Rational City (Part I)
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QUALESTORIA. Rivista Di Storia Contemporanea. L'italia E La
«Qualestoria» n.1, giugno 2021, pp. 163-186 DOI: 10.13137/0393-6082/32191 https://www.openstarts.units.it/handle/10077/21200 163 Culture, arts, politics. Italy in Ivan Meštrović’s and Bogdan Radica’s discourses between the two World Wars di Maciej Czerwiński In this article the activity and discourses of two Dalmatian public figures are taken into consideration: the sculptor Ivan Meštrović and the journalist Bogdan Radica. They both had an enormous influence on how the image of Italy was created and disseminated in Yugoslavia, in particular in the 1920s and 1930s. The analysis of their discourses is interpreted in terms of the concept of Dalmatia within a wider Mediterranean basin which also refers to two diverse conceptualizations of Yugoslavism, cultural and politi- cal. Meštrović’s vision of Dalmatia/Croatia/Yugoslavia was based on his rural hinterland idiom enabling him to embrace racial and cultural Yugoslavism. In contrast, Radica, in spite of having a pro-Yugoslav orientation during the same period, did not believe in race, so for him the idea of Croat-Serb unity was more a political issue (to a lesser extent a cultural one). Keywords: Dalmatia, Yugoslav-Italian relationships, Croatianness, Yugoslavism, Bor- derlands Parole chiave: Dalmazia, Relazioni Jugoslavia-Italia, Croaticità, Jugoslavismo, Aree di confine Introduction This article takes into consideration the activity and discourses of the sculptor Ivan Meštrović and the journalist Bogdan Radica1. The choice of these two figures from Dalmatia, though very different in terms of their profession and political status in the interwar Yugoslav state (1918-41), has an important justification. Not only they both were influenced by Italian culture and heritage (displaying the typical Dalmatian ambivalence towards politics), but they also evaluated Italian heritage and politics in the Croatian/Yugoslav public sphere. -
Gothic Modernism: Revising and Representing the Narratives of History and Romance
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2012 Gothic Modernism: Revising and Representing the Narratives of History and Romance Taryn Louise Norman [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the American Literature Commons, Feminist, Gender, and Sexuality Studies Commons, Literature in English, British Isles Commons, and the Literature in English, North America Commons Recommended Citation Norman, Taryn Louise, "Gothic Modernism: Revising and Representing the Narratives of History and Romance. " PhD diss., University of Tennessee, 2012. https://trace.tennessee.edu/utk_graddiss/1331 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Taryn Louise Norman entitled "Gothic Modernism: Revising and Representing the Narratives of History and Romance." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Lisi Schoenbach, Major Professor We have read this dissertation and recommend its acceptance: Mary Papke, Amy Billone, Carolyn Hodges Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Gothic Modernism: Revising and Representing the Narratives of History and Romance A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee Taryn Louise Norman May 2012 Copyright © 2012 Taryn Louise Norman All rights reserved. -
Giovanni Papini E Walt Whitman Tra Pragmatismo, Nietzsche E Futurismo
‘900 Transnazionale 2, 1 (Marzo 2018) ISSN 2532-1994 Doi: 10.13133/2532-1994_2.3_2018 Open access article licensed under CC-BY Giovanni Papini e Walt Whitman tra Pragmatismo, Nietzsche e Futurismo Marina Camboni Università degli Studi di Macerata __________ Contact: Marina Camboni, [email protected] __________ ABSTRACT This is an essay in three parts. The first reconstructs Giovanni Papini’s encounter with William James and his contribution to transatlantic Pragmatism as part of an intellectual action aimed at modernizing Italian culture and making it more international. It argues that Papini’s early reading of the two volumes of Walt Whitman’s Canti scelti shaped his own brand of pragmatism. The second part centers on Papini’s 1908 essay, “Walt Whitman”, and his cultural and very influential interpretation of Whitman. Apparently reviewing Luigi Gamberale’s Foglie d’erba (1907), Papini’s not only pragmatically used Whitman’s poetry to show Italian artists how to write modern literature, but created an image of the poet/Whitman as a hybrid, avant-gardist and pragmatist, Übermensch. Through Whitman, Papini also participated in the cultural debate of the time, when Nietzsche and his Zarathustra were quoted, interpreted and used for their own aims by feminists like Sibilla Aleramo, syndicalists like Benito Mussolini, and artists like F.T. Marinetti. The third part of my essay centers on the image of the ‘newborn’ modern man and its machinistic Futurist incarnation, to show how its spiritualist version in Papini’s work and its dynamically futurist image project in-human and anti-human visions of a future humanity, totally different from that of full-bodied, sentient and democratic human beings imagined by Whitman. -
