
guida
caro
lungo
amico
guerra
cura
gusto
classe
grosso
scri.vere
dogma
ch and gh (found only before e or i) are also hard /k/,/g/:
che
aghi
chi
righe
pochi
laghi
perché
ghetto
cuochi
paghiamo
gli /ʎ/ sounds approximately like lli in million:
gli
fo.glio
fi.glio
fami.glia
vo.glio
gn /ɲ/ sounds approximately like ni in onion:
ogni
signora
lavagna
cognome
insegnare
sc before i or e has a soft sound /š/ as in shell:
sciare
pesce
scienza
scena
scemo
sch before i or e sounds hard /sk/ as in skill:
schiavo
schema
dischi
mosche
maschio
4. Consonanti doppie (Double Consonants)
Double consonants are a characteristic of Italian. The sound of a double consonant is longer than the sound of a single consonant. To pronounce it correctly,
it is necessary to shorten the sound of the preceding vowel and hold the sound
of the double consonant twice as long. (A similar phenomenon may also be
observed in English when pronouncing pairs of words, such as miss school; met
Tim.) The reverse happens when pronouncing a single consonant. In this case,
one should keep the sound of the preceding vowel longer, especially if the
vowel is stressed. Compare:
sono / sonno
casa / cassa
rosa / rossa
speso / spesso
sera / serra
sano / sanno
camino / cammino
lego / leggo
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Licensed to: iChapters User
La pronuncia italiana
5. Sillabazione (Syllabication)
CD 1, Track 6
Phonetically, the tendency in Italian is, whenever possible, to begin the syllable with a consonant sound and to end it with a vowel sound. Grammatically,
the separation of a word into syllables follows these rules:
a. A single consonant between two vowels belongs with the following
vowel or diphthong:
a-ma-re
no-me
i-ta-lia-no
be-ne
le-zio-ne
b. Double consonants are always divided:
bel-lo
mez-zo
sil-la-ba
mam-ma ra-gaz-za
c. A combination of two different consonants belongs with the following
vowel, unless the first consonant is l, m, n, or r. In this case, the two
consonants are divided:
pre-sto
so-pra
si-gno-ra
ba-sta
li-bro
but: pron-to
gior-no
El-vi-ra
par-to
dor-mi
lam-po
d. In a combination of three consonants, the first belongs with the preceding syllable, but s always belongs with the following syllable:
al-tro
sem-pre
en-tra-re
im-pres-sio-ne
in-gle-se
but: fi-ne-stra
gio-stra
e-sper-to
e. Unstressed i and u are not divided from the vowel they combine with:
uo-mo
pia-no
pie-de
Gio-van-ni
Eu-ro-pa
but: mi-o
zi-i
po-e-si-a
pa-u-ra
far-ma-ci-a
6. Accento tonico (Stress)
CD 1, Track 7
The great majority of Italian words are stressed on the next-to-the-last syllable:
signora
bambino
ragazzo
cantare
venire
Several words are stressed on the last syllable; these words have a written
accent on the last vowel. The accent mark can be grave (`) or acute (´). Most
words have the grave accent. A few words take the acute accent; the list that
follows includes the most common:
perché
affinché
né... né
macché
benché
purché
why; because
so that
neither . . . nor
no way
although
provided that
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
5
Licensed to: iChapters User
6
Capitolo preliminare
A few monosyllabic words carry an accent mark to distinguish two words that
are spelled the same but have different meanings:
e (and) vs. è (is)
si (oneself) vs. sì (yes)
da (from) vs. dà (gives)
se (if) vs. sé (self)
te (you) vs. tè (tea)
la (the) vs. là (there)
Some words have the stress on the third-from-the-last syllable and a few verb
forms on the fourth-from-the-last syllable:
sabato
compito
tavola
difficile
dimenticano
NOTE: When the stress does not fall on the next-to-the-last syllable, or
when the word ends in a diphthong, the stress is indicated with a dot
under the stressed syllable in Capitoli 1–6:
fa.cile
spia.ggia
pra.ticano
7. Intonazione (Intonation)
CD 1, Track 8
In general, the Italian sentence follows a homogeneous rhythm. Each syllable
is important in determining its tempo. Pronounce the following sentence
maintaining smooth, even timing:
Sono Marcello Scotti.
So - no - Mar - cel - lo - Scot - ti.
