豆糜粥，雞子粿，永康方餅

 平伯家進豆糜粥   頁206

 .......此是浙西好風味 主人分惠不忘忘之.《朱自清全集‧ 第五卷‧ 詩歌編 新詩 歌詞 舊體詩詞 補遺 》
 糜，淖糜，泔糜，粥，饘粥 ，滒 ，嗺 ，拶，剞劂 ，鎛 ，碭

遊過八詠樓、婺江，在步行街逛了一遍，趣味不大，因為鄰近義烏，如今的金華有許多琳琅繽紛的小商品販售店。我們沿八一路，轉入五一路附近的小街，先嘗了一 道蘭溪小吃雞子粿，麵皮中包進蔥和肉入油鍋煎，煎至半熟時把朝上的麵皮挑破一小口，將一個雞蛋先在碗裡加入料酒和生抽打碎，再把雞蛋液倒入小口，繼續煎至 雞子粿兩面金黃出鍋，雖然只是一道尋常點心，吃來確實味美。較之稍早在浙師大附近吃的永康方餅，各具特色。永康方餅有兩種餡，鹹菜加肉和乾菜加肉，餅皮筋 道，剛出鍋時口感微顯焦脆，涼了就有些韌，內餡鮮香富江浙特色。大多數的餅是圓形，永康方餅卻折成方形，有人說是借方岩之名，因為方岩有胡公大帝，胡公是 北宋良官，因奏請減免衢州婺州歲賦，百姓念其恩德，所以建胡公殿，連餅也做成了方的。楊明

Know your place 餐桌布置艺术

2012年07月06日 07:59 AM

餐桌布置艺术最显身份

Know your place

作者：英国《金融时报》 蒂姆•海沃德

 

