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Simple Summary: When multiple urban free-roaming cats are being cared for by an owner or a cat caregiver, it often results in public complaints due to concerns about nuisance behaviors, their effect on wildlife, and human and pet health. The typical response from the authorities is to implement a cat management strategy based on trap–adopt or kill. Because the cats are often timid or shy, many are euthanized. This strategy is detrimental to the well-being of the people who care for urban cats, and is not effective at reducing the free-roaming cat population. This qualitative study aimed to explore the impacts of a free sterilization, microchipping, and vaccination program on the people who care for multiple urban free-roaming cats. Several main themes arose during the interviews. The results demonstrate the strong bond the participants had with the cats they cared for, and the positive impact the free sterilization program had on the cat carers' well-being and quality of life. It is recommended that this care-centered approach be used instead of current lethal cat management strategies, to improve the well-being of people and cats, reduce the free-roaming cat population, and minimize public complaints and cat impoundments. Urban free-roaming cats create concern about their impacts on wildlife and human health, leading to the use of trap–adopt–kill methods to manage these populations. This method is ineffective at decreasing the free-roaming cat population and has a negative impact on cat caregivers' well-being. Using semi-structured interviews, this study explored the relationship that semi-owners (people who feed cats but do not perceive ownership) and owners of multiple cats have with the cats they care for, and the social and psychological impacts of an alternative assistive-centered approach to urban cat management. This approach to semi-owned and owned cats provided free sterilization and preventative healthcare. Our findings demonstrate that the caregivers had a strong emotional bond with the cats they cared for. The caregivers also experienced a positive impact on their quality of life, and indicated an improvement in the cats' welfare after having the cats sterilized through this program. Additionally, the cat caregivers indicated that they had a negative view of agencies, such as the municipal council. It is recommended that an assistive-centered approach to urban cat management be prioritized by local councils and welfare agencies to improve caregivers' quality of life and psychological well-being, whilst also improving cat welfare. The implementation of this assistive-centered management approach could improve the relationship between communities and the agencies involved, leading to the continuous reporting of free-roaming cats for sterilization. This assistive-centered approach has the potential to reduce the free-roaming cat population, their effects on wildlife, nuisance complaints, and council impoundments, and is aligned with the One Welfare philosophy. [ABSTRACT FROM AUTHOR]

Simple Summary: Lack of comprehensive and accurate data on the frequency of stray and owner-relinquished cats entering municipal pounds, animal welfare shelters, and rescue groups across the states and territories in Australia is an impediment to targeting management of domestic cats to where it is most needed. Our study aimed to evaluate availability of data as well as collect and analyze comprehensive data to establish a baseline to measure future improvements in domestic cat management. Data were collected for 2018–2019 by email and phone where not publicly available. Unavailable municipal pound data were imputed based on known data and the human population. We estimated a total of 179,615 stray and surrendered cat admissions to pounds, shelters, and rescue groups in Australia in 2018–2019 (7.2/1000 human residents) and that 5% of admissions were reclaimed, 65% rehomed, and 28% euthanized. Municipal councils operating their own pounds rehomed 26% and euthanized 46% of cat intake compared to 65% rehomed and 25% euthanized for welfare organizations. Data collation and analyses at a national level would be facilitated by open public access to standardized intake and outcome data for municipal pounds, shelters, and rescue groups. This would highlight where improvements are most needed and serve as a baseline to track the impact of new policies, protocols, and legislation. More effective management of domestic cats will ultimately benefit the community, cats, and wildlife. Access to comprehensive municipal pound, animal welfare shelters, and rescue group data for admissions and outcomes for stray and owner-relinquished cats in Australia is currently lacking. This hinders effective assessment of existing management strategies for domestic cats by animal management agencies. Our study aimed to estimate the numbers of cat admissions and intakes to Australian municipal council pounds, animal welfare organizations (excluding smaller animal welfare organizations thought to have annual cat intakes of less than 500), and animal rescue groups and their respective outcomes for 2018–2019 (pre-COVID). Unavailable municipal council data were imputed based on known data and council human populations. Only Victoria and New South Wales had publicly available municipal data, and only RSPCA had publicly available data in all states. We estimated a total of 179,615 (7.2/1000 human residents) admissions to pounds, shelters, and rescue groups in 2018–2019, with an estimated 5% reclaimed, 65% rehomed, and 28% euthanized. Reclaim rates were low across all the agencies. Councils operating their own pound had nearly double the euthanasia rate (estimated at 46%) compared to animal welfare organizations (25%). Rescue groups rehomed an estimated 35% of the total number of cats rehomed by all agencies. The upper quartiles of councils with intakes of >50 cats in Victoria and New South Wales had estimated euthanasia rates from 73% to 98%, and 67% to 100%, respectively. We recommend that comprehensive municipal pound, shelter, and rescue statistics be routinely calculated using standardized methods and made available publicly in a timely fashion. This would inform management strategies to optimize live outcomes and therefore reduce the negative mental health impacts on staff tasked with euthanizing healthy and treatable cats and kittens. [ABSTRACT FROM AUTHOR]

