CURRICULUM VITAE Department of Classics

Total Page:16

File Type:pdf, Size:1020Kb

CURRICULUM VITAE Department of Classics Rabun Taylor: CV CURRICULUM VITAE RABUN M. TAYLOR Department of Classics, University of Texas at Austin Mailcode C3400, Austin, TX 78712 (512) 471-0677 [email protected] ACADEMIC APPOINTMENTS: September 2011–present: Associate Professor, University of Texas at Austin, Department of Classics. August 2007–August 2011: Assistant Professor, University of Texas at Austin, Department of Classics. July 2003–June 2007: Associate Professor, Harvard University, Department of History of Art and Architecture. July 1998–June 2003: Assistant Professor, Harvard University, Department of History of Art and Architecture. 1998: Instructor, University of Minnesota, Department of Classical and Near Eastern Studies. 1998: Adjunct Professor, College of Visual Arts, St. Paul, Minnesota. ADJUNCT FACULTY POSITIONS: University of Texas-Austin: Italian Studies doctoral degree program (GSC), from 2008; School of Architecture (faculty appointment), from 2010. EDUCATION: Haverford College, 1978–82. B.A., English, May 1982. University of Minnesota, 1990–97. Ph.D., Classical Studies, May 1997. DISSERTATION TITLE: “Water Distribution, the Tiber River, and the Urban Development of Ancient Rome.” SCHOLARLY PUBLICATIONS: Books: Life of the Average Roman: A Symposium. White Bear Lake, Minnesota: PZA Publishing. Co- editor with Mary R. DeMaine. 1999. Public Needs and Private Pleasures: Water Distribution, the Tiber River, and the Urban Development of Ancient Rome. Rome: “L’Erma” di Bretschneider, 2000. Roman Builders: A Study in Architectural Process. Cambridge University Press, 2003. Award: Choice Outstanding Academic Title, 2003. Los constructores romanos. Un estudio sobre el proceso arquitectónico. Tres Cantos, Madrid: Ediciones Akal. 2006. Translation by R. Fontes of the preceding. The Moral Mirror of Roman Art. Cambridge University Press. 2008. Ancient Naples. With Joseph D. Alchermes. Series: A Documentary History of Naples. Under contract with Italica Press. Rome: An Urban History. With Katherine Rinne. Under contract with Cambridge University Press. Articles: “A citeriore ripa aquae: Aqueduct River Crossings in Ancient Rome.” Papers of the British School at Rome 63 (1995) 75–103. “A Literary and Structural Analysis of the First Dome on Justinian's Hagia Sophia, Constantinople.” Journal of the Society of Architectural Historians 55:1 (March 1996) 66–78. “Two Pathic Subcultures in Ancient Rome.” Journal of the History of Sexuality 7:3 (January 1997) 319–71. “Torrent or Trickle? The Aqua Alsietina, the Naumachia Augusti, and the Transtiberim.” American Journal of Archaeology 101:3 (July 1997) 465–92. “Publici usus, privatae voluptates: Water and Demographics in the Ancient Metropolis.” In Life of the Average Roman (listed above) 67–83. 1 Rabun Taylor: CV “Watching the Skies: Janus, Auspication, and the Shrine in the Roman Forum.” Memoirs of the American Academy in Rome 45 (2000) 1–39. “Temples and Terracottas at Cosa.” American Journal of Archaeology 106:1 (January 2002) 59–83. “Tiber River Bridges and the Development of the Ancient City of Rome.” 2002. Refereed article for “Aquae Urbis Romae: Waters of the City of Rome,” website ed. Katherine Rinne, http://jefferson.village.virginia.edu/waters. “The Cult Statue and Other Decoration in Stone”; “Sculpture and Furniture”; “Terracottas from Temple E in Trench Forum VI.” In Cosa V: An Intermittent Town, Excavations 1991–1997, ed. Elizabeth Fentress. Memoirs of the American Academy in Rome (University of Michigan Press, 2003) 51–55, 191–213, 217–22. “Hadrian’s Serapeum in Rome.” American Journal of Archaeology 