A couple of weeks ago, an odd message appeared on Twitter. An American food writer, sitting in a very exclusive restaurant, posted a picture of a spoon. Unlike the average tweeted food porn, this was accompanied by a plaintive request: what is this thing and what is it for? The tweeter, Kat Kinsman, is managing editor of CNN Eatocracy and she was sharing a table with a group of other high-powered foodists at a dinner honouring Thomas Keller at the time she hit “send”. Kinsman has prior form with flatware, as she mentioned later: “I have an MFA [master of fine arts] degree in Metalsmithing and am always deeply amused by antiquated or single-purpose items like grape shears, lamb handles, fish knives, etcetera.” The spoon, as a rapid Google search established, was a cuillère à sauce individuelle, with a flat spatula-like bowl, so sauce can be scraped from the plate without tilting it, and a notch through which any superfluous fat can drain.	几周前，Twitter上出现了一条怪信息：在一家很高档的餐馆，美国某美食作家当场在 Twitter上贴出了一张勺子照片。与其它通常张贴的美食图片不一样的是：这张照片后面附了一则略带忧郁的设问：这是什么？能作何用？发照片者为CNN Eatocracy美食博客总编辑凯特•金斯曼(Kat Kinsman)，点击“发送”键时，正与一伙高级美食家就坐一桌，参加给托马斯•凯勒(Thomas Keller)捧场的晚宴。金斯曼之前也曾在网上发过扁平餐具的照片，正如她事后所说：“本人获得过金属加工的美术硕士学位，一直对有年头或是功能单一的 餐具（葡萄剪、羊肉手柄、食鱼刀等）情有独钟。”快速搜索一下Google网，就知道它是带有扁铲状匙底、单独舀汤用的勺子，有了它，从盘子里舀汤就不再 怕倾斜，勺子上的缺口则能滤掉多余的油。
It’s reassuring to a food geek, of course, that such a specialised piece of kit exists. Yet the idea that a culinary Pythia of Kinsman’s stature had to connect with a worldwide network of food nerds to find out what the hell she was eating with means something is a little out of whack. As she puts it, “I felt in the presence of exceptional schmanciness.”	当然，美食专家坐拥这么一件具有专门用途的餐具会显得底气十足。但一想起金斯曼这样高造诣的美食专家还得与全球的美食网民套近乎，以确认自己享用大餐所用的餐具是否上档次，这事本身就有点不正常。正如她所言：“看到如此华丽精致的餐具，感觉有点茫然不知所措。”
Any way you look at it, the use of utensils at table is culturally specific. In our own history, it was common to carry a knife in readiness for food. Only in the 17th century did the fork finally reach the English aristocracy, by way of France and Italy. Even then, it was regarded as an affectation and occasionally banned by the Church in various parts of Europe as an affront to God. The use of cutlery by ordinary people wasn’t common in England until the 18th century, when cheaper methods of mass production began to make such aspirational objects more widely available.	不管怎么看待它，如何使用餐桌用具蕴含特定的文化内涵。纵观人类历史，饭前备一把刀司空见惯。 直到17世纪，在法国与意大利的影响下，叉子才正式被英国贵族社会所接受。即便那时，使用叉子仍被视为做作之举，欧洲基督教会还时不时以其冒犯上帝之由发 出禁令。在英国，一般民众18世纪才普遍使用餐具，成本更低的规模化生产让这种梦寐以求的餐具成为寻常百姓的日常用具。
Like pretty much everything else the English have adopted, we quickly made cutlery into a class signifier. Throughout the Georgian and Victorian periods place settings expanded with great armouries of increasingly specialised and elaborately decorated utensils. Some, such as the soup spoon – with a wide, deep bowl and offset to remain level when bringing the soup to the mouth – were fantastically useful when eating socially and sumptuously dressed. Others, such as the fish knife – supposed to be useful in separating and lifting off cooked fillets – were worse than useless and became symbolic of arriviste ostentation. Perhaps this is the root of the longstanding rumour in foodie circles that the royal household doesn’t use fish knives (though they do appear at formal banquets). The Buckingham Palace press office politely “refuse to confirm or deny” this.	与英国人所接受的其它事物大同小异的是，他们很快把餐具变身为身份等级的标志。纵观整个英王乔 治及维多利亚统治时期(Georgian and Victorian periods)，随着分工越发明确、装饰越发精巧的餐具的出现，餐位餐具的摆放也越趋复杂。对于衣冠楚楚、但又希望有好吃相的人来说，匙底宽深、有一定 弧度，能确保喝汤时仍呈水平状态的汤匙就有了大显身手的机会。其它餐具如食鱼刀——想当然地以为它方便切夹熟鱼片——则一无是处，成了暴发户卖弄的象征。 这也许就是美食界一直传言王室家族不使用食鱼刀说法的由来吧，虽说它们也现身于正式宴会场合。对此说法，白金汉宫(The Buckingham Palace)新闻办公室则用“不置可否”来礼貌地做出回应。
John Betjeman’s poem “How to Get on in Society” ruthlessly minces such pretensions, listing fish knives, serviettes, frills on cutlets, cruets, pastry forks and doilies. That’s six references to place settings in a 20-line poem widely regarded as one of the wittier comments on the British class distinction. Let’s face it, as a nation we’re probably more obsessed with what’s set around our plates than we are with what’s on them.	在自己的诗作《如何在社交场得心应手》(How to Get on in Society)中，约翰•贝杰曼(John Betjeman)以食鱼刀、餐巾、烤肉架、调味瓶、点心叉以及桌布为例，对餐桌礼仪的细枝末节娓娓道来。在总共20行的诗句中，通过这六种东西阐述了餐 位餐具的安排，被视为是对英国身份划分最为睿智的评述。我们得正视此事，因为从整体而言可能更多“沉迷”于餐盘周围的摆放，而不是在乎餐盘里摆放的东西。
The haute cuisine restaurant is the exemplar of the notion that to dine well, one must lay the table well. My chance to understand the extent of contemporary table theatre came when I was offered a place on “The Art of Fine Dining” masterclass at the three-star Alain Ducasse restaurant at The Dorchester. The dining room contains what is often billed as the most beautiful table in London, “Table Lumière”, which is “surrounded by a luminescent oval curtain of 4,500 shimmering fibre optics” and equipped with what I can only describe as the Mother of All Sideboards, a floor-to-ceiling display cabinet containing the three sets of Hermès china, Puiforcat silverware and Saint-Louis crystal from which diners can select their own settings. Table Lumière also has its own separate dishwasher: that’s a man, not an appliance.	要想吃好，就得讲究餐桌布置，高档餐馆是贯彻此种理念的典范。本人获邀参加在伦敦多切斯特酒店 (The Dorchester)三星级餐厅艾伦•杜卡斯(Alain Ducasse)举办的名为“舌尖上的艺术”(The Art of Fine Dining)高级培训班，算是有幸了解了当代餐桌礼仪之博大精深。杜卡斯餐厅拥有一张名为Table Lumière的餐桌，被誉为是全伦敦最漂亮的餐桌，四周挂着拥有4500根闪着微光光纤的椭圆形窗帘，并配备着各种最精华餐具。在整整一面墙的陈列柜 里，摆放着爱马仕(Hermès)瓷器、皮福尔卡(Puiforcat)银器以及圣路易(Saint-Loui)水晶三整套餐具，用餐者可任意组合，还配 有单独的洗碗工：一位男士，而非洗碗机。
