Latest news with #Felice
RTÉ News
17 hours ago
- General
- RTÉ News
Meet the independent, fierce, proactive women of medieval Ireland
Analysis: Translators of medieval romances reshaped stories to portray Irish women as more independent and proactive than their English counterparts In the 15th century, Ireland experienced a remarkable wave of translations of Continental narratives. But the way these translations were produced differs sharply from modern practices. Like their European counterparts, Irish translators prioritised making texts accessible and appealing to their new audience rather than remaining strictly faithful to the source. Foreign stories were reshaped to suit Irish tastes and conventions, making them distinctly Irish. A striking example is Beathadh Sir Gui o Bharbhuic, the Early Modern Irish version of the Middle English Guy of Warwick, itself a translation of the Anglo-Norman Gui de Warewic. The Irish text survives in a single manuscript, held at Trinity College Dublin, and textual evidence suggests it was produced in the last quarter of the 15th century by Uilleam Mac an Leagha, likely a member of the prominent Leigheas family of scribes and translators of medical texts. Comparing the Irish adaptation of Beathadh Sir Gui with its English source reveals interesting differences between the two versions, as well as important aspects of the socio-cultural landscape of late-medieval Ireland. While structure and style were changed in the process of translation, the most telling cultural insights emerge from differences in content. The plot remains largely the same: Guy of Warwick falls in love with Felice, the Earl of Warwick's daughter, and wins her hand by proving his worth in battles abroad. Soon after their marriage, burdened by his violent past, Guy departs on a pilgrimage of atonement, returning shortly before his death. However, the Irish adaptation shifts the story's focus by placing greater emphasis on piety, chivalry and tournaments. The most fascinating divergence, however, lies in the portrayal of women, especially in the figure of Felice. Across several key moments, the Irish text reimagines her role, making her more independent than her English counterpart. This shift is first visible in Felice's introduction. In the English text, she is a conventional romance female character, praised mainly for her beauty. The Irish version, however, presents a more nuanced figure. While her beauty is acknowledged, greater attention is devoted to her piety, gentleness, and skill in embroidery and handiwork. The focus on these practical skills reflects the social expectations for noblewomen in late-medieval Ireland, where weaving and embroidery were essential elements of their upbringing. Moreover, the Irish Felice shows some agency in her marriage. In the English romance, her father arranges her marriage without her consent. In the Irish version, he consults her, framing the union more as a partnership between equals. This reflects long-standing Irish legal traditions, as early Irish law recognised forms of union such as lánamnas comthinchuir ('marriage of common contribution'), where both spouses contributed equally to shared property, and lánamnas for bantinchur ('marriage on woman contribution'), where the woman brought most of the assets into the union. Irish Felice's active role in her marriage is also seen in how she expresses her love: she only declares her feelings once the marriage is being arranged, when it has legal and practical significance. By contrast, the English Felice, as a typical emotional romance heroine, expresses her love before any formal arrangement, about which she has no say anyway. The Irish Felice channels her sorrow into action and devotes little time to weeping Felice also emerges as more proactive at two of the story's most dramatic moments: Guy's departure for his pilgrimage and his death. In the English version, she is passive and driven by emotion. During her husband's absence, she feels extremely hurt, with a brief mention of her engaging in charitable works. After his death, she is helplessly overcome by grief, isolates herself, and eventually dies of heartbreak. By contrast, the Irish Felice channels her sorrow into action and devotes little time to weeping. During Guy's absence, she commissions chapels and religious establishments to pray for his safe return. After his death, she sets aside her grief to found a monastery attended by 30 priests. Only after completing these works does she allow herself to die. This reflects a reality of late-medieval Irish society, where women could act as patrons of religious foundations and literary production. Another crucial shift appears in the depiction of Felice's burial. In the English version, she is laid to rest with Guy, but the Irish versionspecifies that she is buried alone. Significantly, the Irish word for 'alone', aentuma could imply widowhood, but primarily referred to unmarried women, who could enjoy a certain degree of independence. This idea of women living alone with some measure of autonomy was embedded in early Irish law, notably in the law collection Senchas Már and the legal tract on marriage and divorce Cáin Lánamna. Widows could control dowries and joint property, make wills, enter contracts and act as heads of households without male guardianship. Unmarried women typically remained under male guardianship, but they could manage property if they stayed single past a certain age, usually around 20 years of age (especially if they inherited family land). Although the absence of the exact source text forces us to treat these conclusions as speculations, the connection between the more independent Irish Felice and the socio-legal reality of women's lives in Ireland is strong. It makes a convincing case that her characterisation was a deliberate choice by the translator. This portrayal reminds us that medieval translation was not just about language, but was also a reshaping of stories adapted to a new world, where women were more than just 'faeries'.