1
2
3
4
5
6
7
The voice normally follows a gently undulating movement, usually dropping
toward the end when the meaning is completed. In a question, however, the
voice rises on the last syllable:
Declarative sentence:
I signori Bettini sono di Milano.
Interrogative sentence:
Sono di Milano i signori Bettini?
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Licensed to: iChapters User
Parole affini per origine (cognates)
Parole affini per origine (cognates)
While studying Italian, you will encounter many cognates. A cognate is
an Italian word that looks like an English word and has a similar meaning
because the words have a common origin. The following are a few tips that
should help you recognize and use cognates.
1. Nouns ending in:
-ia in Italian and -y in English.
biologia
sociologia
biology
sociology
filosofia
anatomia
philosophy
anatomy
-ica in Italian and -ic(s) in English.
mu.sica
repu.bblica
music
republic
poli.tica
matema.tica
politics
mathematics
identità
università
identity
university
eleganza
pazienza
elegance
patience
-tà in Italian and -ty in English.
città
società
city
society
-za in Italian and -ce in English.
importanza
violenza
importance
violence
-zione in Italian and -tion in English.
nazione
educazione
nation
education
attenzione
situazione
attention
situation
-ore in Italian and -or in English.
attore
professore
actor
professor
dottore
motore
doctor
motor
-a.rio in Italian and -ary in English.
segreta.rio
sala.rio
secretary
salary
vocabola.rio
funziona.rio
vocabulary
functionary
-ista in Italian and -ist in English.
artista
pianista
artist
pianist
violinista
ottimista
violinist
optimist
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
7
Licensed to: iChapters User
8
Capitolo preliminare
2. Adjectives ending in:
-ale in Italian and -al in English.
speciale
originale
special
original
personale
sentimentale
personal
sentimental
-etto in Italian and -ect in English.
perfetto
eretto
perfect
erect
corretto
diretto
correct
direct
-ico in Italian and -ical in English.
ti.pico
poli.tico
typical
political
cla.ssico
geogra.fico
classical
geographical
-oso in Italian and -ous in English.
generoso
nervoso
generous
nervous
curioso
ambizioso
curious
ambitious
3. Verbs ending in:
-care in Italian and -cate in English.
educare
complicare
to educate
to complicate
indicare
implicare
to indicate
to imply, implicate
-izzare in Italian and -ize in English.
organizzare
analizzare
to organize
to analyze
simpatizzare
minimizzare
to sympathize
to minimize
abolire
stabilire
to abolish
to establish
-ire in Italian and -ish in English.
finire
punire
to finish
to punish
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Licensed to: iChapters User
Primo incontro
Venezia. La basilica di San Marco
Punti di vista | Ciao, come stai?
Buon giorno, come sta?
Studio di parole | Saluti e espressioni di cortesia
Informazioni: Saluti
In classe
I numeri da 0 a 49
I giorni della settimana
Vedute d’Italia | The Italian Language and Its Dialects
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Licensed to: iChapters User
10
Primo incontro
Punti di vista
Studenti universitari s’incontrano il
primo giorno di lezioni.
Ciao, come stai?
CD 1, Track 9
Filippo incontra Marcello. Marcello è con Mary, una
ragazza americana.
MARCELLO Ciao, Filippo, come va?
FILIPPO Bene, gra.zie, e tu come stai?
MARCELLO Non c’è male, gra.zie. Ti presento Mary,
un’amica.
FILIPPO Buon giorno.
MARY Buon giorno.
FILIPPO Mi chiamo Filippo Pini. (Si danno la mano.)
MARY Molto piacere.
FILIPPO Piacere mio. Di dove sei, Mary?
MARY Sono di New York, e tu?
FILIPPO Io sono di Pisa.
MARCELLO Mary è studentessa qui a Milano.
FILIPPO Anch’io sono studente a Milano.
MARCELLO Scusa, Filippo, dobbiamo andare. A domani.
Buon giorno, come sta?
meets / with
Not bad / Let me
introduce you
to / friend
They shake hands.
Where are you from
I’m from
here
I also
we must go / I’ll
see you tomorrow.
CD 1, Track 10
Il professor Tempesti incontra il professor Candela e
presenta la professoressa Fanti.
PROF. TEMPESTI Buon giorno professor Candela, come sta?
PROF. CANDELA Bene, gra.zie, e Lei?
PROF. TEMPESTI Non c’è male, gra.zie. Conosce la
professoressa Fanti?
