By Manuela Mosca
This ebook presents perception into the striking lifestyles and paintings of the Italian economist Antonio de Viti de Marco (1858-1943). This booklet provides 11 interviews with American and Italian students from quite a few disciplines that offer a profile of this significant highbrow as an financial theorist, flesh presser, and person. He used to be the founding father of the natural thought of Public Finance, performed an incredible function within the beginning of Public selection, and used to be additionally a staunch liberal and radical flesh presser. An English translation of 1 of his books, made as early as 1936, drastically stimulated James M. Buchanan, Nobel prize-winner for economics.
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Additional info for Antonio de Viti de Marco: A Story Worth Remembering
I can hear him now. ’ because he caught on at once … and he was particularly interested in Latin, because he had been a Latin champion. Oh, really? Yes, he had been a Latin champion at high school. What year was this, Emilia? I started university in the 1938–39 academic year, and I graduated in 1942, after four years. I saw him in the last years, but I had already seen him when he came here. He used to speak to me about Latin, about Suetonius, and he wanted to translate. ’ He was afraid for me.
23. Seligman (1861–1939) was professor of economics and public finance at Columbia University of New York. His name will be reappearing in later interviews. 24. Antonio Salandra (1853–1931) was Prime Minister of Italy from March 21st 1914 to June 18th 1916. 25. With Emil Sax (1845–1927) De Viti de Marco had a problem over priority in the formulation of a pure theory of public finance. Mosca (2010) ‘Emil Sax and Italy’, Storia del Pensiero Economico, 2, 47–62. 26. We have been unable to trace papers of De Viti de Marco in the Biblioteca Alessandrina in Rome.
I was saying that don Antonio himself, here, used to say that, as a boy, he had come from the boarding school and he had looked out from that terrace with some other people, he had arrived. The others had all left and he felt an impulse to write a poem, and he wrote it and he says—he was 14 or 15—that he understood that it is possible to write things that you truly feel. And the poem is a beautiful one. It’s not a sublime poem, but melancholy, Leopardian, beautiful. Did he dedicate it to his mother?
Antonio de Viti de Marco: A Story Worth Remembering by Manuela Mosca