Forbes
02-06-2025
- Business
- Forbes
New York's Fenice Restaurant Expands Into A Spectacular Location In The Suburb Of Port Chester
SA Hospitality Group has taken its Italian restaurant chain north to Port Chester, NY Restaurant chains are of three kinds: There are the garish global fast food chains where everything is always the same, good and bad; then there are the global high-end restaurants owned or contracted by celebrity chefs that rarely sustain the quality of the original; the third, like SA Hospitality Group, is able to maintain a consistent chain of fine restaurants that acquire a distinct chic about them wherever they open. SA was originally known for its Sant Ambroeus cafés and pastry shops, the first opened in Milan in 1936, now with more than a dozen in the U.S. and Europe, all of them beautifully designed, polished and very Italian wherever they are. They also run the posh Casa Lever in Manhattan, as well as a chain of casual Fenice restaurants, the first of which opened in New York in 2007, now with a dozen there and Florida, including the more refined Felice 56, all under the direction of Culinary Director Iacopo Falai. Fenice is set within a former warehouse from 1903. Menus are pretty much the same at each, and all maintain a kind of cooking and stylistic flair that draw packed houses of regulars. The newest in the chain is Felice Port Chester, located in what had been a vast 7,600 square foot warehouse dating to 1903, in recent years converted into a steak house, then a seafood restaurant. Little needed to be done to an extraordinary interior with its high ceiling hung with wide chandeliers, brick walls, patterned carpets, leather booths and banquettes, all artfully lighted and set with linens. To the left is a large bar and lounge where one can also dine. Despite the echoing height of the space, the noise level isn't all that bad, especially in the booths along the wall. Felice draws from various Italian regions for its extensive menu. The menu is large, and although SA promotes the idea that they feature Tuscan cuisine, there is actually very little derives from that region. Instead there are items from Rome, Florence, Naples, Sicily and other cuisines throughout, beginning with starters like the pizzette, which are small and fairly flat, with toppings like Margherita, spicy n'duja pork condiment, and mushrooms and Taleggio. Freshly made spinach and ricotta ravioli Among the pastas I most enjoyed was the hearty fresh ravioli della casa filled with spinach and simply dressed with butter and sage and Parmigiano-Reggiano. A hefty serving of pappardelle with sweet Italian sausages took on nuances from braised endive, porcini,herbs and a truffle sauce, while potato gnocchi were treated to a springtime pesto and the surprise of creamy burrata. Disappointing, though, was a dish of spaghetti al vongole that did not use small vongole verace clams but instead larger, pulpy New Zealand clams, a mis-step Falai told me would be remedied in the future. Branzino is steamed in a pouch to retain succulence. It was good to see a sumptuous, deeply flavorful duck confit on the menu as a special rarely encountered on Italian menus, served with tender white cannellini beans. Tagliata di manzo was twelve ounces of medium-rare sirloin with roasted potatoes, at a reasonable price tag of $53. Branzino at Felice is steamed in an aluminum foil pouch to retain all the juices, lemon and olive oil. Pollo pomodoro e lattuga proved to be a lackluster fillet of white chicken that needed seasoning, helped only by sun-dried tomato pesto, Kumato tomatoes, Bibb lettuce, pickled onions and red wine vinegar. The dessert your table must share is the 'Signature Felice Gelato Crema Buontalanti'––a mountain of what seemed a quart of soft vanilla ice cream in a silver bowl with various dried condiments on the side. Four of us could not finish it all. Otherwise there are the usual tiramisu, cheesecake and a fine pistachio almond cake. Where Felice does play its Tuscan hand is in the excellent wine list with all the best labels and quite a few unfamiliar ones, with seven whites and eight reds by the glass. Who knows how far SA Hospitality will carry the Fenice brand? What will be crucial is their ability to find the professional kitchen and dining room staff to maintain what it has been so successful doing up until now. In Port Chester, they most certainly have. FELICE Port Chester 55 Abendroth Avenue Port Chester, NY Open for dinner nightly; brunch Sat. & Sun.