Nicolas Defrémont, the effortlessly suave restaurant director, dressed me in a brown overall and a pair of cotton gloves and took me through the process of setting one of the more ordinary tables. Table and chairs are aligned to the geometry of the room and centred under individual pools of light. The tablecloth is ironed into position. Crockery and cutlery are wheeled to the table on a special cart and polished individually, before being laid out using a complex system of measures based on the width of a finger (God help you if you don’t have Michelin-approved digits). As each piece is placed relative to the last, a simple error of millimetres at the beginning of the set-up can snowball, resulting in the whole table having to be reset. Defrémont believes that a setting should actually be as simple as possible – there’s no terrifying phalanx of weaponry these days. The starter instruments are laid on either side of the “show” or decorative plate and the waiter will exchange them for the correct bespoke tools according to your order.	温文尔雅的餐厅总管尼古拉•德弗雷蒙特(Nicolas Defrémont)让我穿上棕色工作服，戴上棉质手套，然后让我体验布置普通餐桌餐具的整个流程。餐桌与椅子要与房间的形状成一线，并位于各种灯具的正 下方。桌布要熨烫平整后铺摆到位。器皿与餐具要用专用推车推至餐桌旁，再一件件擦亮，然后根据复杂的度量方法（由手指的宽度来确定，这是米其林星级餐厅的 通行做法，若您没有手指，嘿嘿，那就没辙了）把它们摆放到位。由于餐具相互之间的摆放环环相扣，若一开始失之毫厘，最终则可能谬以千里，到头来只能推倒重 来。德弗雷蒙特认为餐桌的布置实际上应尽可能简单——如今不再里三层外三层地摆放各种餐具。刚开始的餐具就摆放在装饰盘的一边，服务员会根据你所点的菜， 适时把它们换成相应的专用餐具。
Today’s show plates have a pattern on the front which must be aligned perfectly to the diner. On days when the aesthetic of the food requires plain ones, Defrémont explains, they are set so that, should the diner decide to flip them over to read the manufacturer’s name on the underside, they will be able to do so without the need for any troublesome rotation.	如今的装饰盘前面都有花样，它必须与用餐者完全保持在一线上。德弗雷蒙特解释道，有时食物的美观需要搭配花样简单的装饰盘，它们这样摆放的好处是：用餐者若想翻看盘子背面厂商的名字，可以直接翻看，而无需再麻烦地转个查看。
Sessions followed on napkin folding and the selection of the correct glass for various kinds of wine. Every single element was entirely logical, and planned so the customer’s experience should be seamlessly enjoyable. In fact, my abiding impression was of the incredible amount of work that goes into the setting that should never be noticed – a kind of antithesis of ostentation created with some of the most reassuringly expensive kit I’ve ever been allowed to handle.	培训课接下来讲授的是餐巾纸的叠法以及如何选择品味各种葡萄酒的玻璃酒杯。每一个环节都完全条 理分明，安排妥当，让用餐者的体验至始至终是一种享受。事实上，本人一贯的印象是：布置餐桌所付出的N多努力可能永远难以觉察——这种布置并非出于卖弄， 而是本人通过亲身操弄那些最贵重餐具器皿后的真实感受。
As Ducasse represents the very highest level of three-star table art, there is an opposing philosophy.It doesn’t have a name, but you’ll sense its presence in restaurants that use plain white crockery and simple, even unmatched, cutlery. Probably the best example is St. John – no “art” to distract, no background music and staff in something more like chef whites than the starched outfits of traditional waiters. Simplicity usually extends to doing away with the side plate altogether and relying on the clean expanse of white tablecloth or paper slip on which to break the hand-made sourdough. Places such as Andrew Edmunds or Hereford Road have a similar, almost monastic, aesthetic which is intended to focus attention on the food while escaping any of the social pressures of formality.	杜卡斯代表的正是米其林三星级餐厅最高水准的餐桌布置艺术，另外还有另一种截然不同的餐桌布置 哲学。它没有具体名称，但很多餐馆里可以感觉其存在——使用纯白色餐用器皿与简单、甚至不配套的餐具。最好的例子也许要数圣•约翰餐厅(St. John)了——没有所谓的“艺术”去分散用餐者的注意力，也没有背景音乐，员工穿的是厨师的白色工作服而非传统服务员所穿的那种刻板工装。更有甚者，简 约得干脆把小寸盘悉数去掉，只留下平整的白桌布或纸卷，径直在上面切手工酵母面包。安德鲁•埃德蒙兹(Andrew Edmunds)与禧福道(Hereford Road)等餐厅的审美情趣大同小异、几乎堪比修道院，目的就是让用餐者专注饭菜质量，同时可以避免正式社交场合之繁文缛节。
At both ends of the scale the table setting remains a social bellwether – cutlery and crockery are still about class. We either espouse the pretensions of our forebears in new and subtle ways, or knowingly subvert them to show how little we care for bourgeois values (while remaining resolutely bourgeois). In the end, both positions rely on a forensic reading of social convention. Betjeman would have approved.	不管是简约型还是繁杂型，餐桌布置依然是社交中的重头戏——餐具与器皿的放置仍攸关用餐者的身 份地位。我们不是以全新微妙的方式奉行先祖们繁文缛节的那一套，就是有意颠覆之，表明对这套布尔乔亚的价值观多么不屑一顾（同时依然信守布尔乔亚式的生 活）。不管怎样，这两种方式都取决于对社会传统习俗的辩论式解读。我想贝杰曼肯定也会赞成这么做。
Alain Ducasse at The Dorchester, 53 Park Lane, London W1, 020 7629 8866, www.alainducasse-dorchester.com. Tim Hayward is The Guild of Food Writers’ Food Journalist of the Year	伦敦多切斯特酒店的艾伦•杜卡斯餐厅位于伦敦W1帕克巷(Park Lane)53号，电话：020 7629 8866，网址：www.alainducasse-dorchester.com。蒂姆•海沃德是《美食写作指南》(The Guild of Food Writers)评选出的美食报道年度记者(Food Journalist of the Year)。
	译者/常和