Urban free-roaming cats create concern about their impacts on wildlife and human health, leading to the use of trap–adopt–kill methods to manage these populations. This method is ineffective at decreasing the free-roaming cat population and has a negative impact on cat caregivers’ well-being. Using semi-structured interviews, this study explored the relationship that semi-owners (people who feed cats but do not perceive ownership) and owners of multiple cats have with the cats they care for, and the social and psychological impacts of an alternative assistive-centered approach to urban cat management. This approach to semi-owned and owned cats provided free sterilization and preventative healthcare. Our findings demonstrate that the caregivers had a strong emotional bond with the cats they cared for. The caregivers also experienced a positive impact on their quality of life, and indicated an improvement in the cats’ welfare after having the cats sterilized through this program. Additionally, the cat caregivers indicated that they had a negative view of agencies, such as the municipal council. It is recommended that an assistive-centered approach to urban cat management be prioritized by local councils and welfare agencies to improve caregivers’ quality of life and psychological well-being, whilst also improving cat welfare. The implementation of this assistive-centered management approach could improve the relationship between communities and the agencies involved, leading to the continuous reporting of free-roaming cats for sterilization. This assistive-centered approach has the potential to reduce the free-roaming cat population, their effects on wildlife, nuisance complaints, and council impoundments, and is aligned with the One Welfare philosophy.

The article aims to put together the historical basis of the organization of the conflict resolution systems and the judicial procedural systems. It considers the Pound Conference of 1976 and its predecessor of 1906 and the relevant lessons given by Professor Sander to the integration of the alternative dispute resolution systems in the light of a large concept of the judicial systems in the 21st century. The study takes into consideration the quality of the judicial systems and highlights that each alternative dispute resolution method, such mediation, has different rates of quality and quantity. Finally, the article points out the trend of expansion of the multidoor courthouses, considered more adequate and with a higher level of quality, especially in advanced countries.

In the article, I will discuss the relationship between ‘book poetry’ and ‘digital poetry.’ I examine the differences, as well as the similarities, between poetry as presented in these two media. Research on the transition from book poetry to digital poetry has mainly focussed on the significant changes in genre and work con cepts as well as in the author and reader roles. However, several trends within the tradition of poetry have intensified and have further developed since the emergence of the digital media. The focus in this paper will thus be on four key features, which were founded in book poetry as far back as early Modernism and the avant-garde movements, but, to a great extent, those features have unfolded in digital poetry. The four features are the multimodality, the montage form, the network structure, and the serial form. The artistic opportunities offered by digital poetry are not only due to technological opportunities in the new media. Such opportunities are just as much due to the innovations in multimodality, montages, network structures, and seriality realized by avant-garde and symbolist poets like Mallarmé, Apollinaire, Schwitters, Eliot, and Pound in early modernism. My article concludes with an example of how the four features form the basis for a work of digital poetry, namely Johannes Heldén’s “The Primary Directive” (2008).