Eater
02-06-2025
- Entertainment
- Eater
This Brooklyn Neighborhood Was a Restaurant Dead Zone — Until Croissants Helped Changed Everything
Montague Street has long been the ugly duckling of Brooklyn Heights, a sad stretch of meh restaurants in one of the city's most attractive neighborhoods. Yet when croissant darling L'Appartement 4F opened in 2022 (115 Montague Street, at Henry Street) to viral lines, this started to change: Since then, Montague Street has slowly come to life, with the opening of stylish revamp, Montague Diner; a new location of Italian mainstay Felice; and a sprawling outpost of the Georgian restaurant, Chama Mama. A wave of independent, buzzworthy restaurants has helped the neighborhood's momentum. It began with Michelin-starred Clover Hill in 2019, followed by the arrival of bistro favorite Inga's in 2022, , the all-day cafe Poppy's in 2023, and wood-fired pizza spot Jules in 2024. Then, late in April, a chef-driven restaurant landed on Montague when Brendan Spiro opened Café Brume, ushering in compelling wine list and a Alpine-meets-Italian menu from Le Coucou alum Ian Anderson. The latest addition is the Swedish bakery Ferrane, which adds fresh energy and swirled cardamom buns to the area's transformation. Another big-deal development was announced late May: Once called the Waldorf-Astoria of Brooklyn and the location where the Brooklyn Dodgers celebrated their 1955 World Series win, the Hotel Bossert, at 98 Montague Street at Hicks Street, was acquired by real estate developer SomeraRoad. Their plan is to reopen the building as luxury residences with an anchor restaurant tenant to be determined. All of which is to say that Montague Street is becoming a swan. Brooklyn Heights is the oldest landmarked neighborhood in New York City, an enclave of centuries-old brownstones, antebellum-era townhouses, cobblestone streets, and wide stoops. Ironically, Brooklyn Heights' main commercial corridor, Montague Street, which runs four blocks from Court Street to the majestic Promenade, had never been home to an interesting bakery, a chef-driven restaurant, or even an independent coffee shop. Back in the 1980s, places like Mr. Souvlaki and Armando's were pushed out by landlords looking for higher rents. In their place came a revolving slate of middling restaurants – chains, oddballs, and lots of uninteresting Thai – serving a mostly transient crowd of courthouse workers and students. Residents who'd plunked down multiple millions on brownstones and pre-war apartments left the neighborhood to find dinner. During the pandemic, something unusual happened: Ashley and Gautier Coiffard began baking croissants and baguettes out of their tiny apartment in Cobble Hill, selling out within hours, creating a frenzy on social media. Around that time, Lara Birnback, the executive director of the Brooklyn Heights Association, was reviewing the results of a survey she'd sent out to roughly 2000 neighbors asking what businesses they might want to see open on Montague Street. Their top response? A bakery. Birnback was determined to transform Montague Street and cold-called the Cobble Hill couple. 'I said, we have some vacancies on Montague Street, would you like to come look around?' Birnback recalled. 'They had never run a business before, but I found a landlord who was willing to take a chance on an untested model. It was a chance harmony of an enthusiastic couple and a landlord willing to be flexible.' That landlord, John M. Tucciarone, helped change the landscape of Montague Street. 'The success of 4F was a big neon sign to the rest of the culinary industry,' said Ravi Kantha, who runs Serhant, a real estate brokerage that focuses on the luxury townhouse market in Brooklyn Heights. 'It's like, 'If you build it they will come.' It sends a signal to other restaurateurs and investors who have a track record to look at Montague Street.' For decades, Montague Street landlords offered month-to-month leases, charging egregious rents, and were unwilling to partner with restaurant talent. But that changed post-pandemic when dozens of empty storefronts quickly turned Montague into an eyesore. Tenants like Spiro say landlords are more willing to work with tenants. 'There is change afoot, mostly coming from a softening which happened after the pandemic with so many empty storefronts,' he said. 'Landlords finally started to think about the character of these storefront properties and how it would benefit not only the community but Montague Street.' Amanda Hesser — founder of Food52 and author of the Substack Homeward— moved to the neighborhood over 20 years ago and says she 'always chalked up the lack of evolution to businesses having long leases and or owning their buildings. I liked its lack of coolness, but you did have to leave the neighborhood to eat well and shop.' She, too, looks to the opening of L'Appartement 4F as the turning point, followed by Books Are Magic, Poppy's, and so on. 