日經:日式拉麵發展小史/ 禁止生吃牛肝

日本告別生吃牛肝(2012/06/15)

生吃牛肝是一種日本的食文化，但因會引起中毒從7月1日起禁止餐廳提供生牛肝，不少日本吃客惋惜不止。　

日式拉麵的前世與今生

2012/05/28

       拉麵由中國傳入日本，如今已經完全成為日本的大眾美食。據說現在日本全國有10萬家拉麵店，日式拉麵甚至還成了中國遊客訪日時最想品嘗的料理之一。日式拉 麵之所以能發展到如此，是因為日本的吸收、細緻及創新精神。日經中文網集中為您揭開不斷進化的日式拉麵的奧秘。

	日式拉麵物語(1)：春木屋理論 在日本拉麵界有一個廣為流傳的“春木屋理論”。 為了讓客人每次吃口感一樣的面，就必須不斷改 善拉麵的味道。這是春木屋第一代店主、已故今村 五男琢磨出來的“春木屋理論”。
	日式拉麵物語(2)：拉麵如此進化 日式拉麵的進化與日本經濟的發展同步，從湯麵到 速食麵，再到蘸面，日式拉麵的進化史就如同一部 日本經濟的發展史。
	日式拉麵物語(３)：拉麵經濟學 一碗小小的日式拉麵裏還蘊藏著深奧的經濟學， 拉麵能帶來巨大的經濟效益。近來日式拉麵的市 場開發更是超出了固有思維模式

Spoon fed: how cutlery affects your food 金屬餐具左右美味！

Spoon fed: how cutlery affects your food

By Fuchsia Dunlop

 

So you’re having friends for dinner. You’ve worked out a delicious menu, paying careful attention to the colours and flavours of the dishes. Perhaps you’ve even thought about music and lighting. But did you remember to consider the flavour of your cutlery?

Dr Zoe Laughlin and Professor Mark Miodownik, co-directors of the Institute of Making at University College London, think you should. They and their colleagues have conducted a series of scientific experiments into the way spoons coated in different metals affect the tastes of food. And recently, they held their first spoon-tasting dinner, an event attended by materials scientists, psychologists and culinary luminaries such as Heston Blumenthal and Harold McGee, who had flown over from the US for the occasion.
In a private room at Quilon, the Michelin-starred restaurant in London, guests tried seven courses of delicately spiced southwest Indian food with seven different, freshly polished spoons: copper, gold, silver, tin, zinc, chrome and stainless steel. The base of each spoon was engraved with the periodic table symbol of the element with which it was plated.
Laughlin and Miodownik are materials scientists who wanted to find out how identically-shaped objects such as cubes and bells behaved when they were made from different materials. Curiosity about how the materials might taste grew from this work. “It seemed obvious to do this with something that people felt comfortable putting into their mouths, which is why we ended up with spoons,” says Miodownik.
Laughlin, who is an artist as well as a scientist, designed the spoons and had them electroplated with metals that were – if not exactly edible – at least non-toxic, and essential, in trace quantities, for human health. She and her colleagues ran experiments in which human guinea pigs were blindfolded and given spoons to suck – on their own, and filled with simply-flavoured creams. What they found was that their subjects could distinguish between the flavours of the different spoons, and that the metals affected the perceived bitterness, sweetness and pleasantness of the creams.
After three years of research, they unleashed the spoons on this complex Indian dinner, served with a flight of seven beers. The sight of 15 adults sucking their spoons like babies was an unusual start to a dinner party, but they had surprisingly different flavours. Copper and zinc were bold and assertive, with bitter, metallic tastes; the copper spoons even smelt metallic as they gently oxidised in the air. The silver spoon, despite its beauty, tasted dull in comparison, while the stainless steel had a faintly metallic flavour that is normally overlooked. As Miodownik pointed out, we were not just tasting the spoons but actually eating them, because with each lick we were consuming “perhaps a hundred billion atoms”.
When the spoons were tasted with food, there were some surprising revelations. Baked black cod with zinc was as unpleasant as a fingernail scraped down a blackboard, and grapefruit with copper was lip-puckeringly nasty. But both metals struck a lovely, wild chord with a mango relish, their loud, metallic tastes somehow harmonised by its sweet-sour flavour. (“With sour foods, like mango and tamarind, you really are tasting the metal,” says Laughlin, “because the acid strips off a little of the surface.”) Tin turned out to be a popular match for pistachio curry. And Laughlin sang the praises of gold as a spoon for sweet things: “Gold has a smooth, almost creamy quality, and a quality of absence – because it doesn’t taste metallic.”
The idea of a meal as a multi-sensory experience is nothing new; what is recent is the science that’s illuminating the complexity of our perceptions. Professor Charles Spence of the Department of Experimental Psychology at Oxford University, another member of the spoon research group, has shown how playing crunchy, crackly sounds to people eating crisps makes them taste crisper, and that increasing the weight of spoons makes the food they carry taste better, sweeter and more filling.
So, might chefs one day consider the taste of their cutlery as part of the flavour of a dish? Heston Blumenthal has been known to serve edible cutlery made of chocolate dusted with silver. “I can imagine a spoon being part of a dish,” he says. “I’ve been surprised at the range of metal flavours we’ve tasted, and at the way some sit quite well with certain sour notes in food, like the zinc and copper with mango. I’ve always been sensitive to metallic tastes and had thought of the cutlery as interfering with the food; but here, the metallic note can, with some flavours, be more enjoyable than otherwise.”
Although the evening was thought-provoking, I didn’t feel the spoons added much to what was, in itself, a marvellous dinner. The sweet-peppery prawns were perfectly balanced, and did not require an astringent lick of copper, or even a smear of gold. By the end of the second course my tongue was beginning to taste as though it had been electroplated with metal. And even if eating honey ice cream with a golden spoon had an air of magic about it, I’m not sure I’ll be hurrying to plate my own spoons in gold.
Still, Laughlin and Miodownik hope eventually to produce a set of spoons designed, for example, for stirring coffee or eating crème caramel, and accompanied by tasting notes and recipes. “It would be a kind of spoon piano,” says Laughlin, “to play the food and make your own music.”
For more information on the Institute of Making, visit www.instituteofmaking.org.uk
Quilon: www.quilon.co.uk