Access to comprehensive municipal pound, animal welfare shelters, and rescue group data for admissions and outcomes for stray and owner-relinquished cats in Australia is currently lacking. This hinders effective assessment of existing management strategies for domestic cats by animal management agencies. Our study aimed to estimate the numbers of cat admissions and intakes to Australian municipal council pounds, animal welfare organizations (excluding smaller animal welfare organizations thought to have annual cat intakes of less than 500), and animal rescue groups and their respective outcomes for 2018–2019 (pre-COVID). Unavailable municipal council data were imputed based on known data and council human populations. Only Victoria and New South Wales had publicly available municipal data, and only RSPCA had publicly available data in all states. We estimated a total of 179,615 (7.2/1000 human residents) admissions to pounds, shelters, and rescue groups in 2018–2019, with an estimated 5% reclaimed, 65% rehomed, and 28% euthanized. Reclaim rates were low across all the agencies. Councils operating their own pound had nearly double the euthanasia rate (estimated at 46%) compared to animal welfare organizations (25%). Rescue groups rehomed an estimated 35% of the total number of cats rehomed by all agencies. The upper quartiles of councils with intakes of >50 cats in Victoria and New South Wales had estimated euthanasia rates from 73% to 98%, and 67% to 100%, respectively. We recommend that comprehensive municipal pound, shelter, and rescue statistics be routinely calculated using standardized methods and made available publicly in a timely fashion. This would inform management strategies to optimize live outcomes and therefore reduce the negative mental health impacts on staff tasked with euthanizing healthy and treatable cats and kittens.

Western fascination for Eastern poetic diction is vastly documented, in several latitudes and languages, and has resulted in an impressive output in the field of poetry. It is known that Pound's reinvention of Chinese poetry, largely at the origin of his proposal for a revolution in the poetic language, in the first decades of the 20th century, was actually based on a fallacy: on a misconception of the nature of Chinese (and Japanese) writing as essentially pictographic and ideogrammatic, based on expressive properties recognized in poetry that would prove to be particularly effective in the apprehension and translation of the real. Pessanha praises the writing of classical Chinese poetry in terms similar to the Poundian exaltation. We will review some inventories of the features of Chinese and Japanese poetic diction that explain why it is taken as a metonymy and metaphor of poetry, or as a goal and utopia of poetry, in order to understand what led very different authors to try their hand at haikus. Along this process, we will probe some poetic formulations in Portuguese. We also consider that this fascination with a (dreamed of) origin of poetic diction resulted in very interesting poems, when crossed with the (non-metaphorical, in this case) inhabiting of the tiny enclave of Macau, by authors who settled there. In this approach we will comment on poems by Eugénio de Andrade, Sophia de Mello Breyner, José Tolentino Mendonça, Yao Feng, Fernanda Dias and Fernando Sales Lopes. [ABSTRACT FROM AUTHOR]

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The beginning of the twentieth century is remembered in the world not only for a number of complex socio-political events, but also for the ups and downs in literature and art, which were created by the influences of those events. The multifaceted literary process in British literature of that period ended with the creation of a new historical page in world literature. The new stage in literature, which began with the end of the Victorian era (1837–1901), was caracterised by the emergence of various literary movements, new styles, and qualities of content, the new expression of modernist view of human and life, etc. This stage had many peculiarities. One of the most interesting literary events of that period was the emergence of the literary movement of imagism. As it is known, this literary movement, which emerged in protest against some feature of previous poetry, namely, numerous features of romantic poetry, Victorian poetry, has interesting complex creative principles. The article analyzes these principles and the main features of the imagism, taking into account the theoretical views of Thomas Ernest Hulme, one of the founders of this literary movement. It is known that one of the first samples of imagist poetry is Thomas Ernest Hulme’s poem “Autumn”. By analyzing this poem it is possible to find out the main distinctive qualities of imagism as a literary movement, thus defining the place of Thomas Ernest Hulme in British literature, and his effort to create new poetry. The stages of imagism, the thoughts of the other representatives of this movement as Ezra Pound, Frank Stuart Flint are analyzed. Although imagism as a literary movement did not last long, its influence on other literary movements and its important role in the development of British literature can be determined by analysing some of its qualities that are still relevant. With the outbreak of the war, in a difficult and tense situation caused by both material and spiritual problems, the publication of new works decreased, the current situation influenced artistic problems, making it necessary to find new approaches to human problems through the prism of other values. In such situation, the poems of the imagism style that are difficult to understand, with a hidden meaning, do not attract more attention of readers. Of course, people faced with the horrors of war, both at the front and in the rear, could not be interested in further observing the literary debate and its aftermath. Society now could no longer remain indifferent to the poems written in the trenches, describing the horrors of war, the tragedy experienced by a modern man, and since most of these works are written in the classic style, this form of poetry is becoming more and more obvious on the agenda, which ultimately , led to the decline of Imagism. Of course, these changes in literature are not limited to literary trends, and British poetry as a whole has been further developed, which is expressed in a variety of content and ideas