PROF. CANDELA Non ho il piacere...
PROF. TEMPESTI Professor Candela, la professoressa Fanti.
PROF. FANTI Molto piacere. (Si danno la mano.)
PROF. CANDELA Piacere mio.
Do you know
I have not had the
pleasure . . .
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Licensed to: iChapters User
Punti di vista
Studio di parole
Saluti e espressioni di
cortesia
Brevi incontri e... sorprese.
Ciao! Hello! Good-bye!
Salve! Hello! (more formal than
Ciao!)
Buon giorno, signore. Good morning (Good day), Sir.
Buona sera, signora. Good evening,
Madam.
Buona notte, signorina. Good night,
Miss.
Arrivederci.
ArrivederLa. ¶ Good-bye.
(formal sing.)
A domani. I’ll see you tomorrow.
A presto. I’ll see you soon.
Come si chiama?
(formal sing.)
∂ What is your name?
Come ti chiami?
(familiar sing.)
(Molto) piacere. (Very) nice to
meet you.
Piacere mio. My pleasure.
Per favore. / Per piacere. Please.
Gra.zie. Thank you.
Gra.zie mille. Thanks a million.
Prego. You’re welcome. That’s
quite all right.
Scusi. (formal sing.) / Scusa. (familiar
sing.) Excuse me.
Come sta? (formal sing.) / Come stai?
(familiar sing.) How are you?
Come va? (familiar sing.) How’s it
going?
Bene, gra.zie, e Lei? (formal sing.) /
Bene, gra.zie, e tu? (familiar sing.)
Fine, thank you, and you?
Molto bene. Very well.
Non c’è male. Not bad.
Così così. So-so.
Mi chiamo Marcello Scotti. My
name is Marcello Scotti.
Ti presento... (familiar sing.)
f Let me introduce . . . to you. (lit., I introduce
Vi presento... (familiar pl.)
to you . . . )
Di dove sei tu? (familiar sing.)
f Where are you from?
Di dov’è Lei? (formal sing.)
Sono di...
I am from . . .
NOTE: Tu (You, singular) is the familiar form used by young people, close
friends, family members, and with children. Lei (You, singular), the formal
form, is used in all other cases.
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
11
Licensed to: iChapters User
12
Primo incontro
Informazioni
Saluti
Italians tend to be more formal than Americans when
greeting and addressing each other.
Among adults, acquaintances are addressed as
Signore, Signora, or Signorina or by their titles:
Professore(ssa), Dottore, Ingegnere, etc. The greeting
Ciao!, which has become so popular abroad, is reserved
in Italy only for very close friends, members of the family,
relatives, and young people. When meeting either friends or
acquaintances, as well as in introductions, Italians customarily shake hands, without distinction between sexes.
A. Saluti. In pairs, complete the following dialogue between two students on
the first day of class.
— Come stai?
— _______________, e tu?
— _____________________.
— Come ti chiami?
— _______________, e tu?
— ______________________.
— Molto piacere.
— _________________________.
— Di dove sei?
— __________________, e tu?
— __________________________.
— Come si chiama il professore/la professoressa d’italiano?
— __________________________.
— Gra.zie.
— __________________________.
— Arrivederci a domani.
— __________________________.
B. Incontri. In pairs, complete the following dialogue between two new
neighbors.
— Buon __________, signore/signora/signorina. Come sta?
— _____________________, e Lei?
— ______________________.
— Io mi chiamo __________, e Lei?
— ______________________.
— Molto piacere.
— _______________________.
— Lei è di Roma?
— No, ___________________, e Lei?
— __________________________.
— ArrivederLa.
— __________________________.
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Licensed to: iChapters User
Punti di vista
C. Brevi scambi. How would you . . .
1.
2.
3.
4.
5.
greet and introduce yourself to your professor?
ask your professor how he/she is?
ask another student how he/she is?
ask another student what his/her name is?
say good-bye to a classmate, adding that you will see him/her soon?
D. Presentazioni. Greet and introduce y ourself to a student sitting nearby,
indicating where you are from. Ask your classmate about himself/herself,
and then introduce him/her to the class.
Studio di parole
In classe
In un’a.ula ci sono (In a classroom there are):
una lavagna
un poster
una carta geografica
una finestra
una porta
una penna
uno studente
una studentessa
un gesso
un dizionario
un computer
un CD-ROM
una sedia
un foglio
un quaderno
una matita
un tavolo
Espressioni utili
Il professore: Attenzione! Attention!