 金屬餐具左右美味！作者：英國《金融時報》 扶霞•鄧洛普

您做東請朋友吃飯，絞盡腦汁準備了一桌美味佳餚，對菜的色香味也費盡心思，甚至還考慮了佐餐的音樂與燈光效果，但您是否考慮過餐具的滋味？
佐伊•羅克林博士(Zoe Laughlin)與馬克•麥道尼克教授(Mark Miodownik)是倫敦大學學院(University College London)材料學院的聯合院長。他們與同事進行了一系列的科學試驗，研究塗抹不同金屬材料的勺子如何影響食物的味道。前一陣子，他們舉行了首場品味勺子晚宴，邀請了材料科學家、心理學家、廚藝大師赫斯頓•布盧門撒爾(Heston Blumenthal)與哈羅德•麥吉(Harold McGee)等嘉賓參加，後兩人還是專程從美國坐飛機趕赴現場。
在倫敦米其林星級餐館奎隆(Quilon)的包間裡，嘉賓們用七把擦得鋥亮的勺子（銅、金、銀、錫、鋅、鉻以及不銹鋼）品嚐了印度西南地區七道美味佳餚：每把塗抹金屬的勺子底部刻有其對應的元素週期表符號。
羅克林與麥道尼克兩人是材料科學家，他們想搞明白的是：不同材料製作的外形一模一樣的物體（如立方體與球體），究竟有何不同特性。對各種金屬材質的勺子究竟有何不同口感的好奇也是源於這項研究。
羅克林既是位科學家，也是位藝術家，他設計了勺子款式，並鍍上了相應的金屬（即便不能食用，至少也得無毒，而且攝入少許對人體還有益處）。她與同事進行了試驗：給實驗者（就像豚鼠一樣）蒙上雙眼，然後讓他們舔勺子（單獨做，而且勺子裡是各種單一口味的奶油）。實驗表明實驗者能夠分辨出不同勺子的滋味，而且塗抹的金屬影響了奶油原有的苦味、甜味和味覺的愉悅感。
經過三年的研究，他們決定在花樣繁多的印度大餐上試驗塗抹金屬材料的勺子，並依次端上七杯啤酒。看著15位成年人像嬰兒一樣吮吸著勺子，這樣的晚宴開場場面頗為壯觀，但出人意料的是，勺子的滋味各不相同。銅勺與鋅勺的味道厚重些，略帶一絲金屬苦味；銅勺由於在空氣中略微氧化，所以聞上去甚至有股金屬味。銀勺儘管好看，但索然無味，而不銹鋼勺有一絲淡淡常遭忽視的金屬味。正如麥道尼克所言：我們不僅僅是在嘗勺子，而是在吃金屬，因為每舔舐一次，很可能就吃進去了“幾千億個金屬原子”。
用勺子吃食物時，往往會有一些意想不到的發現。用鋅匙吃烤黑鱈魚就像用指甲刮黑板一樣使人生厭，用銅勺吃柚子令人咂舌，使人噁心。但用這兩種金屬勺吃芒果風味的食物時會有一種盡在不言中的美妙感，它們厚重的金屬味能被芒果的酸甜味所中和。 （“吃芒果與羅望子這種酸東西時，您就像在品嚐金屬，”羅克林說，“因為酸能置換出一點表面塗抹的金屬。”）用錫勺吃黃咖哩再合適不過了。羅克林對用金勺吃甜食贊不絕口：“黃金表面光滑、有種綿密柔順的感覺，而且不會串味——因為它嘗起來並無金屬味。”
通過用餐來品味多種口感的實驗想法由來已久；新的只是用來說明我們感覺能力複雜的科學道理。牛 津大學實驗心理學系(Department of Experimental Psychology at O​​xford University)教授查爾斯•思彭斯(Charles Spence)是研究小組的成員，他演示了給正享用脆食的人發出嘎吱嘎吱的易碎聲音時，會讓感覺食物更脆，而且增加勺子重量會感覺吃的東西味道更好、更甜、更有飽足感。
因此，是否廚師們有朝一日會把餐具的滋味算作菜餚風味的一部分？赫斯頓•布盧門撒爾以製作可食性餐具著稱，該餐具由巧克力做成，並在表面灑了銀末。 “我能想像勺子成為菜餚一部分會有什麼結果，”他說。 “本人沒想到的是：我們可以品嚐出來那麼多味道的金屬，而且有些與食物中的酸味交相輝映，比如用鋅勺與銅勺吃芒果。本人一直對金屬味很敏感，原以為有味的餐具會破壞佳餚的美味；但這次品勺晚宴，用有味的金屬勺享用各種美味佳餚，真是妙不可言。”
雖說晚宴是有目的而來，但我並不覺得勺子會給這頓本身就無與倫比的晚宴添色多少。甜辣對蝦味道恰到好處，根本無需銅勺的澀味助陣，更無需勞金勺之大駕。吃完第二道菜後，我的舌頭感覺就像被鍍了一層金屬似的。即便用金勺吃蜂蜜冰淇淋感覺恍如隔世，但我肯定也不會心急火燎地用黃金去鍍自家的勺子。
即便如此，羅克林與麥道尼克仍希望最後能專門製作一套勺子，如專門用來攪咖啡與吃奶油焦糖，並伴之以品味美酒與佳餚。 “這就好比一架勺子做的鋼琴，”羅克林說，“用它們來享用美食，並演奏出一曲交相輝映的華美樂章。”
欲知烹飪學院更多詳情，請瀏覽以下網址：www.instituteofmaking.org.uk。
奎隆餐廳網址：www.quilon.co.uk。
譯者：常和

