@article{8ff4a147-db6e-498e-9487-f5bd4ea8db23,
author = {Marino Alberto Balducci},
title = {Usura, protocapitalismo e Giotto nel canto XVII dell’Inferno di Dante},
journal = {Romanica Cracoviensia},
volume = {Tom 16 (2016)},
number = {Tom 16, Numer 3},
year = {2016},
issn = {1732-8705},
pages = {147-155},keywords = {Divine Comedy; Giotto; homosexuality; scatology; usury},
abstract = {In this hermeneutical study on a canto that represents the emblematic center of all Dante’s Inferno, we find a reflection about the extensive network of symbols which is related with the vice of greed, highlighting for the first time the hidden kinship between apparently different faults: usury, blasphemy and sodomy. Geryon the monster appears at the beginning, connecting us with mercantilism as
	a socio-historical phenomenon rapidly evolving when Europe sees its transition from feudalism to proto-capitalism. Later, the animalized figure of Reginaldo Scrovegni, in this same alienating context (the sole infernal canto which is entirely coloured as a fresco), suggests the implicit, ironic and disturbing presence of Giotto, with a secret moral reference (as a cruel contrappasso) to his famous masterpiece of Padua. Immediate horror and beauty come grotesquely together thus, in this hellish space, with
	a specific and surprising sarcastic power},
doi = {10.4467/20843917RC.16.013.5934},
url = {https://ejournals.eu/czasopismo/romanica-cracoviensia/artykul/usura-protocapitalismo-e-giotto-nel-canto-xvii-dellinferno-di-dante}
}