Uno studio approfondito e rigoroso che, attraverso una lettura storica di lungo periodo, va a dimostrare come la famiglia interpretata nella sola chiave economicistica, come 'societŕ a responsabilitŕ limitata', con tutte le funzioni (dalla fedeltŕ dei coniugi al desiderio di avere figli) relegate in un'ottica di mercato, ha un inevitabile destino: la progressiva disintegrazione. L'analisi si basa sul confronto di diversi modelli politico-istituzionali: dal socialismo al sistema capitalistico, con uno sguardo alla crisi attuale e alla finanziarizzazione dell'economia che ha ulteriormente sconvolto gli equilibri socio-demografici, insieme ai valori e alla bioetica. Ma se la famiglia rappresenta un valore (anche) economico, questo si fonda su beni e capacitŕ non misurabili secondo i criteri dell'economia tradizionale. Per comprenderla, 'l'impresa famiglia', bisogna tenere conto anche di concetti come dono, beni relazionali, capitale sociale, felicitŕ.

Jaroslav Rossler (1902-1990) was one of the Czech avant-garde photographers of the first half of the twentieth century whose work has only recently become known outside Eastern Europe. Czech photography in the twenties and thirties produced radical modernist works that incorporated principles of abstract art and constructivism; Jaroslav Rossler was one of the most important and distinctive artists of the period. He became known for his fusing of different styles, bringing together elements of symbolism, pictorialism, expressionism, cubism, futurism, constructivism, new objectivity, and abstract art. His photographs often reduced images to elementary lines and shapes that seemed to form a new reality; he would photograph simple objects against a stark background of black and white, or use long exposures to picture hazy cones and spheres of light. From 1927 to 1935 he lived and worked in Paris, producing work influenced by constructivism and new objectivity. He used the photographic techniques and compositional approaches of the avant-garde, including photograms, large details, diagonal composition, photomontage, and double exposures, and experimented with color advertising photographs and still lifes produced with the carbro print process. After his return to Prague, he was relatively inactive until the late 1950s, when he reconnected with Czech artistic and photographic trends of that period, including informalism.This book documents each stage of Rossler's career with a generous selection of duotone images, some of which have never been published before. The photographs are accompanied by texts by Vladimir Birgus, Jan Mlcoch, Robert Silverio, Karel Srp, and Matthew Witkovsky.