This essay will explore the reasons for the international appeal of Ezra Pound and his importance in the creation of “Global Poetics.” What, in his writing, especially his poetry, makes him a transnational figure not only translated into Russian, French, German, Japanese, Chinese and Greek, but appealing to writers in a variety of cultures? What makes his work influential for other, often foreign writers, and what can we as readers identify as his international style? How, in short, does he articulate a global poetics? Throughout his work, beginning with The Spirit of Romance (1910), Pound was a comparatist but his ideas and examples constantly absorb multiple poetics and poetic forms, whether Troubadour poets, Renaissance Italian writers or Confucius. He is our first global poet, translingual, translational and transnational which this essay will demonstrate through his use of global history, languages and imagery. The roots of Pound’s global poetics may be in his cultural cosmopolitanism incorporating imagery, content and form from other literatures into his writing. He develops a transcultural vision that valorizes the dislocation and displacement of voices, as much sources and texts. Three texts that highlight this practice are Cathay, essay “The Chinese Written Character As a Medium for Poetry, and Guide to Kulchur”. Pound, I shall argue, not only introduces global poetics but a new vocabulary for Global Modernism. In his prose and poetry, borders, boundaries and separations disappear which force us as readers to become transnational and even translocational responders to his texts. In his “A Draft of Three Cantos” (1917), Pound parallels Confucius with Dante. The effort to link the two in terms of content and form is an early expression of the global poetics elaborated more fully in The Cantos which will be at the center of this discussion.

Writing to Ezra Pound in May 1948, Marshall McLuhan told the poet that, “we [that is, Hugh Kenner and I] have long taken a serious interest [in] your work.” And so, McLuhan along with Kenner visited Pound at St Elizabeths in June 1948. The rest makes for interesting modernist literary and cultural studies history. This paper argues that McLuhan’s method of composition, which he called a “mosaic,” derives from his understanding of Pound’s poetics of the ideogrammic method. In The Gutenberg Galaxy: The Making of Typographic Man (1962), McLuhan explains that the book “develops a mosaic or field approach to its problems. Such a mosaic image of numerous data and quotations in evidence offers the only practical means of revealing the causal operations in history.” McLuhan learned much from the American poet, including to view literature/pedagogy as “training of perception”; and both developed texts that placed readers in media res, encouraging an heuristic approach to “reading” whereby readers are empowered to arrive at their own meaning or interpretation irrespective of the writers’ ideology and/or agenda. Using examples from The Cantos and The Medium is the Massage: An Inventory of Effects (1967), this essay also probes the relationships between modernist aesthetics, technological prophesy and sociopolitical praxis.

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In this paper we outline the impact and likely future impact of Brexit on the pound. We argue that Brexit implies a significant depreciation of the pound and the degree of depreciation required is heavily linked to whether there will be a soft or hard Brexit. We find that the pound has had broadly similar depreciations to date against both the dollar and the euro. Brexit has considerably raised UK economic policy uncertainty and this, in turn, has at times led to an significant increase in future implied volatility of the pound. While there is an overall link between the state of the ongoing Brexit negotiations with the European Union and movements in the pound in the foreign exchange market, the link is not especially strong unless the perception that the negotiations are going badly has exceeded 60%. [ABSTRACT FROM AUTHOR]

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The aspects of the introduction of the single currency calculations economic and geographic integration zone. Presented the basic theory of optimum currency areas. Made conclusions about the main advantages and disadvantages of the theory of optimal currency areas. We describe the world's major world currencies - the dollar and the euro. It makes projections about the prospects of other reserve currencies in the world. Presented diff erent approaches are proposed for the introduction of a single currency settlement currency and a single monetary zone in the territory of the Eurasian Economic Union.