108:2 (April 2004) 223−66. “Justinianos Ayasofya’sının (İ.S. 537−558) İlk Kubbesinin Yapısal Konfigürasyonu: Yapısal ve Yazısal Çözümlemeye Dayalı Bir Araştırma.” With Ahmet S. Çakmak and Eser Durukal. Sanat Dünyamız 94 (2004) 174−81. “Roman Oscilla: An Assessment.” RES: Anthropology and Aesthetics 48 (autumn 2005) 83−105. “Building the Image of the Urbs in Antiquity: Response.” In Common Ground: Archaeology, Art, Science, and Humanities: Proceedings of the XVI International Congress of Classical Archaeology, ed. Carol Mattusch, A. A. Donohue and Amy Brauer (Oxford: Oxbow, 2006) 205−07. “Death, the Maiden, and the Mirror: Ausonius’ Water-World.” Arethusa 42 (Spring 2009) 181−205. “River Raptures: Containment and Control of Water in Greek and Roman Constructions of Identity.” In The Nature and Function of Water, Baths, and Hygiene from Antiquity through the Renaissance, ed. Cynthia Kosso and Anne Scott (Amsterdam: Brill, 2009) 21−42. “The Structural Configuration of the First Dome of Justinian’s Hagia Sophia (537−558 A.D.): An Investigation Based on Structural and Literary Analysis.” With Ahmet Çakmak and Eser Durukal. Soil Dynamics and Earthquake Engineering 29 (2009) 693–98. “A Grotto-Shrine at the Headwaters of the Aqua Traiana.” With Katherine Rinne, Edward O’Neill, and Michael O’Neill. Journal of Roman Archaeology 23 (2010) 358−75. “Bread and Water: Septimius Severus and the Rise of the Curator aquarum et Miniciae.” Memoirs of the American Academy in Rome 55 (2010) 199–220. “Rome’s Lost Aqueduct: Searching for the Source of One of the City’s Greatest Engineering Achievements.” Archaeology 65:2 (March-April 2012) 34-40. “The Cult of Sirens and Greek Colonial Identity in Southern Italy.” In Attitudes Towards the Past in Antiquity: Creating Identities? (symposium papers, Stockholm). In proof. “The Temple of the Dioscuri and the Origins of Neapolis.” In Remembering Parthenope: Reception of Classical Naples from Antiquity to the Present, ed. Claudio Buongiovanni and Jessica Hughes (Oxford University Press). Forthcoming. Book reviews: T. Mathews, The Clash of Gods (1993). Legenda, newsletter of the Department of Classical and Near Eastern Studies, University of Minnesota (summer 1994). C. O’Connor, Roman Bridges (1993). Religious Studies Review 21:2 (April 1995) 139 and Journal of Roman Archaeology 8 (1995) 385–86. T.S. Burns, Barbarians Within the Gates of Rome: A Study of Roman Military Policy and the Barbarians, 375–425 A.D. (1994). Religious Studies Review 21:4 (October 1995) 329. R. Duncan-Jones, Money and Government in the Roman Empire (1994). Religious Studies Review. P.J. Aicher, Guide to the Aqueducts of Ancient Rome (1995). Bryn Mawr Classical Review 7:1 (February 1996) 1–3. Online. O.J. Brendel, Etruscan Art (1978/1995). Religious Studies Review 23:2 (April 1997) 173. M. Leiwo, Neapolitana: A Study of Population and Language in Graeco-Roman Naples (1995). Religious Studies Review 23:3 (July 1997) 295. J.W. Shaw and M.C. Shaw, eds., Kommos I.2: The Kommos Region and Houses of the Minoan Town: The Minoan Hilltop and Hillside Houses. Religious Studies Review (1998). La Rome impériale: démographie et logistique (1997). Bryn Mawr Classical Review (February 2000). Online. 