Tutti insieme! All together!
Ancora una volta! Once more!
Ascoltate! Listen!
Ripetete! Repeat!
Che cos’è? What is it?
A pa.gina... On page . . .
co.mpito per domani (per lunedì)
homework for tomorrow (for
Monday)
Adesso... Now . . .
Aprite i libri! Open your books!
una professoressa
un libro
Chiudete i libri! Close your books!
Capite? Do you (pl.) understand?
Gli studenti: (Sì), capisco. (Yes),
I understand.
(No), non capisco. (No), I don’t
understand.
Ripeta, per favore. Repeat, please.
Come si dice... in italiano?
How do you say . . . in Italian?
Come si scrive... ? How do you
write (spell) . . . ?
Che cosa vuol dire... ? / Che cosa
signi. fica... ? What does . . . mean?
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
13
Licensed to: iChapters User
14
Primo incontro
A. Che cos’è? Point to various objects in the classroom and ask another student to identify them, following the example.
Esempio
—Che cos’è?
—È una se.dia.
B. Situazioni. What would you say in the following situations?
1.
2.
3.
4.
5.
You want to ask the meaning of the word beni. ssimo.
You don’t understand what your instructor has said.
You want to ask how to say, “You’re welcome” in Italian.
You are not sure how to spell your instructor’s name.
You would like your instructor to repeat something.
Studio di parole
I nu.meri da 0 a 49
0 zero
10 dieci
1 uno
11 u.ndici
2 due
12 do.dici
3 tre
13 tre.dici
4 quattro
14 quatto.rdici
5 cinque
15 qui. ndici
6 sei
16 se.dici
7 sette
17 diciassette
8 otto
18 diciotto
9 nove
19 diciannove
20
21
22
23
24
25
26
27
28
29
venti
ventuno
ventidue
ventitrè
ventiquattro
venticinque
ventisei
ventisette
ventotto
ventinove
I nu.meri da 0 a 49
30
31
32
33
34
35
36
37
38
39
trenta
trentuno
trentadue
trentatrè
trentaquattro
trentacinque
trentasei
trentasette
trentotto
trentanove
40 quaranta
41 quarantuno
42 quarantadue
43 quarantatrè
44 quarantaquattro
45 quarantacinque
46 quarantasei
47 quarantasette
48 quarantotto
49 quarantanove
1. Note that the numbers venti, trenta, and quaranta drop the final vowel
before adding uno and otto.
2. Tre takes an accent when it is added to venti, trenta, and quaranta.
A. Giochiamo con i nu.meri. With a partner, take turns reading aloud each series
of numbers and adding the missing number.
Esempio
2, 4, 6,...
—due, quattro, sei,...
—due, quattro, sei, otto,...
1. 3, 6, 9,...
2. 1, 3, 5,...
3. 12, 14, 16,...
4. 5, 10, 15,...
5. 10, 8, 6,...
6. 42, 44, 46,...
7. 41, 40, 39,...
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Licensed to: iChapters User
Capitolo preliminare and is supported by a series of pronunciation
exercises. The remaining chapters include instructions and cues for the
following types of recorded activities:
• a variety of listening comprehension activities;
• exercise sequences that reinforce the Punti grammaticali;
• a dictation, or dettato, followed by questions;
• a concluding section, Vedute d’Italia, which offers cultural information,
is preceded by a Prima di leggere, and is followed by questions.
Whenever students are expected to respond orally, the correct response is
given by the speaker for immediate reinforcement and repetition. Responses
to listening discrimination exercises appear in the Answer Key.
Student Activities Manual Audio CDs (ISBN: 1-4390-8361-4)
These audio CDs contain the audio files on which the listening activities in
the Student Activities Manual are based.
Heinle iLrn TM Learning Center Printed Access Card (ISBN: 1-4390-8443-2)
The new all-in-one diagnostic, tutorial, assessment, assignment, and course
management system includes an audio-enhanced eBook with integrated activities; companion videos; an interactive voiceboard; an online workbook
with audio; an online lab manual with audio; interactive enrichment activities; and diagnostic activities that generate a personalized study plan for
each student.
Personal Tutor Printed Access Card (ISBN: 0-495-89857-0)
Students have online access to experienced tutors with degrees in this
subject area and can receive one-on-one tutoring and on-demand help with
assignments.