If Bakhtin’s “dialogic imagination” suggests the novel’s discourse is structured to expect an answer, Yeats’s dialogic imagination is best expressed in non-fictional prose. Acting as preface to A Vision (1937), as published in 1929 by Cuala Press, A Packet for Ezra Pound asserts an often overlooked independent existence. Considering it formally alongside Yeats’s letters as a bookish yet speech-driven manifesto, this paper argues that what appears as a provisional, peripheral, prefatorial work is nonetheless central to understanding Yeats and Pound’s evolving thinking, and critical to an understanding of modernist networks. Its genre-bending, pan-artistic vision, intertextuality, and playing with paratextual apparatus produces a self-conscious construction typical of modernism, even as it claims distance from modernist aesthetics and dissents from its politics.

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Quando nel 1913, Mary McNeil Fenollosa bussò alla porta della casa del poeta statunitense Ezra Pound a Londra, iniziò per lo scrittore d’oltreoceano uno dei periodi più proficui della propria carriera letteraria. La vedova di Ernest Fenollosa, scrittore e viaggiatore in Estremo Oriente, portò a Pound gli appunti dei viaggi del marito, una ricca collezione di manoscritti contenenti suggestioni, impressioni, ma soprattutto puntuali analisi semiologiche della scrittura ideogrammatica cinese. Per Pound, già attratto dalla cultura e dalla scrittura cinese, l’incontro indiretto con l’ormai defunto studioso fornì un contributo preziosissimo allo sviluppo di una poetica che da Pound in poi prese il nome di Imagismo. Il presente articolo ha lo scopo di ripercorrere l’incontro tra Pound e le incredibili possibilità verbo-visive che la scrittura ideogrammatica cinese offrì ai suoi occhi attraverso gli studi di Fenollosa, tracciando quelli che sono i punti di contatto tra una scrittura, quella di Pound, che parla per immagini ed un’altra, quella cinese, che si fa essa stessa immagine significante.

The aim of this article was to present a comparative interpretation of the selected poems by Tymoteusz Karpowicz (the poem alfaŚWIATŁOWSTĄPIENIE and a few accompanying poems) and Ezra Pound (The Cantos: LXXX, LXXXI and LXXXIII). The texts have been selected because of the theme of light, sun and visual perception. The comparative method is supposed to show 20th-century Polish poetry in the context of Anglo-American modernism. The relationship between the two poets seems to be hypothetical and one-sided. It has not been established so far whether the writings of Karpowicz were inspired by Pound’s texts. Thus, the article realized a model of contactless, comparative literary study, where comparisons are made on the basis of a typologic relationship. The first part of the article presented the theme of light in some non-poetic texts by Karpowicz and Pound and in their conception of art. The next two parts focus on the interpretation of poetry. The last chapter contained the conclusions drawn from the comparative analysis of chosen texts. The motif of light became not only a link between the selected poems, but also a reason for the comparison of the poetical techniques, specificity of style and the functions of linguistic experiments. The philosophical, Biblical, literary and even scientific contexts were evoked. A theoretical background was represented by the notion of reading/interpretation by Wolfgang Iser, transtextuality by Gérard Genette and the category of a model reader by Umberto Eco. The literary projects of Karpowicz and Pound impel readers to consider several issues. The most significant are: the limits of interpretation, obscurity or inexplicability of modern poetry and the problems of literary communication.