2 Rabun Taylor: CV C. Williams, Roman Homosexuality: Ideologies of Masculinity in Classical Antiquity (1999). Religious Studies Review 26:1 (January 2000) 82. M. Grahame, Reading Space: Social Interaction and Identity in the Houses of Roman Pompeii (2000). Journal of Roman Archaeology 15 (2002) 439−44. R. Cassanelli, M. David, E. de Albentiis, and A. Jacques, Ruins of Ancient Rome: The Drawings of French Architects Who Won the Prix de Rome, 1786–1924 (2002); and R. Cassanelli, P.L. Ciapparelli, E. Colle, and M. David, Houses and Monuments of Pompeii: The Works of Fausto and Felice Niccolini (2002). Journal of the Society of Architectural Historians 62:4 (December 2003) 519–21. R. Loisy, Les oscilla en Gaule romaine (1999). Journal of Roman Archaeology (2003) 596−98. I.K. MacEwen, Vitruvius: Writing the Body of Architecture (2003). Classical Philology 100:3 (July 2005) 284−89. I. Nielsen, Cultic Theatres and Ritual Drama: A Study in Regional Development and Religious Interchange Between East and West in Antiquity (2002). Bryn Mawr Classical Review (September 2005). Online. L. Lancaster, Concrete Vaulted Construction in Imperial Rome (2006). Journal of Roman Studies 97 (2007) 361−64. K. Welch, The Roman Amphitheatre from Its Origins to the Colosseum (2007); F. Sear, Roman Theatres: An Architectural Study. Journal of the Society of Architectural Historians. 67 (2008) 443−45. P. Rehak, Imperium and Cosmos: Augustus and the Northern Campus Martius (2006). CAA.reviews (College Art Association online reviews), 2008. H. Massa-Pairault and G. Sauron, Images et modernité hellénistique. Appropriation et représentation du monde d’Alexandre à César (2007). Journal of Roman Archaeology 22 (2009) 466−70. E. Mayer, The Ancient Middle Classes: Urban Life and Aesthetics in the Roman Empire, 100 BC – 250 CE (2012). CAA.reviews, Forthcoming. Encyclopedia and multimedia contributions: Archaeological Resources for New Testament Studies, vol. 3 (Valley Forge, PA, 2004; general eds. Helmut Koester and Holland Hendrix): Co-editor with Philip Sellew. Contributions: “Argive Monument”; “Kastalian Spring: Archaic and Classical”; “Kastalian Spring: Hellenistic and Roman”; “Knidian Leskhe”; “Pillar of Prysias”; “Roman Agora: General”; “Roman Agora: Colonnade”; “Roman Agora: Early Christian Presence”; “Terrace of Attalos I”; “Theater: Frieze”; “Theater: Performance Area”; “Theater: Spectators’ Area.” Encyclopedia of Ancient Greece and Rome (Oxford University Press, 2010; ed. Michael Gagarin et al.): “Rome, City of.” Vol. 6, pp. 172−85. Forthcoming: Encyclopedia of Early Christian Art and Archaeology (Grand Rapids, MI, forthcoming; ed. Paul Corby Finney): “Aedicula”; “Aisle”; “Bema”; “Brick”; “Cornice”; “Cupola/Cupola Construction (Pendentive, Squinch)”;
Recommended publications
  • Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
    University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism
    [Show full text]
  • Ferrara Di Ferrara
    PROVINCIA COMUNE DI FERRARA DI FERRARA Visit Ferraraand its province United Nations Ferrara, City of Educational, Scientific and the Renaissance Cultural Organization and its Po Delta Parco Urbano G. Bassani Via R. Bacchelli A short history 2 Viale Orlando Furioso Living the city 3 A year of events CIMITERO The bicycle, queen of the roads DELLA CERTOSA Shopping and markets Cuisine Via Arianuova Viale Po Corso Ercole I d’Este ITINERARIES IN TOWN 6 CIMITERO EBRAICO THE MEDIAEVAL Parco Corso Porta Po CENTRE Via Ariosto Massari Piazzale C.so B. Rossetti Via Borso Stazione Via d.Corso Vigne Porta Mare ITINERARIES IN TOWN 20 Viale Cavour THE RENAISSANCE ADDITION Corso Ercole I d’Este Via Garibaldi ITINERARIES IN TOWN 32 RENAISSANCE Corso Giovecca RESIDENCES Piazza AND CHURCHES Trento e Trieste V. Mazzini ITINERARIES IN TOWN 40 Parco Darsena di San Paolo Pareschi WHERE THE RIVER Piazza Travaglio ONCE FLOWED Punta della ITINERARIES IN TOWN 46 Giovecca THE WALLS Via Cammello Po di Volano Via XX Settembre Via Bologna Porta VISIT THE PROVINCE 50 San Pietro Useful information 69 Chiesa di San Giorgio READER’S GUIDE Route indications Along with the Pedestrian Roadsigns sited in the Historic Centre, this booklet will guide the visitor through the most important areas of the The “MUSEO DI QUALITÀ“ city. is recognised by the Regional Emilia-Romagna The five themed routes are identified with different colour schemes. “Istituto per i Beni Artistici Culturali e Naturali” Please, check the opening hours and temporary closings on the The starting point for all these routes is the Tourist Information official Museums and Monuments schedule distributed by Office at the Estense Castle.
