The son-in-law of the Carlo Delcroix of The Cantos, Giano Accame was a journalist and writer on politics and economics associated with the more progressive. Giano Accame. Translator’s note: Notes and quotations from English sources have been replaced with the originals; the author’s first name is supplied where. Giano. 0 references. date of birth. 30 July Gregorian. 0 references. place of birth · Stuttgart. 1 reference. imported from Wikimedia project · Italian Wikipedia.
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The poets of my Active Anthology were all awake to the economic element, to the monetary question in the present. Accame claimed that he was the last volunteer of the R. I never knew anything of his religious convictions. The Colonial Mind New York: The spokesman of the money economy was John Locke, whom Parrington cites: If being human and sociable, is a religion, we can consider him an atheist.
And Alyona Ivanovna, the loanshark in Crime and Punishmentbelongs to ggiano privileged class of the Tsarist bureaucracy, for she is the widow of a small clerk. This poses for us the problem of the relationship between economics and poetry: All the persons of his novels calculate the cost of their actions, just as we, likewise, willy-nilly have to do.
Finally America discovers a poet,” even before he himself had begun to include such themes in his poetry. Tim Redman calls Guild Socialism “a variant [of left syndicalism] deriving from the English craft tradition advocated by such writers as William Morris and John Ruskin.
Although according to his Diary of a Writer Dostoyevsky was accused of anti-Semitism just as Pound was, he had avoided falling into the simplification of making his moneylender Jewish but even Pound insistently noted that many usurers were Aryan. In the bosom of the usurocracy, William Morris, Ruskin, the Pre-Raphaelites and all the other useful and fertile groups of London and Paris formed a loose coalition to struggle for artistic autarchy.
At the bottom of the page Ruskin quotes from Proverbs xiii. Fondazione culturale Lauro Chiazzese della Sicilcassa, All this must be paid for; experience costs money. Minnesota UP, Are some subjects poetic or more broadly artistic, fictional, pictorial and some others not? One thinks of the disasters caused by the Great Depression in the s and the fears that arise at present regarding the growing monetary liquidity of an increasingly global economy.
Giano Accame | Paideuma
Gianoo participated acxame the International Pound Conference, when he introduced his Pound documentary of Selections from His Writingsed. Einaudi, has had ample recourse to literary citations to better understand economic questions.
Pound, without indulging in the threadbare philanthropic affectations still popular in his day, lays out the origins of social problems in the monetary system, finding in money a subject upon which to build a modern epic. Contro L’usuraRome: Just as Dante had done, he included the problem of money, of its falsification and of usury considered following a tradition that goes back to Aristotle as a crime against nature and against art.
Above all, he paid close attention to those values which today constitute an almost universal standard and are regarded as well nigh absolute. In Canto xi, where he explains the moral order of the Inferno, Dante asks Virgil why usury is violence against God. If all usurers are like this one, I think they all belong to the neuter gender.
Giano Accame – I mistici di Elémire Zolla
Here, however, what is most important is to understand the English tradition to which Pound belongs, a tradition which goes beyond the general tendency of European literature to include socio-economic subjects, but mostly from a philanthropic rather than strictly economic perspective.
Merchant of VeniceI. A common familial extraction unites the intolerance of Pound and Dante. Stefan Zweig, Three Masters: The New Age under Orage: And I have to confess that, even though I have made a study of him, his real nature remains for me, down to the last moment, impenetrable. Pound learned from them all: When Shakespeare has Antonio ask Shylock, “Or is your gold and silver ewes and rams?
I repeat, accam genius is not limited to one place or one intellectual department. These writers belong to a special vein of the English tradition in which philanthropy claims to speak ex cathedra and give lessons on economics from the perspective of aesthetics. Clearly for Pound the Dantean connotation of usury as a sin against art had great importance, and Canto 45 is imbued with it: It was only in the groveling age of usura and usuriocracy that literature was lowered to tiano merely “belles lettres” and that the subject matter was gradually reduced to personal titillations.
Mary de Giao Milan: Essays on Instability and Finance ] Turin: Giano Accame [ – ] was the author of several works including Ezra Pound Economista: Newcomers to the city and quick gains have brought excess and arrogance to you, O Florence, and you weep for it already.
Least of all can the artist forgo it; and Balzac, burdened as he was for a lifetime with debts, knew this from bitter experience. The commonplace view is that economics is the exact opposite of poetry, not only because carmina non dant panem and the lives of the poets are, with some exceptions, associated with a destiny of meager profits at best mitigated by patronage; but also because economics as a subject is considered among cacame least poetic.
Ruskin, “‘A Joy For Ever,'” Behold the beast who bears the pointed tail, who crosses mountains, shatters weapons, walls Behold the one whose stench fills all the world! On Trollope’s socio-economic conceptions and the eighteenth-century city, see Giuseppe Berta, Capitali in gioco Venice: He collected the silver after having consigned to the money-lenders two chests of sand made alluring by red leather covering studded with gilded nails.
The irruption of economics in the poetry of Pound will be even more insistent. In Crime and Punishment the figure giwno the usurer, even if only briefly sketched, has an important role as the victim of a crime Raskolnikov never repents.