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The writings collected in this volume present leading statements of theories of democracy and capitalism in twentieth century Italy starting from Vilfredo Pareto. The book is the first (and the unique) collection of Italian classics on capitalism, it is an important contribution for an organic and general overview of the Italian contemporary political thought.
When Pope Francis wrote in his apostolic letter The Joy of the Gospel that the economy of the West is one that “kills,” he was immediately labeled by some as a Marxist. Criticisms came fast and furious, not only from financial columnists and conservative cable personalities, but also from some Catholic commentators, especially in the United States. In This Economy Kills, two of the most respected journalists covering the Vatican today explore the Pope’s teaching and witness on the topic; the ways it relates to other topics like war, the environment, and family life; its connections to the teaching of his predecessors; and the criticism it has generated, especially from the direction of the United States. This fascinating book includes the full text of an extended interview the authors conducted with Francis on the topic of capitalism and social justice, appearing here in English for the first time. This Economy Kills is essential reading for anyone who wants to understand Pope Francis’s convictions about the world we live in and the way he believes Christians are called to shape it.
The main driver of inequality--returns on capital that exceed the rate of economic growth--is again threatening to generate extreme discontent and undermine democratic values. Thomas Piketty's findings in this ambitious, original, rigorous work will transform debate and set the agenda for the next generation of thought about wealth and inequality.
The Protestant ethic — a moral code stressing hard work, rigorous self-discipline, and the organization of one's life in the service of God — was made famous by sociologist and political economist Max Weber. In this brilliant study (his best-known and most controversial), he opposes the Marxist concept of dialectical materialism and its view that change takes place through "the struggle of opposites." Instead, he relates the rise of a capitalist economy to the Puritan determination to work out anxiety over salvation or damnation by performing good deeds — an effort that ultimately discouraged belief in predestination and encouraged capitalism. Weber's classic study has long been required reading in college and advanced high school social studies classrooms.
In this book, author David Del Principe asks whether unspeakable truths in their works kept an entire generation of nineteenth-century Italian writers known as the "scapigliati" at the margins of Italian literary life and sparked critics to deride the movement known as Scapigliatura. It is coincidental that issues and themes submerged in their graveyard poetics - physical and psychic transference, sexual identity, vampirism, the supernatural, androgyny, and decadence - have become controversial at the turn of another century while literary and cultural interest in Scapigliatura has reemerged? Scapigliatura, the term that Cletto Arrighi chose to characterize the literary movement led by Ugo Tarchetti, Carlo Dossi, Emilio Praga, Camillo and Arrigo Boito, Giovanni Faldella, Giovanni Camerana, and others, took place in Milan and Turin in the 1860s and 1870s. As social and political visionaries, the "scapigliati" acquired reputations as consummate anticonformists, lacing their works with protests against capitalism, Catholicism, and militarism, and living in perpetual conflict with a prospering bourgeoisie. A desperate resolve to flee from cultural, sociopolitical, and literary strangulation instilled an apocalyptic vision and an affinity for self-destruction in the scapigliati. In fact, several of them lived relatively short lives, and Tarchetti's own tormented life has come to exemplify the anguish of the era of Scapigliatura. Although these artists are loosely grouped as a literary movement, the influence of Scapigliatura has been rightfully confirmed in Decadent fin de siecle literature and, arguably, in the twentieth-century historical avant-garde.

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