Ciao! Video Program on DVD (ISBN: 1-4390-8362-2)
The Ciao! Video Program, based on the scope and sequence of Ciao!,
enables students to see lively, engaging episodes in which Italian speakers
carry out everyday functions also presented in the textbook, such as ordering a meal, shopping, and making travel arrangements.
The Ciao! Premium Website Printed Access Card (ISBN: 1-4390-8541-2)
This is an integrated, mulitmedia site that complements the Student Text.
The Premium Website includes audio and video segments from the Student
Text and Student Activities Manual in MP3 format.
The Ciao! Companion Website (www.cengage.com/italian/ciao)
This website features integrated, chapter-specific Web-exploration activities, self-grading quizzes, flashcards, a glossary, links to the Heinle iRadio
audio tutorials, an iTunes® playlist for the Intermezzo music sections, as
well as password-protected instructor resources.
To the Instructor
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
AIE-15
Licensed to: iChapters User
16
Primo incontro
Vedute d’Italia
The Italian language and its dialects
The Italian language stems directly from Latin. As the
authority of ancient Rome fragmented, its language,
Latin, also broke apart and formed several national
European idioms. In the same way, numerous linguistic varieties, or dialects, took form within the Italian
peninsula. They were the expressions of different centers of civilization within the larger Italian world.
The dialect of Tuscany was assured linguistic supremacy by the political importance and geographic
position of its principal city, Florence, and above all
by the authority of the thirteenth-century Tuscan
writers Dante, Petrarca, and Boccaccio. Each of these
men wrote works of major literary significance in their
native Tuscan dialect. Eventually, the Tuscan dialect
became recognized as the official Italian language.
For many centuries, however, the Italian language
remained an exclusively literary mode of expression,
used only by learned people. The different dialects
continued to be spoken, a situation favored by the
historical and political fragmentation of Italy, which
remained divided into many separate city-states until
the second half of the nineteenth century. The local
dialect was often the official language of the court of
that particular city-state. This was the case in Venice,
a republic renowned for the skill of its diplomats. The
eighteenth-century playwright Carlo Goldoni, who has
been called by critics the Italian Molière, wrote many
of his plays in Venetian. For example, in his dialect we
find the word schiao, meaning your servant, which is
derived from the Latin word for “slave,” esclavum. This
is the origin of the international greeting ciao.
Dante is considered the father of the
Italian language and one of the greatest
poets of the Western world. His major
work is La Divina Commedia.
Today Italy has achieved political as well as linguistic unity, and with few exceptions, everyone speaks
Italian. The dialects, however, remain very much alive.
Indeed, most Italians may be considered bilingual
because, in addition to speaking Italian, they also speak or at least understand
the dialect of their own region or city.
The Italian language has a much more limited vocabulary than the English
language. For example, the word signore is translated as sir, mister, gentleman,
and lord. Similarly, the word signora corresponds to lady, madam, and Mrs. The
word bello means beautiful and handsome; casa is both house and home.
The Italian language itself continues to evolve, reflecting Italians’ interchange
with the world on a global basis and in particular with North America. Many
words from English or derived from English have found their way into the
everyday language. For example, the following words are common: shopping,
fastfood, quiz, and hamburger. And you will immediately recognize new
computer-related terms, such as the following: mouse, cliccare, and formattare.