    [Show full text]
  • View PDF Datastream
    Society of Architectural Historians University of California Press "The Century's Triumph in Lighting": The Luxfer Prism Companies and Their Contribution to Early Modern Architecture Author(s): Dietrich Neumann Source: Journal of the Society of Architectural Historians, Vol. 54, No. 1 (Mar., 1995), pp. 24-53 Published by: University of California Press on behalf of the Society of Architectural Historians Stable URL: http://www.jstor.org/stable/991024 Accessed: 25-10-2015 18:45 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society of Architectural Historians and University of California Press are collaborating with JSTOR to digitize, preserve and extend access to Journal of the Society of Architectural Historians. http://www.jstor.org This content downloaded from 128.148.252.35 on Sun, 25 Oct 2015 18:45:40 UTC All use subject to JSTOR Terms and Conditions "The Century'sTriumph in Lighting": The Luxfer Prism Companies and their Contributionto Early Modem Architecture medium to another, as from air to water or, in this case, glass. DIETRICH NEUMANN, BrownUniversity Throughoutthe eighteenth and nineteenth centuriesconically characterize this new prism as one of the most shaped glassesalready had been used to redirectlight into dark .L remarkable improvements of the century in its bearing rooms in basementsor in ships.5Thaddeus Hyatt, one of the on practical architecture, is to speak but mildly.
    [Show full text]
  • Maquetacišn 1
    Adamo Boari, Mexico City and Canberra Christopher Vernon Annette Condello Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia, Australia Walter Burley and Marion Mahony Griffin’s victory in the 1912 international design competition for Australia’s new capital city Canberra propelled the couple out from under the shadow of their former employer Frank Lloyd Wright. Central to their submission’s success, the Griffins’ plan encapsulated an almost worshipful regard for the future city’s rugged site. Most striking is the plan’s symbolically-charged, crystalline geometry. Crucially, this modular system not only accommodated, but was also informed by, and accentuated the site’s irregular landforms. The remarkable structural dialogue between the plan’s geometry and the site’s topography has attracted considerable scholarly attention. When seeking to identify its compositional origins, many have concluded that the Griffins’ design cannot be ‘understood simply in terms of either late nineteenth century City Beautiful models or Howard’s Garden City principles’. Given this, some have ascribed the design’s structure to the ‘secret’ formulas of ancient cosmological and other esoteric sources. This paper, however, argues that the Griffins drew upon more immediate, exoteric sources. These sources, in turn, are to be more accurately identified through an investigation of the couple’s own pre-Canberra projects. This alternative interpretation features works produced during Walter Burley Griffin’s early (ca 1900) and little- known tenure with Italian-American architect Adamo Boari. Adamo Boari is today remembered almost exclusively (if at all) as the architect of Mexico City’s Palace of Fine Arts.
