Nicoleta Rodica Dominte⁕
Simona Catrinel Avarvarei⁕⁕
The American poet Ezra Pound, a metamorphosed jurist, develops and publishes in 1918 in the New Age magazine relevant legislative proposals to amend US copyright law with a view to creating a worldwide harmonious legal framework. A fierce supporter of the principle of the freedom of trade in the sphere of copyright by augmenting the dissemination of works to the public, the poet argued that literature and art are the places where people can become friends in the context of modern legislation. The peril of Ezra Pound's legislative proposals unfolds a vision of its own, though pragmatically anchored in the social realities of the day trying to incorporate in a legal armor the acculturation of some European concepts dreaming to create an esperanto normative framework of authors for the benefit of the readers. This is our account of the legal reverberations of these legislative proposals in the context of the early 20th Century, but also in the paradigm of the beginning of the 21st Century. If Ezra Pound's poems belong to the first wave of Modernism as an artistic movement which broke in the first decade or two of the 20th Century, could his legislative proposals embody a visionary jurist whose jurisprudential ideas modernize the current European legal framework in the field of copyright by cultural rebirth? On a jocular tone, the poet said he could have had "a great jurisprudential career." True or mere creative imagination, the normative proposal on copyright legislation is a benchmark for the beginning of the 21st Century, drawing on the difficulty of developing a rule that equally regulates the protection of authors in convergence with the interest of users.