One of the key strands of early thinking by the Language Poets, notably Charles Bernstein, Bruce Andrews and Steve McCaffery, was that the poem--particularly the mainstream, American lyric in thrall to the Imagist tradition--should be understood as partaking in the commodity system, either in its capacity of presenting the world itself as consumable or as a commodity itself. Strategies to retool the poem included an exaggerated de-naturalization of language (akin to Brecht's Verfremdung Effekt), the permanent deferral of epiphany as "pay off" (i.e., writing as ongoing phenomenological investigation), and, most extremely, the poem as engaged in a "general" as opposed to a "closed" economy--as pure expenditure, linguistic waste, in George Bataille's sense. These practices, however, while they might have, in theory, "de-commodified" the poem (the evidence weighs against it, but it's quite impossible to prove), have nonetheless confirmed the centrality of the early notion by William Carlos Williams that a poem is a "machine," an autonomous producer of meanings, and to that extent an object. The French philosopher Gilbert Simondon argues in his theory of technicity that something human lies at the heart of the technical object and that its technical essence, like any player in the Darwinian evolution, has its own evolutionary journey through time. In Bernard Stiegler's succinct formulation, "[a]s a 'process of exteriorization,' technics is the pursuit of life by means other than life." This confluence of ideas suggests a possibility: that the technical elements of poems--what might have formerly been understood as stylistic tics, characteristic methods, visual and prosodic features--are themselves engaged in a quest for "life," and that poems are in fact always already objects, existing outside of the system of commodities if only by virtue of obtaining an ontological status both: (1) irreducible to an over-determined system of exchanges (an unreachable "essence" in Graham Harman's "object-oriented ontology"), and (2) autonomous from the life, actions and intentions of the poem him/herself. To that degree, the focus of early Language poetry on configuring the poem against the system of commodities overstepped its reach by attempting to "de-objectify" the poem, to dissolve it among systems of relation. Poems are less human to the degree that they are not proxies for the poet him/herself or total subjects to the "social," but more human to the degree that they contain--as a steam engine, a diode or a Swiss watch--a technical essence. [ABSTRACT FROM AUTHOR]

RESUMEN: Este ensayo es un acercamiento analítico a la obra poética de Bernadette Mayer, nacida en Brooklyn en 1945. Desde su época de aprendizaje en Nueva York en la década de los 60, sus textos se han caracterizado por un espíritu de innovación y experimentación con el lenguaje y las formas poéticas. En este sentido hay que reseñar la influencia de Gertrude Stein en su estilo, que ella ha reconocido en varias ocasiones. Además de la faceta innovadora de su poética hay que mencionar también su puesta en práctica del principio de «make it new», formulado por Ezra Pound, pues Mayer ha insistido asimismo en renovar algunas estructuras clásicas, como el soneto y el epigrama. En definitiva, este ensayo pretende dar una visión panorámica de la poética de esta autora, cuya metodología se basa en los conceptos de intuición y espontaneidad, y que atiende igualmente al lenguaje simbólico y a las expresiones oníricas que envuelven al ser humano. Además de esto, uno de mis propósitos ha sido mostrar la unicidad y originalidad de Bernadette Mayer, tanto en sus textos creativos como en sus pronunciamientos teóricos sobre la escritura poética. ABSTRACT: This essay approaches analytically the work of Bernadette Mayer, born in Brooklyn in 1945. Since the 1960s, when she began to write in New York, her texts are characterized by the innovation and experimentation with language and poetic forms that have become emblematic traits of her style. In this respect it is worth noting the influence of Gertrude Stein, that she has acknowledged in several occasions. Apart from the innovative aspect of her poetics, it is also relevant to highlight her practicing of the Poundian principle of «make it new». Indeed, Mayer has insisted in the re-construction of classical structures, such as the sonnet or the epigram. In short, this essay tries to give a general view of Mayer’s poetics, based on the concepts of intuition and spontaneity, and which attends simultaneously to symbolic expressions and to the language of dreams. Moreover, it has been my purpose to make evident the unique and original character of her oeuvre, mirrored both in her poetic texts and in her theoretical statements about poetic writing.