将棋名人戦: Fruit Roll Cake 咖哩牛肉 海鮮ちらし寿司（ずし）

Simple Fruit Roll Cake - Just A Pinch Recipe Club

www.justapinch.com/.../cak... - 頁庫存檔 - 翻譯這個網頁  1 則評論 - 30分 Simple Fruit Roll Cake - I got this from a Japanese blog book and made some minor adjustments. This uses a 14x26cm silicon pan. If you're using one that is ...

将棋名人戦第５局１日目ダイジェスト

関連トピックス

• 名人戦<将棋>

森内俊之名人のおやつ「フルーツロールケーキ」

羽生善治二冠のおやつ「チョコレートケーキ」

昼食休憩後に対局を再開する森内俊之名人（左）と羽生善治二冠＝３１日午後、京都市東山区、高橋一徳撮影

羽生二冠の昼食「ビーフカレー」

森内名人の昼食「海鮮ちらし寿司（ずし）」

名人戦第５局で初手を指す森内俊之名人。右は羽生善治二冠＝３１日午前、京都市東山区、高橋一徳撮影

途中図（４６手目△５二金まで）

■羽生挑戦者が封じ手
対局生中継はこちらから 　午後６時３１分、羽生挑戦者が４７分考えた末に４８手目を封じ、１日目の対局を終えた。持ち時間各９時間のうち、残りは森内名人が５時間、羽生挑戦者が４時間５５分。
　対局は６月１日午前９時に再開され、夜までに終局する見込みだ。
　現地の大盤解説会は１日午後２時から終局まで。夕方からは内藤國雄九段、谷川浩司九段も加わる予定。参加１千円。問い合わせはウェスティン都ホテル京都（０７５・７７１・７１１１）。（深松真司）
　　　◇
　朝日新聞デジタル有料会員は、将棋のトップページ（http://www.asahi.com/shougi/）から棋譜中継と「ニコニコ生放送」の生中継をご覧になれます。
　また、対局の模様は有料の名人戦速報サイト（http://www.meijinsen.jp/）でも速報しています。

■前例を外れる（午後５時）
　羽生挑戦者の４６手目△５二金で前例を外れた。金を前線に送り出す狙いがある。前述した竜王戦では△３一玉だった。
　この局面について山崎七段は「先手を持ってみたいという人が多いのでは。ただ、挑戦者はこれで互角に戦えると考えているのだと思います」と分析する。後 手は８一の桂馬が使えていないのと歩切れが弱点だが、玉の堅さが強みだ。山崎七段は「先手は玉が薄いので、慎重に進めないといけません」と話す。
（村瀬信也）

■おやつと解説会（午後３時）
　対局室の両者におやつが運ばれた。森内名人はフルーツの入ったロールケーキ、羽生挑戦者はチョコレートケーキ。飲み物はともに紅茶で一致した。
　ホテル内の会場では、大盤解説会が始まった。平日にもかかわらず、８０人近いファンが詰めかけている。立会人の桐山清澄九段のほか、井上慶太九段、阿部隆八段、室田伊緒女流初段ら関西の人気棋士が次々に登壇。軽妙なトークで会場を盛り上げている。

■挑戦者の工夫は？（午後２時半）
　羽生挑戦者が後手となった本局。これまでの４局の出だしは「▲７六歩△８四歩」だったが、初めて「▲７六歩△３四歩」のスタートとなり、横歩取りへと進んだ。
　森内名人の対策は中住まい。４０手目△６四銀の局面は、羽生名人（当時）が渡辺明竜王に挑戦した２年前の第２３期竜王戦七番勝負第５局と同じだ。その時は先手の渡辺竜王が勝っている。
　解説で副立会人を務める山崎隆之七段は「挑戦者は、自分が以前敗れた形をもう一度やっています。これまでは後手の方が避けてきた局面なので、名人は意表をつかれているのではないでしょうか」と話す。
　名人はここで１時間近く考えている。腹の探りあいが続きそうだ。
（村瀬信也）