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Licensed to: iChapters User
Photo/Realia Credits
461
Photo/Realia Credits
1 Courtesy of the Author, photo by Roberta Riga; 9 PixAchi 2008 / Used under license from Shutterstock.com; 10 Courtesy
of University of Trento; 16 Ken Welsh / Alamy; 17 Courtesy of APT del Milanese; 18 Courtesy of the Author; 20 Courtesy of
the Author; 23 Sandro Vannini/CORBIS; 23 Ted Spiegel/CORBIS; 25 Courtesy of the Author; 27 Courtesy of the Author;
30 Chuck Pefley / Alamy; 31 Copyright 2009 Belle Momenti Photography / Used under license from Shutterstock.com;
32 Courtesy of the Author, photo by Liliana Riga; 34 Courtesy of APT del Milanese; 35 Courtesy of Pagine Giovani--Comune
di Milano; 37 Courtesy of the Author; 38 Courtesy of Università di Trento; 41 Courtesy of the Author; 45 Courtesy of the
Author; 46 Image copyright Mikhail Nekrasov 2009/Used under license from Shutterstock.com; 50 Heinle Image Resource
Bank/Cengage Learning; 52 top left Marc Brasz/Corbis, top center HUBERT BOES/dpa/Landov; top right Frank Trapper/
Corbis; bottom center Blaz Kure 2008/ Used under license from Shutterstock.com; 53 top right Courtesy of the Author, photo
by Janet & Charles McGary; top left John Heseltine/CORBIS; 54 center left Courtesy of the Author, photo by Janet & Charlie
McGary; center right Courtesy of Author, photo by Francesca Benevento; 56 All images Cengage Learning; 57 Luca Bruno/
AP Photos; 58 Image copyright jbor 2009/Used under license from Shutterstock.com; 59 Courtesy of the Author, photo by
Liliana Riga; 65 Courtesy of the Author; 69 Courtesy of the Author; photo by Adrian Bubb; 70 Image copyright Yanta 2009/
Used under license from Shutterstock.com; 71 Courtesy of the Author, photo by Luciano Bratti; 72 Courtesy of the Author,
photo by Liliana Riga; 73 Courtesy of the Author; 75 Courtesy of the Author; 76 center left and center right, Courtesy of
Università di Trento; 79 Courtesy of the Author, photo by Liliana Riga; 80 Heinle Image Resource Bank; 82 Courtesy of
Hotel Continental—Santa Margherita; 83 Digital Vision Ltd./SuperStock; 84 Courtesy of Hotel Metropole; 86 Image
copyright Eoghan McNally 2009/Used under license from Shutterstock.com; 90 Courtesy of the Author; 93 Courtesy of the
Author; 95 Courtesy of the Author; 96 bottom Image copyright Dan Peretz 2009/Used under license from Shutterstock.com;
center left Courtesy of the Author, photo by Kathy Katz; center Image copyright Tobik 2009/Used under license from
Shutterstock.com; 97 top Image copyright Concettina D‘Agnese 2009/Used under license from Shutterstock.com; center left
Courtesy of the Author; 98: Dennis Marsico/CORBIS; 100 All Images Cengage Learning; 101 Stephane Cardinale/People
Avenue/Corbis; 102 Provided by the Author; Courtesy of Santa Margherita Tourist Office; 103 Chuck Savage/CORBIS;
105 Courtesy of Donna Moderna; 106 Toby Burrows/Digital Vision/Getty Images; 107 Courtesy of the Author, photo by
Liliana Riga; 110 Courtesy of the Author; 111 Courtesy of the Author; 114 Courtesy of APT del Milanese; 116 Courtesy of the
Author, photo by Liliana Riga; 119 Courtesy of the Author; 120 top Heinle Image Resource Bank/Cengage Learning, bottom
Courtesy of the Author; 122 Courtesy of the Author, photo by Alessandro Casagrande; 123 Courtesy of Benetton c 2008,
photo by David Sims; 126 SunLu4ik 2009/ Used under license from Shutterstock.com; 127 Courtesy of the Author;
128 Image copyright Anatoliy Meshkov 2009/Used under license from Shutterstock.com; 130 Heinle Image Resource Bank/
Cengage Learning; 135 top right Courtesy of Maina, bottom left Courtesy of the Author; 138 Courtesy of the Author, photo
by Alessandro Casagrande; 140 Courtesy of the Author; 141 Image copyright Natalia Macheda 2009/Used under license
from Shutterstock.com; 142 Courtesy of the Author, photo by Alessandro Casagrande; 144 All images Cengage Learning;
145 FARABOLA/AP Photo; 146 Courtesy of the Author; 147 Creatas/Photolibrary; 149 Courtesy of the Author, photo by