'The neighborhood has more of a pulse now, and is shedding its reputation as the place your grandparents live. But let's hope Brooklyn Heights never gets too big for its boots.' Not everyone believes Montague Street will continue to support independent restaurants. Rob Hebron, who has run Hebron Realty on Montague Street for 20 years, is not convinced. He says landlords would rather let spaces sit vacant than compromise on rent. 'Nothing would make us happier than landlords working in partnership with mom-and-pop restaurants to increase food options and revitalize the neighborhood, but it's $100 per square foot, and restaurants want to pay $75, and that does not happen,' he said. Others on the ground are far more optimistic. 'I don't think that having vacant space for an extended period of time does anyone any good – for the street or the neighbors,' said Tucciarone, the landlord who rented the space to L'Appartement 4F. Before the bakery, the space had been left vacant during COVID; it previously housed an Emack & Bolios and a Connecticut Muffin. Kip Green, a partner in the Montague Diner, expects the evolution to continue. 'This is a pivotal moment and we are going to see more inspiring concepts and landlords that are going to be more flexible with creative concepts.' The renovation of the Bossert into high-end residences with a restaurant anchor tenant is sure to move the needle even more. 'Change happens slowly; you can't click your heels,' said Ian Ross, founder of SomeraRoad, and a longtime Brooklyn Heights resident. 'When I look down and up the block, I am enthralled with what is going on.' 'I try to get everyone to come to Brooklyn Heights,' said 4F's Ashley Coiffard. 'As long as you are for the neighborhood, you will be successful here.' Sign up for our newsletter.
Forbes
07-04-2025
- Entertainment
- Forbes
Robbie Felice's Wafu-Italian Dining Experience Is Headed To Las Vegas
Robbie Felice of pastaRAMEN Las Vegas is known for its casinos, late night scene, and of course, its endless dining options. Well, add another one to the list this spring as pastaRAMEN, the innovative Wafu-Italian dining concept from James Beard-nominated chef Robbie Felice and Montclair Hospitality Group, makes its way to Resorts World Las Vegas for a highly anticipated one-month pop-up. Set to launch on Tuesday, May 15, the delicious experience will be hosted at Bar Zazu, featuring an all-new menu with exclusive sake offerings from HeavenSake. 'Every time we bring pastaRAMEN back on the road to a new location or city I try to have parts of the menu really lean into that place,' says Felice of the Las Vegas menu. 'I try my best to use the freshest local ingredients, but also really get a feel for the city and create a menu that fits that city and the people in it.' He adds that there will be special menu items that will never be seen outside of this location. pastaRAMEN got its start as a pop-up omakase experience during the pandemic with appearances in New York City, Miami, Seattle, and Los Angeles. Now, for the first time, Las Vegas diners will have the opportunity to experience Chef Robbie Felice's boundary-pushing approach to Japanese Italian cuisine in an intimate, immersive setting. Japanese Italian cuisine When asked to explain Wafu-Italian, Felice says that's the golden question. In order to picture what this unique cuisine entails he says to imagine you are in Japan sitting at an Italian restaurant having a Japanese chef cook you Italian food. 'If I served you a dish that I said was Wafu-Italian and then put you on the spot and immediately after you tasted it asked you, "Is it Japanese or is it Italian?" The slightest confusion before answering the question is all I need,' says Felice of the cuisine. 'Those few seconds before answering is the exact confusion or uncertainty that is Wafu-Italian cuisine.' Acknowledging Vegas is a city filled with great restaurants from other designations, Felice is confident pastaRAMEN will be embraced. 'I love the restaurant scene out here. It's diverse and pastaRAMEN truly fits the Vegas scene.' The journey to Las Vegas is a homecoming for Felice, who spent his formative years in Sin City honing his craft. Following his time at Babbo in New York City, Felice worked for four and a half years at B&B Ristorante in Las Vegas, eventually rising to the role of Sous Chef and overseeing the Salumi Program for multiple Las Vegas locations. Felice says it feels amazing to make his way back to Las Vegas, this time with his own concept. 'I always knew I would come back in some way shape or form,' says Felice. 'I just never knew how or when. A pastaRAMEN popup is the absolute best way to be coming back out to one of my favorite cities in the US. The best part is it is a full restaurant pastaRAMEN pop up which is our first time ever doing it as a full service restaurant.' The pop-up featuring Felice's signature Japanese-Italian cuisine will be open Tuesday through Saturday from 5pm to 10pm. Seating is limited to 100 guests per night, and reservations are available via Resy.