■対局再開（午後１時半）
　昼食休憩が終わり、対局が再開した。休憩前に４４分使った挑戦者。再開してほどなく、△５三銀と指した。

■昼食休憩に（午後０時半）
　羽生挑戦者が３８手目を考えているところで、昼食休憩に入った。ここまでの消費時間は森内名人が５９分、羽生挑戦者が２時間１２分。
　昼食メニューは、名人が海鮮ちらしずしに吸い物、フルーツ、挑戦者が「ちょっと辛め」のビーフカレーとサラダ。それぞれ自室でとっている。（深松真司）

■歴史を刻む盤（午前１０時半）
　両対局者が向き合っている将棋盤は、樹齢数百年の榧（かや）の木から作られた希少盤。１９６２年２月、同じホテルであった第１１期王将戦第３局で使われたものという。盤の底面には、当時対局した大山康晴王将・名人と加藤一二三八段の署名が残る。
　それからちょうど半世紀。３０日の前夜祭で、「先人たちが脈々と築き上げた重みを受け止めたい」と挑戦者が話していたように、両者は将棋界の長い歴史に思いをはせつつ、勝負に臨んでいる。
　さて注目の戦型。盤上をのぞきみると、今シリーズ初めての「横歩取り」へと進んでいる。（深松真司）

■第５局始まる（午前９時）
　森内俊之名人（４１）に羽生善治王位・棋聖（４１）が挑戦している第７０期将棋名人戦七番勝負（朝日新聞社、毎日新聞社主催）の第５局が３１日、京都市 東山区のウェスティン都ホテル京都で始まった。ここまでの４局はいずれも先手番が制し、２勝２敗のタイ。どちらが栄冠へあと１勝と迫るか、注目の一番だ。
　午前８時４７分、森内名人が「おはようございます」と対局室に入った。７分後には羽生挑戦者も入室し、盤を挟んで向き合った。
　午前９時、立会人の桐山清澄九段が「定刻になりましたので、森内名人の先手で始めて下さい」と告げると、両対局者は一礼。名人は一息ついて、初手▲７六歩を指した。挑戦者もほどなく△３四歩と応じた。（深松真司）

Tsukune (つくね?)Chicken meatball with 'enokidake' mushroom

Tsukune (つくね^?) is a Japanese chicken meatball most often cooked yakitori style (but can be fried or baked) and sometimes covered in a sweet soy sauce or teriyaki sauce.

Summary

In general term, Tsukune means "kneaded with hand". A number of thickener are added to ground material such as beef, pork or fowl meat, and rarely fish meat. The mixture is kneaded or ground, and is molded into dumpling or meat stick.
It also refers to fish meatball, which is added to hot soup and called Tsumire-jiru (つみれ汁^?), or fish ball soup. Tsukune is also enjoyed as Tsukune Nabe, a Japanese steamboat dish with numerous local varieties found in regions in Japan.
Traditionally. a fish fillet was ground using Suribachi (すり鉢（すりばち or 擂鉢) ^?) grinding-bowl in Japan, but blenders are used in most homes recently.

Preparation

Thickeners such as chicken egg, crushed yam or bread crumb, as well as seasonings including ground ginger root, salt or soy sauce are added after meat is mashed or minced finely. The mixture is shaped into dumplings and/or meat sticks.
To taste, finely chopped garden vegetables are mixed into the minced meat. Vegetables and herbs such as leek Negi (ねぎ^?), beefsteak plant Aojiso (青紫蘇^?) also called Oba (大葉^?), and at times, chopped cartilage of fowl tori nankotsu (鶏軟骨^?) may be added for crunchy taste.
Commonly, Tsukune is found in Oden (おでん or 田楽(でんがく)^?), a Japanese stew consisting of several ingredients in a light dashi (出汁（だし）^?) broth. There are regional varieties to both Oden and Tsumire-jiru.
Tsukune is not always prepared from farm animal meat only. Similarly, Tsumire (つみれ^?) is not all the time cocked with fish meat either. Tsukune is matched with Tsumire, and they may be called generally as gan (丸（がん）^?) meaning minced meat in round shape.

Variety

• boil: Nabe (鍋物^?), or a dish cooked at the table.
• broil: Yakimono (焼き物^?), broiled or char-broiled dishes, including barbecued meatball.
• fry: Agemono (揚げ物^?) or deep-fry.
• stew: Tsuyumono (汁物（つゆもの） or 団子汁（だんごじる）^?), or stewed with vegitable and herbs.

Seseri (left) and Tsukune (right)

Chicken meatball with enokidake mushroom (Photo by Katsumi Oyama)

 

JAPANESE HOME COOKING: Chicken meatball with 'enokidake' mushroom

May 10, 2012

Chicken meatball (“tsukune”) covered in sweet soy sauce is a favorite among young and old. But it can turn hard and dry when it cools.
Here, Yoko Munakata of the Better Home Association introduces tsukune that will stay moist and soft. The key is the ingredient to hold the mixture together–in this case grated potato–and the way you knead the mixture.
“The salt will make the meat stickier,” Munakata says.
First mix as if grabbing with your fingers, then mix about 20 times in a quick circular motion. Serves four.