Roberta Riga; 150 bottom Creatas/Photolibrary; center Courtesy of the Author; 153 Courtesy of the Author; 155 center Clara
2009/Used under license from Shutterstock.com; bottom right Courtesy of the Author; 156 Courtesy of the Author, photo by
Janet and Charles Mcgary; 157 Stephen Studd/Stone/Getty Images; 158 Courtesy of the Author; 162 Heinle Image Resource
Bank/Cengage Learning; 166 Provided by the Author, Courtesy of Capri Tourist Office; 169 Courtesy of the Author; 170 Bill
Ross/CORBIS; 171 Image copyright new photo service 2009/Used under license from Shutterstock.com; 173 Courtesy of the
Author; 176 Courtesy of the Author, photo by Roberta Riga; 177 Courtesy of Hotel Porto Roca; 184 Courtesy of Ditta Poltri;
188 Image copyright Kristian Sekulic 2009/Used under license from Shutterstock.com; 189 Yuri Arcurs/Used under license
from Shutterstock.com; 190 Courtesy of the Author; 192 Courtesy of Hotel Morandi Firenze; 193 top right Image copyright
AND Inc. 2009/Used under license from Shutterstock.com; bottom left Image copyright Stawek 2009/Used under license
from Shutterstock.com; 196 All Images Cengage Learning; 197 The Art Archive/Corbis; 198 Courtesy of the Author;
199 Courtesy of the Author; 200 Courtesy of the Author, photo by Liliana Riga; 201 top right Courtesy of the Author; center
right Ad of Giudizi, bottom right Italian TV Channels; 203 Courtesy of the Author, photo by Liliana Riga; 205 Courtesy of
the Author; 207 Courtesy of the Author, photo by Liliana Riga; 209 Courtesy of Giovanni Tempesta; 212 Courtesy of the
Author; 215 Courtesy of the Author; photo by Jane and Charles McGary; 216 bottom left MELAMPO CINEMATOGRAFICA /
THE KOBAL COLLECTION / STRIZZI SERGIO; top left Reuters/CORBIS; 218 Courtesy of the Author, photo by Roberta
Riga; 219 Courtesy of the Author; 221 top Courtesy of Benetton c 2008, photo by David Sims; bottom Courtesy of the Author;
227 Courtesy of Benetton c 2008, photo by James Mollison; 228 center left ML Sinibaldi/CORBIS; center right Courtesy of the
Author, photo by APT del Cadore; right Courtesy of the Author, photo by Alessandro Casagrande; left Courtesy of Val di
Fassa; 230 Courtesy of the Author; 232 Courtesy of the Author; 233 Courtesy of the Author; 234 All images Courtesy of the
Author, top right, photo by Roberta Riga; left, Courtesy of Borse Zagliani; 236 All Images Cengage Learning; 237 AP Photo;
238 All Images Provided by the Author, Courtesy of Val di Fassa www.fassa.com; 239 Ferdinando Scianna/Magnum Photos.
com; 241 top Courtesy of Morgex-Valsesia; bottom Courtesy of Santa Margherita Tourist Office; 242 photo by Istituto Italiano
di Cultura, Courtesy of the painter Enzo Santini; 244 Courtesy of the Author; photo by Roberta Riga; 246 Provided by the
Author; photo by APT Azienda di promozione Turistica del Cadore; 247 Courtesy of the Author; 251 ML Sinibaldi/CORBIS;
253 top center Danilo Ascione/Used under license from Shutterstock.com; bottom center Courtesy of the Author, left Sylvain
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
462
Text Credits
Grandadam / Stone / Getty Images; 254 Courtesy of Oggi Magazine; 255 top right Heinle Image Resource Bank/Cengage
Learning; bottom left Courtesy of the Author; photo by Jane & Charles McGary; 257 Courtesy of the Author, photo by
Liliana Riga; 258 Courtesy of the Author; 260 Courtesy of the Author; photo by Roberta Riga; 261 Courtesy of the Author;
262 Image copyright Gina Sanders 2009/Used under license from Shutterstock.com; 265 Courtesy of the Author; photo by
Kathy Katz; 266 Courtesy of the Author; 269 Courtesy of the Author; photo by Lilly Kennedy; 270 Courtesy of the Author;
photo by Janet & Charles McGary; 271 All Images Courtesy of the Author; 273 Courtesy of the Author; 274 Courtesy of
Magazine PANORAMA; 275 All Images Courtesy of the Author, photos by Kathy Katz; 276 Courtesy of the Author; 278 All
Images Cengage Learning; 279 Pascal Rossignol/Reuters/Corbis; 280 Courtesy of the Author; 281 Nancy Richmond / The
Image Works; 282 top left bociek666/Used under license from Shutterstock.com, top center Simone van den Berg 2009/Used