One of the key strands of early thinking by the Language Poets, notably Charles Bernstein, Bruce Andrews and Steve McCaffery, was that the poem—particularly the mainstream, American lyric in thrall to the Imagist tradition—should be understood as partaking in the commodity system, either in its capacity of presenting the world itself as consumable or as a commodity itself. Strategies to retool the poem included an exaggerated de-naturalization of language (akin to Brecht’s Verfremdung Effekt), the permanent deferral of epiphany as “pay off” (i.e., writing as ongoing phenomenological investigation), and, most extremely, the poem as engaged in a “general” as opposed to a “closed” economy—as pure expenditure, linguistic waste, in George Bataille’s sense. These practices, however, while they might have, in theory, “de-commodified” the poem (the evidence weighs against it, but it’s quite impossible to prove), have nonetheless confirmed the centrality of the early notion by William Carlos Williams that a poem is a “machine,” an autonomous producer of meanings, and to that extent an object. The French philosopher Gilbert Simondon argues in his theory of technicity that something human lies at the heart of the technical object and that its technical essence, like any player in the Darwinian evolution, has its own evolutionary journey through time. In Bernard Stiegler’s succinct formulation, “[a]s a ‘process of exteriorization,’ technics is the pursuit of life by means other than life.” This confluence of ideas suggests a possibility: that the technical elements of poems—what might have formerly been understood as stylistic tics, characteristic methods, visual and prosodic features—are themselves engaged in a quest for “life,” and that poems are in fact always already objects, existing outside of the system of commodities if only by virtue of obtaining an ontological status both: (1) irreducible to an over-determined system of exchanges (an unreachable “essence” in Graham Harman’s “object-oriented ontology”), and (2) autonomous from the life, actions and intentions of the poem him/herself. To that degree, the focus of early Language poetry on configuring the poem against the system of commodities overstepped its reach by attempting to “de-objectify” the poem, to dissolve it among systems of relation. Poems are less human to the degree that they are not proxies for the poet him/herself or total subjects to the “social,” but more human to the degree that they contain—as a steam engine, a diode or a Swiss watch—a technical essence.

The article briefly reviews the main features and problems of Italy’s trade relations with the sterling area. Unlike the pre-war situation, the trade relations between Italy and the sterling area have been characterised since World War II by a steadily active balance in favour of Italy, which has thus accumulated a sterling credit on London, while having at the same time to meet a heavy deficit on her dollar payments. This trend, first felt in 1945-46, took on a more rapid pace in 1949, facilitated by the return of the pound sterling to its official parity with the dollar on the Italian official market. It withstood even the devaluation of the pound sterling in September 1949. It has also made an impact within the European Payments Union, raising delicate problems for the Italian Government to solve. JEL: F10, F36

Pound’s economics is largely based on his poetic notion of “usura” surfacing for the first time in the war sections of Hugh Selwyn Mauberley and based on C. H. Douglas’s unorthodox underconsumptionist theory of Social Credit. Since Pound is not an economist but a poet, in order to understand the way in which economics permeates his poetry and essays one should bear in mind that Pound’s utopian crusade against financiers is closely tied to his avant-garde efforts to create a new poetic language. In this essay I will briefly survey four stages decisively shaping his early economic ‘education’: first, his London experiences in the radical magazine The New Age with its strong Ruskinian allegiances; secondly, his own American agrarian background which consciously or unconsciously and in various hues, stayed with him his whole life; thirdly, his editing Eliot’s The Waste Land along with the idea of art as handicraft; finally I will examine one of the Hell Cantos where the financiers’ corrupting economics merges with the corruption of language.

This paper asserts that the poetics of New England poet Denise Levertov may be seen as a bridge from Victorian poet Gerard Manley Hopkins’ poetics to postmodern poetics of today. Using the imagism and the ideas of Richard Rorty, William Pratt, Jean-Francois Lyotard, Charles Bernstein, and Bob Perelman, the writer outlines how the key concepts of imagism were adopted from Gerard Manley Hopkins and in new guises used by modernist poets such as Ezra Pound and Denise Levertov and postmodern poets such as Sheila Murphy and Arthur Vogelsang. The writer also contends that what governs the changes in the Victorian poet's desperate poetics is attitude: Modernist poetry is one of mourning, and postmodernist poetry is one of joy in the absurd. [ABSTRACT FROM PUBLISHER]

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