    [Show full text]
  • The Importance of the Deutsche Luxfer Prismen Syndikat,The Victoria Regia Lily
    THE IMPORTANCE OF THE DEUTSCHE LUXFER PRISMEN SYNDIKAT, THE VICTORIA REGIA LILY AND GOTHIC IMITATION IN THE DESIGN OF BRUNO TAUT’S GLASHAUS Neal David Nielsen N.Dip. Arch. Tech, N.H.Dip. Arch. Tech, B.Tech. Arch. Design, M.Tech. Arch. Design, B.Arch. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Design Creative Industries Faculty Queensland University of Technology February 2015 1 Keywords Bruno Taut, Glashaus, Deutsche Luxfer Prismen Syndikat, Victoria regia, Frederick Keppler, Gothic 2 Abstract Bruno Taut's Glashaus at the Werkbund Exhibition of 1914 is considered a seminal example of early modernist architecture; hence it is included in all its official histories. Yet, some of the crucial factors behind the design of the Glashaus remain little understood. In an attempt to address this situation, this PhD reveals that the Glashaus was the result of a strong architect-client interaction. In fact, Frederick Keppler, the Glashaus’ patron and director of the Deutsche Luxfer Prismen Syndikat, had a significant influence on its design. He wanted his company's Luxfer prototype, which had been developed over many years at earlier exhibitions, to be the major material constituent of the building. In order to show the glazed products of Luxfer in the best manner possible, Keppler insisted on a design featuring a glazed dome, electric lighting, a fountain as well as a cascade. Taut, as the architect, had to formulate a design that met these detailed stipulations. For the Glashaus, Taut turned to myths and symbols associated with the Victoria regia lily and the Gothic in order to provide his interpretation of the brief.
    [Show full text]
  • Adamo Boari (1863–1928) Arquitecto Entre América Y Europa Volumen 2 | Las Obras
    ESEMPI DI ARCHITETTURA 52 Direttore Olimpia Niglio Kyoto University, Japan Comitato scientifico Roberto Goycoolea Prado Universidad de Alacalà, Madrid, España Taisuke Kuroda Kanto Gakuin University, Yokohama, Japan Rubén Hernández Molina Universidad Nacional, Bogotá, Colombia Alberto Parducci Università degli Studi di Perugia Cesare Sposito Università degli Studi di Palermo Massimiliano Savorra Università degli Studi di Pavia Karin Templin University of Cambridge, Cambridge, UK Comitato di redazione Giuseppe De Giovanni Università degli Studi di Palermo Marzia Marandola Sapienza Università di Roma Mabel Matamoros Tuma Instituto Superior Politécnico José A. Echeverría, La Habana, Cuba Alessio Pipinato Università degli Studi di Padova Bruno Pelucca Università degli Studi di Firenze Chiara Visentin Universita IUAV di Venezia ESEMPI DI ARCHITETTURA La collana editoriale Esempi di Architettura nasce per divulgare pubblicazioni scientifiche edite dal mondo universitario e dai cen- tri di ricerca, che focalizzino l’attenzione sulla lettura critica dei proget ti. Si vuole così creare un luogo per un dibattito culturale su argomenti interdisciplinari con la finalità di approfondire temati- che attinenti a differenti ambiti di studio che vadano dalla storia, al restauro, alla progettazione architettonica e strutturale, all’analisi tecnologica, al paesaggio e alla città. Le finalità scientifiche e culturali del progetto EDA trovano le ragioni nel pensiero di Werner Heisenberg Premio Nobel per la Fisica nel 1932. … È probabilmente vero, in linea di
    [Show full text]
  • El Palacio De Bellas Artes, Proyecto Monumental Del Arquitecto Adamo Boari