under license from Shutterstock.com, top right Courtesy of the Author; 284 Jetta Productions/Getty Images; 288 Chris
Warde-Jones/The New York Times/Redux; 293 Marcin Balcerzak 2008 / Used under license from Shutterstock.com;
296 Provided by the Author, Courtesy of Donna Moderna N.43, 2008; 297 Chris Warde-Jones/The New York Times/Redux;
299 Courtesy of the Author, photo by Alessandro Casagrande; 300 Jack Affleck/Index Stock Imagery/jupiterimages;
301 Photodisc/Digital Vision/Getty Images; 302 Courtesy of the Author, photo by Janet and Charles Mcgary; 303 age
fotostock / SuperStock; 304 center left Courtesy of the Author; photo by Janet & Charles McGary, center right Courtesy of
the Authors; photo by Janet & Charles McGary; 307 Sheila Terry/Robert Harding World Imagery/Getty Images; 309 Gavin
Hellier/Robert Harding/Getty Images; 311 Courtesy of the Author, photo by Adrian Bubb; 313 Courtesy of the Author,
photo by Liliana Riga; 314 Image copyright Dmitry Sokolov 2009/Used under license from Shutterstock.com; 318 Courtesy
of the Author; photo by Christian Cugnetti; 320 All Images Cengage Learning; 321 Marcos Delgado/epa/Corbis;
322 Courtesy of Azienda per il Turismo della Val di Sole; 323 Christopher Halloran 2009/ Used under license from
Shutterstock.com; 326 Reproduced by permission of Valerio Scarpa Pubblicita Travelsport; 327 Jbor 2009/Used under license
from Shutterstock.com; 329 Courtesy of the Author; 330 Courtesy of the Author; 333 center right Ritschel Ritschel/Mauritius/
Photolibrary , bottom left Roca 2009/ Used under license from Shutterstock.com; 336 Courtesy by Author; photo by Gianni
Pais Becker; 339 center left Sandro Donda 2009 / Used under license from Shutterstock.com, center right NizamD 2009/Used
under license from Shutterstock.com; 340 All images Heinle Image Resource Bank/Cengage Learning; 342 Joerg Mueller /
Visum / The Image Works; 343 Courtesy of the Author; 349 Courtesy of the Author; photo by Adrian Bubb; 350 Courtesy of
the Author; photo by Janet & Charles McGary; 351 Markus Dlouhy / Peter Arnold Inc.; 354 Courtesy of the Author;
359 Provided by the Author; Courtesy of Dr. Francesco Laurenzi; 362 All Images Cengage Learning; 363 Luca Bruno/
AP Photos; 364 Courtesy of the Author, photo by Liliana Riga; 365 Courtesy of Donna Moderna; 366 All Images Courtesy of
the Author, photos by Liliana Riga; 368 WWF International / WWF Italia www.panda.org www.wwf.it; 371 Courtesy of the
Author; 372 Courtesy of the Author; 373 Courtesy Provincia di Milano; 376 Courtesy of the Author, photo by Liliana Riga;
380 Provided by the Author, Courtesy of Podere Cogno; 381 Provided by the Author, Courtesy of Podere Cogno; 383 Courtesy
of the Author, photo by Roberta Riga; 384 Courtesy of the Author, photo by Liliana Riga; 388 Courtesy of the Author; photo
by Janet & Charles McGary; 390 Courtesy of the Author; photo by Cathy Katz; 391 Courtesy of the Author; photo by
Francesca Benevento; 392 Micheline Pelletier/Corbis; 393 Courtesy of the Author; photo by Janet & Charles McGary;
395 Roger-Viollet / The Image Works; 397 center right Scala / Art Resource NY / ARS NY, center left Erich Lessing / Art
Resource NY; 398 top center Terry Why/IndexStock Imagery/Photolibrary, bottom center Courtesy of the Author; top right
Bryan Busovicki 2009/ Used under license from Shutterstock.com; bottom left Courtesy of the Author; photo by Janet &
Charles McGary; bottom right Courtesy of the Author; photo by Francesca Benevento; 399 Courtesy of the Author, photo by
Liliana Riga; 402 All Images Cengage Learning; 403 Elisabetta Villa/Getty Images
Text Credits
Capitolo 3
76–77: Interview with Professor Mario Diani from Università di Trento, by Professor James Kennedy, University of
Edinburgh, December 2008.
Capitolo 16
359–360: Interview with Dr. Francesco Laurenzi from Ospedale San Camillo in Roma, with Dr. Liliana Riga from the
University of Edinburgh, January 2009.
Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.