INDICE -/- Note biografiche Introduzione, di Riccardo Faucci -/- Parte I - Da Verri a Toniolo 1. Jeremy Bentham: Contemporary Interpretations, di M.D.A. Freeman 2. Su Helvétius, Beccaria e Bentham, di Letizia Gianformaggio 3. L'etica utilitaristica di Pietro Veti, di Vincenzo Polignano 4. ll liberismo interventista di Vincenzo Emanuele Sergio, di Anna Li Donni 5. Il concetto di " felicità pubblica, nella << Genesi del diritto penale » di Romagnosi, e il rapporto Romagnosi-Bentham, di Robertino Ghiringhelli 6. « La (...) più grande felicità per il maggior numero » all'Accademia dei Georgofili ( 18)0-1850), di Gabriella Gioli 7. Una nota su Manzoni critico dell'utilitarismo, di Maurizio Mori 8. Sul concetto di utile in Francesco Ferrara e in Maffeo Pantaleoni, di Daniela Parisi Acquaviva 9. Sul pensiero sociale cristiano di fronte all'edonismo, di Luciano Avagliano 10. Giuseppe Toniolo e il recupero cattolico dell'utile e del valore, di Anna Camaiti -/- Parte II Aspetti di storia del pensiero economico nell’età classica -/- 1. La filosofia economica di Thomas Hobbes, di Marco Bertozzi 2. Ordinamento del sapere, modelli metodologici ed economia politica in Adam Smith, di Sergio Cremaschi 3. Elementi classici nel pensiero di Adam Smith: giurisprudenza romana e morale stoica, di Gloria Vivenza 4. Il “lusso” negli economisti italiani del Settecento, di Cosimo Perrotta 5. Prezzi naturali, prezzi di mercato e legge degli sbocchi nel dibattito fra Malthus e Ricardo, di Lilia Costabile 6. Marx e la moneta, di Roberto Petrini -/- . (shrink)

Color FilmAs if from darkness, from gloom, from nothing —this moment is sewn through us like a thread —from above our shoulders — from primeval night —a shining river. A flying light.Onto the screen, onto a white calm,onto a cloth, onto the ground of spatial fields,it flies through the eyeless dark,it's as voluminous as seed or salt.And in this theater, where light's been banished,where even streetlight fades away completely,other light channels vibrate,and reflections wander through the eye.The curtains open up — (...) the wings of a gate.The screen shifts our eyes and soulsso that we reach new perspectives,blown by the wind into the changingof colors, landscapes, rooms,we touch fire, earth, water.But no! Not those! And not like that!There's a wall here, the screen's always a wall.So, when the shades are opened and it's over,daylight pours through the aisles,we walk as if from underground corridors,we reach for cigarettes in our pockets.We exit like a flood, like a tide,and start talking again.O reality, blinding and sublime!We learn to love. We learn to see.StanzasThose years are slowly fading.Our house was by the railroad stationwhere engines covered in soot hammeredand invisible locomotives roared at night.Pedestrians passed by our porch,their moods dependent on loveand weather, coats and sorrowscarried over their shoulders, invisibleswords drawn but hesitant — as if awaitingtournament trumpets to launch their lives.The acacia (the one that was cut down later)grew according to a centuries-long spanof rain and sun and, like a lively banner,the windows reflected its green flash.And there was lilac, a skinny creature,diminished from the leaves to the roots.But once a year it flushed numb madlyand flourished although it was in pain.(It's worth mentioning the elderberry —dense, aromatic, and luminous,and how, after trembling on the bush,a rainbow surfaced through the drizzle.)Those lands were also full of winter —Christmassy and audacious, like an invasion,and a piercing whirlwind flew inthrough cold doorways and frozen windows.And in the lanterns oranges burned,buckets clanking through the morning,snow trampled after a blizzard,brown brick ovens roaring inside houses...Those years are fading like those legends,but who will weave us sweeter memories?Elegy for the SixtiesSummer, the smell of a soccer ball, elderberry, currant,couples made out in the evening bushes,and when the twilight descended beyond the river,the stony sidewalks smelled of warm rain.The soccer ball flew over antennas and linden trees,its body leather and cosmic.From grape-covered arbors, with pubescent sobs,songs of the prodigy Robertino spread through the world.The night thickened instantly, the ball meltedin the darkness, lamps lit up in the orchards and porches,a mysterious depth opened in a treetop,the shadows on the faded curtains spoke.The ball never came back: disappeared in the distance.Frogs croaked from neglected fountainsin the park where there were dances every night,where a saxophone wheezed, where they carried knives.The ball remained in the air, and the years unfoldedlike sandy seas, like salty deserts,and spooky carousels horrendously circledand creaked for us, as in a dream, until morning.The Museum of AntiquitiesHow the two of us walkthe cramped labyrinths of an old house!...Tapestries and trumpetsglorify an unknown couple,as if seeingour conspiracy:every toucha warm flash.And then again and againwe passin the mirrors.The clock with blazonsindicates, as always, it's two,and sneaking after usmaybe anguish, maybe a fugue...Passing portraitsand palanquinsan echo of footstepswalks with us.We disappeared somewhere for a long time(for two hundred years?For three hundred?).And when it gets dark,from unheated rooms(I seem to have behaved well,I did nothing wrong),into hot neon lightswe return forever.I carry you in my hand,and life is so vast... (shrink)