    Dirección de Difusión y Relaciones Públicas Ciudad de México, a 22 de octubre de 2019 Boletín núm. 1636 El Palacio de Bellas Artes, proyecto monumental del arquitecto Adamo Boari Se cumplen 156 años del nacimiento del arquitecto italiano, creador de obras emblemáticas en México Este martes 22 de octubre se cumple el 156 aniversario del nacimiento de Adamo Boari (1863-1928), cuyas obras más representativas son el Palacio Postal Mexicano y el Palacio de Bellas Artes. Este último, espacio emblemático que celebra 85 años de creación y al cual el arquitecto italiano dedicó el mayor tiempo de su carrera. Adamo Boari estudió en las universidades de Ferrara y Bolonia donde se graduó como ingeniero civil en 1886. Posteriormente participó en una exposición nacional de arquitectura en Turín, en la cual sus diseños y proyectos obtuvieron gran reconocimiento. Llegó a México en 1899 y se encargó de proyectos religiosos, además participó en el diseño de la cúpula de la Parroquia y Santuario de Nuestra Señora del Carmen, así como en el techo del crucero del Templo de San Miguel Arcángel, en Atotonilco el Alto, Jalisco; en el Templo Expiatorio de Guadalajara, Jalisco, y la Parroquia de Matehuala, en San Luis Potosí, además del diseño del Palacio Postal Mexicano (1902-1907). En 1904, el presidente Porfirio Díaz le encargó un proyecto de construcción para el nuevo Teatro Nacional, empresa que compartió con el ingeniero Gonzalo Garita, quien posteriormente abandonaría el proyecto, dejando a Boari como único responsable. Para llevar a cabo su diseño, Boari viajó a Europa a visitar teatros y se estableció en Chicago donde surgió la idea del Palacio de Bellas Artes; ahí conoció a Frank Lloyd Wright -uno de los principales maestros de la Paseo de la Reforma y Campo Marte s/n, Módulo A, 1.er Piso Col.
    [Show full text]
  • Adamo Boari Y Sus Proyectos De Arquitectura Civil En La Ciudad De México (1901- 1916)
    ADAMO BOARI Y SUS PROYECTOS DE ARQUITECTURA CIVIL EN LA CIUDAD DE MÉXICO (1901- 1916) MARTÍN M. CHECA-ARTASU FRANCISCO JAVIER NAVARRO JIMÉNEZ This chapter describes the professional activity of engineer Adamo Boari at Mexico City between the years 1901 and 1916. We focus particularly on both National Theatre and Postal Palace projects. These two buildings are located in the Historic center of Mexico City and both represents the most well-known works of Adamo Boari. In addition to these works, we will review the case of a small project located in the Roma neighborhood which constitutes the only example of a private residence designed and built in Mexico by this Italian engineer. ¿Como llegó Adamo Boari a México? Adamo Boari (Marrara, 1863- Roma, 1928) es quizás uno de los nombres más conocidos del círculo de ingenieros y arquitectos italianos que se establecieron en México durante el régimen porfirista entre finales del siglo XIX e inicios del XX. Hasta antes de su llegada, Boari residía y trabajaba en la ciudad de Chicago donde desde 1894 había cultivado una importante trayectoria profesional, primero vinculado al proyecto de la World’s Columbian Fair y más tarde a través del libre ejercicio de su profesión como ingeniero. Así, su establecimiento en México fue fruto de una serie de circunstancias que entre los años 1898 y 1901 le obligaron a realizar continuas visitas al país. La primera de ellas fue cuando en 1898 presentó un proyecto dentro del concurso internacional para la construcción del nuevo Palacio Legislativo en la Ciudad de México1. 1 Para conocer con más detalle la trayectoria en Estados Unidos de Boari y el asunto del concurso para la construcción del palacio legislativo se puede consultar: CHECA ARTASU, M.