CBC
13-03-2025
- Entertainment
- CBC
Métis woman teaches kids to love the culture — but her own daughter surprised her
Felice Gladue has a deep passion for sharing her Métis culture with children, but she says for a brief time, her own kids were her toughest audience. Felice, whose Métis ancestry comes from St. Laurent, Man., began sharing her culture with children while working for Aboriginal Head Start, a preschool program for Indigenous kids, more than two decades ago. "I just feel such a great connection and a great sense of joy to be able to share with others about the Métis people," she said. About a decade ago she founded Metis ALIVE, a company based in Beaumont, Alta., (just south of Edmonton) to help share Métis history and traditions in schools and the community. But while she's been helping other children learn about Métis culture, Felice said she "dragged" her own kids around to events and programs to immerse them in it. "There's a point where they're kind of like those teenagers where they don't want to do anything," Felice said. Willow Gladue, now 16, agrees with that assessment. 'Mom, I can jig' "I remember hating having to go to all the events and stuff and having to say hi to people all the time," Willow said. During the pandemic that changed, the teen said. She heard about a jigging contest with prize money. "I was like, 'Oh, I can make that much money for jigging?" she said, and asked her mom if she could take part in the virtual competition. Felice said she was skeptical. "I'm like, 'Well, you need to learn,'" she remembers saying. She said she thought she would need to teach Willow the steps. However, after growing up around it, Willow says she knew what to do. "I do remember that day being like, 'Mom, I can jig. Like, I literally have watched you all these years. Of course I can jig.'" She said she remembers her mom hesitating before putting music on, but once it was on Felice was convinced. "She flat out did the Red River jig. And I was just like,'What the heck?" From there, Willow says her love of dancing grew. "I just kinda was like, 'I wanna do this.' I'm proud of my culture and I'm proud of who I am and I just, I love to dance," she said. In addition to dancing and singing, Willow also plays the fiddle, guitar, piano, drums, harmonica, ukulele and the kalimba. While she enjoys each of those, Willow said she hopes to pursue acting and attend the Vancouver Film School after high school. Working for Metis ALIVE has helped her make some money to pay for it. Willow joins Felice at presentations, even travelling out of Alberta, and demonstrates jigging. In addition to dancing, Willow has also worked to put together DIY capote (or capot) kits for dolls. The capote coats are a traditional Métis garment and "really represents our ancestors" who worked as voyageurs, trappers and traders, according to Felice. The kits — which Metis ALIVE has also sold in child and adult sizes, as well as for dogs — include all the pieces of fabric needed to make the coats, a darning needle, pattern, instructions and even a tiny Métis sash. Pride in culture Felice also tries to bring the culture and history alive through dancing, singing and acting. When visiting schools, Felice says she begins by asking if there are any Métis, Inuit or First Nations kids in the class. "Sometimes nobody will lift up their hand," she said. "But by the end of my presentation, by the end of the experience, that kid is coming up to me in a real quiet voice [saying], 'You know what, actually? I am Cree.'" She said she's asked kids why they wouldn't identify themselves at the beginning of the class, and they've said they were embarrassed. But after seeing the friends and classmates enjoy learning about Métis culture — songs and dances and stories — they have the confidence to own their identities, she said. Felice said she was pleasantly surprised to see Willow enthusiastic about getting involved with presentations and the capote kits after years of not showing interest. "But you know what? Her foundation is there. And when she was ready to come back, she came back."