INGREDIENTS

300 grams ground chicken leg
1 bag (100 grams) enokidake mushroom
Piece of ginger (half the size of thumb)
1 medium-sized (100 gram) potato
Seasoning A (1/3 tsp salt, 1/2 tsp soy sauce, 1 Tbsp sake)
Seasoning B (1/2 Tbsp sugar, 1 Tbsp each of soy sauce, sake and sweet mirin sake)

METHOD

Cut off root part of enokidake, then cut into length of 1 cm. Grate ginger without peeling. (Scrape off dirt with spoon if necessary.) Peel potato and grate with same grater so remaining ginger fiber can be used in full.
Mix meat and Seasoning A in bowl. Add ginger and potato with their juice. Knead until sticky and a mass is formed. Add enokidake.
Divide in 12 equal parts and form ovals that are 4-5 cm in diameter. Mixture is easier to handle with wet hands. Make dent in center to prevent tsukune from puffing up while cooking. Mix Seasoning B.
Heat 1 tsp cooking oil in frying pan, place six tsukune and cook for two minutes over medium heat until brown. Turn sides, put a lid on and cook for two-three more minutes and remove. They are done if clear juice flows out when poked with skewer. Add 1 tsp oil and cook remaining six.
Wipe oil in pan with paper towel. Return all tsukune, add Seasoning B. Cook for about two minutes over medium heat so sauce thickens and coats tsukune to give them a glaze.

***

From the vernacular Asahi Shimbun's Kashikoi Okazu column

square meal

 square meal

n.
A substantial, nourishing meal.

A square meal

Meaning

A substantial, nourishing meal.

Origin

It is frequently repeated, by tour guides and the like, that the expression 'a square meal' originated from the Royal Navy practice of serving meals on square wooden plates. Such plates did exist so that is a plausible story, but there's no other evidence to support it. In fact, the lateness of the first printed record (see below) pretty well rules this out as a credible theory. The Royal Navy's records and many thousands of ship's logs are still available and, if the phrase came from that source, it would surely have been recorded before the mid-19th century.
This 'square plate' theory is one of the best-known examples of folk-etymology. The phrase exists, the square plates exist, and two and two make five. To be more precise, what we have here is a back-formation. Someone hears the phrase 'square meal' and then invents a plausible story to fit it.
The word square has many meanings, including 'proper, honest, straightforward', and that's the meaning in 'square meal'. This isn't a rectilinear meal on right-angled crockery, but a good and satisfying meal.
The phrase is of US origin. All the early citations are from America, including this, the earliest print reference I have found - an advertisement for the Hope and Neptune restaurant, in the California newspaper The Mountain Democrat, November 1856:

"We can promise all who patronize us that they can always get a hearty welcome and 'square meal' at the 'Hope and Neptune. Oyster, chicken and game suppers prepared at short notice."

William Brohaugh, in the usually reliable 'English Through the Ages', dates the saying as having entered the language in 1840, although no supporting evidence is provided. There certainly was a spate of coinages of 'food words' in the USA around that date. The terms below all originated in the 1830s and 40s:

Chili con carne
Clambake
Cottage cheese 
Cupcake
Gazpacho
Jerky
Restaurant
Tea cake
Tenderloin 
Tutti-frutti
Seafood

The use of 'square' to mean honest and straightforward goes back to at least the 16th century; for example, in 1591, in Robert Greene's Defence of Conny Catching:

"For feare of trouble I was fain to try my good hap at square play."

Soon after that, Shakespeare used it in Anthony and Cleopatra, 1606:

"She's a most triumphant Lady, if report be square to her."

Other phrases use the word with that same meaning, for example, 'fair and square', 'square play', square deal' etc. but these haven't had spurious derivations invented for them. Coincidentally, another phrase - the opposite of 'fair and square' - also has a false derivation relating to plates in the Royal Navy. The story goes like this. The square wooden plates that sailors received their food on had raised edges called 'fiddles'. If they took too much they were 'on the fiddle'. Perhaps 'story' is being too kind; invention might be more accurate. The evidence for the prosecution is:

- There is no record of the edges of sailors' plates having any name, let alone a fiddle. No dictionary I can find lists that meaning. 
- Despite searching high and low, I've not been able to find any citation of the phrase 'on the fiddle' from before the 20th century, apart from those that clearly mean 'playing the violin'. There are several old 'fiddle' phrases - 'fiddle faddle', 'fiddling while Rome burns', 'second fiddle' etc., but no 'on the fiddle'.

In support of the story there is - well, nothing. It's never possible to prove a negative so, if you hear that derivation from a tour guide and ask for evidence they might just provide it. Don't bet the mortgage on it though; you're more likely to spot Elvis playing tiddlywinks with Lord Lucan.
See other phrases and sayings from Shakespeare.
See other phrases that were coined in the USA.