    [Show full text]
  • The Nave Italia and the Politics of Latinità: Art, Commerce, and Cultural Colonization in the Early Days of Fascism
    Italian Studies ISSN: 0075-1634 (Print) 1748-6181 (Online) Journal homepage: http://www.tandfonline.com/loi/yits20 The Nave Italia and the Politics of Latinità: Art, Commerce, and Cultural Colonization in the Early Days Of Fascism Laura Moure Cecchini To cite this article: Laura Moure Cecchini (2016): The Nave Italia and the Politics of Latinità: Art, Commerce, and Cultural Colonization in the Early Days Of Fascism, Italian Studies, DOI: 10.1080/00751634.2016.1222755 To link to this article: http://dx.doi.org/10.1080/00751634.2016.1222755 Published online: 12 Sep 2016. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=yits20 Download by: [Duke University Medical Center], [Laura Moure Cecchini] Date: 13 September 2016, At: 17:51 ITALIAN STUDIES, 2016, 1–30 The Nave Italia and the Politics of Latinità: Art, Commerce, and Cultural Colonization in the Early Days Of Fascism Laura Moure Cecchini Colgate University During 1924 the Nave Italia visited every Latin American city with a significant Italian community. This ship carried industrial and artisanal products, and numerous artworks by commercially successful but aesthetically conservative Italian artists. The Italia aimed to establish commercial partnerships with the emerging markets of Latin America, and to extend the political influence of Italy across the Atlantic. To do so, the organizers emphasized the concept of latinità, suggesting a common heritage shared by Italy and Latin America. This paper analyzes the artistic content of the Italia and how it manifested the ambiguities of Fascism’s project of cultural colonization of Latin America.
    [Show full text]
  • Carlotta Claire De Bellis Trinity University Art and Architecture of Mexico City December 9, 2019
    Carlotta Claire de Bellis Trinity University Art and Architecture of Mexico City December 9, 2019 El Correo Mayor: a Symbol of Porfirian Modernity In the heart of Mexico City, there is a very extravagant post office: El Correo Mayor (the Main Post Office), which is still in function today and attracts many tourists for its unique architectural beauty and significance. The edifice was built between 1902 and 1907 by the Italian architect Adamo Boari, and it was part of President Porfirio Diaz’s urbanization plans. Although it reflects an important social role, the building’s function cannot be immediately discerned. It falls under the “palace” tradition mimicking in construction adjacent historical buildings like the Museo ​ Nacional de Arte, Palacio de Iturbide, Palacio de Los Azulejos, and the Palacio de Mineria. El Palacio Postal [figure 1] has quite a prominent location as it is the main post office for the city of Mexico; it is situated on the Eje Central, in the Colonia Centro (center district), near the Alameda center, which indicates the importance that Diaz placed on it. The utilitarian function of ​ the building is in stark contrast to its elaborate and seemingly unnecessary ornamentation. Its palazzo-like structure is influenced by the Spanish Colonial architecture which was formed after the Italian Renaissance, while its mestizaje, or racial and cultural mixing, components make it ​ ​ ​ ​ undoubtedly Mexican. The Correo Mayor clearly emulates European— particularly Italian— ideas of prestige and power, but it also presents hints of a variety of different and more revolutionary styles such as Art Nouveau, a secessionist movement that breaks with traditional art movements.
    [Show full text]
  • Arquitectos E Ingenieros Emiliano-Romañolos En El Mundo
    Arquitectos e ingenieros emiliano-romañolos en el mundo Vida y obra de algunos maestros activos en los últimos 5 siglos en Inglaterra, España, Marruecos, Argentina, Brasil, Uruguay, Venezuela, Colombia, México, Cuba y las Islas caribeñas Bolonia Italia, 6-24 de octubre 2009 Sao Paolo Brasil, 30 de octubre – 6 de diciembre 2009 Lisboa Portugal, 1-10 de junio 2010 Viedma Argentina, Centro Municipal de Cultura, 11-19 de mayo 2011 AL T E A J ACT A E S Comune di Comune di Comune di Comune di Provincia di Comune di Comune di Comune di Comune di Bologna Brescello Ferrara Forlimpopoli Forlì-Cesena Gatteo Lugo Modena Reggio Emilia FONDAZIONE CASSA DI RISPARMIO IN BOLOGNA 1 La realización de esta exposición fue posible gracias a la colaboración de muchas personas e instituciones. Inspiración y pasión civica: Un agradecimiento especial a: el ingenio de los emiliano-romañolos en el mundo Iglis Bellavista, Asesor cultural de la Provincia de Forlí-Cesena. Hay calles y plazas llamadas con nombres de emiliano-romañolos en diversas partes del María Adriana Bernardotti, sociólogo, consultor de Italia Lavoro para la cooperación italiana en Argentina, por su artículo mundo. Hay incluso ciudades, como Ingeniero Jacobacci en Argentina, e instituciones cul- sobre Carlo zucchi. turales, como el Instituto Geográfico Agustín Codazzi en Colombia. Y hay muchas obras Marina Foschi, arquitecto, ex-jefe de Beni architettonici e ambientali dell’IBC de la Región Emilia-Romaña. maestras de arquitectura e ingeniería realizadas fuera de Italia por nuestra inspiración, que la exposición organizada por la Consulta de los emiliano-romañolos en el mundo tiene Graziano Gasparini, arquitecto, profesor de Historia de la Arquitectura, Caracas, Universidad Central de Venezuela, propietario el mérito de dar a conocer.
    [Show full text]
  • 6. La Arquitectura Moderna En Iberoamérica: Una Seña De Identidad
    6. LA ARQUITECTURA MODERNA EN IBEROAMÉRICA: UNA SEÑA DE IDENTIDAD 6. l. ANTES DE LA ARQUITECTURA MODERNA.-La arquitectura moderna iberoame­ ricana tuvo, en un principio, un desarrollo no demasiado lejano al del resto de los países occidentales en los que no se produjo directamente la actividad revolucionaria de las vanguardias artísticas y arqui­ tectónicas del principio del siglo XX. Dedicaremos unas notas a sus antecedentes. Hasta el siglo XVIII, el desarrollo de la arquitectura había sido muy semejante al producido en las metrópolis española y portuguesa, si bien el hecho de la colonización sistemática, la fundación - o refundación- de gran cantidad de nuevas ciudades y de sus equipamientos haría que, en gran medida, la arquitectura española y portuguesa se desarrollase en las colonias americanas con mucha más abun­ dancia, y, frecuentemente, con mucho mayor interés, que en las propias metrópolis, teniendo además un grado mayor de diversidad. Las ciudades hispanoamericanas de las Leyes de Indias, las grandes catedrales, la inmensa canti­ dad de templos, conventos y palacios, hicieron que gran parte de la mejor historia de la arquitectura española de los siglos XVI, xvn y XVIII estuviera, en realidad, en América. A partir de la independencia, y en el siglo XIX, tampoco se produjo nada demasiado distinto a lo que ocurría en Europa. El academicismo derivado del reviva[ neoclásico y alimentado por la insisten­ cia francesa de la Escuela de Beaux-Arts construyó los equipamientos de las nuevas naciones. Tal vez ·el mejor ejemplo, ya en el final del siglo y principios del xx, fueran las realizaciones del largo régi­ men mexicano de Porfirio Díaz («el porfiriato» ), que equipó abundantemente la nación con nuevos edificios oficiales académicos y realizó importantes intervenciones urbanas, entre las que destaca el paseo de la Reforma que inició la ampliación moderna de la Ciudad de México.
    [Show full text]