ARCHITETTURA in ITALIA 1910 - 1980 Una Collezione Di Centodieci Libri E Documenti Originali
ARCHITETTURA IN ITALIA 1910 - 1980 Una collezione di centodieci libri e documenti originali L’ARENGARIO STUDIO BIBLIOGRAFICO Edizioni dell’Arengario Gussago Franciacorta 2017 ARCHITETTURA IN ITALIA 1910 - 1980 Una collezione di settandue libri e documenti originali a cura di Bruno Tonini, con un testo di Giovanni Michelucci L’ARENGARIO STUDIO BIBLIOGRAFICO “Io penso e credo in un tempo, vicino o lontano, in cui, come nelle antiche civiltà, tutto ciò che servirà alla vita sarà «vero», nato cioè spontaneamente con com- piuta conoscenza delle possibilità pratiche, economiche, tecniche e con piena convinzione che la struttura non si deve nascondere o mascherare ma svelare nella forma e che il «gusto» si modella sulla forma che nasce con l’urgenza e l’e- videnza di un fatto vitale. Allora le case, gli edifici pubblici, la forchetta, il ferro da stiro testimonieranno della unità d’intendimenti di un popolo, di affermare senza equivoco la propria realtà e la fiducia nella validità del proprio tempo: ogni oggetto troverà la sua forma nella collaborazione di una collettività, dove le qualità native diversissime di ciascuno potranno essere pienamente valorizzate e potenziate. Io non sono dunque libero dalle malìe della forma. Se ho insistito sul fattore eco- nomico è perché sono convinto che l’architettura non è nella varietà dei temi ma nella organizzazione di un’opera architettonica... Non credo tanto nella «im- maginazione» quanto invece nella «fantasia», che non sconfina mai nell’arbitrio, ma si vale appunto dei mezzi usuali e li dosa così, da ottenere variazioni infinite su pochi temi che esigenze economiche, sociali, tecniche hanno generalizzato.” Giovanni Michelucci [Giovanni Michelucci, Felicità dell’architetto, Firenze, Editrice Il Libro, 1949, pp. -
The Power of Images in the Age of Mussolini
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 The Power of Images in the Age of Mussolini Valentina Follo University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Follo, Valentina, "The Power of Images in the Age of Mussolini" (2013). Publicly Accessible Penn Dissertations. 858. https://repository.upenn.edu/edissertations/858 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/858 For more information, please contact [email protected]. The Power of Images in the Age of Mussolini Abstract The year 1937 marked the bimillenary of the birth of Augustus. With characteristic pomp and vigor, Benito Mussolini undertook numerous initiatives keyed to the occasion, including the opening of the Mostra Augustea della Romanità , the restoration of the Ara Pacis , and the reconstruction of Piazza Augusto Imperatore. New excavation campaigns were inaugurated at Augustan sites throughout the peninsula, while the state issued a series of commemorative stamps and medallions focused on ancient Rome. In the same year, Mussolini inaugurated an impressive square named Forum Imperii, situated within the Foro Mussolini - known today as the Foro Italico, in celebration of the first anniversary of his Ethiopian conquest. The Forum Imperii's decorative program included large-scale black and white figural mosaics flanked by rows of marble blocks; each of these featured inscriptions boasting about key events in the regime's history. This work examines the iconography of the Forum Imperii's mosaic decorative program and situates these visual statements into a broader discourse that encompasses the panorama of images that circulated in abundance throughout Italy and its colonies. -
European Journal of Pragmatism and American Philosophy
European Journal of Pragmatism and American Philosophy XI-1 | 2019 European Pragmatism Vailati, Papini, and the Synthetic Drive of Italian Pragmatism Giovanni Maddalena Electronic version URL: http://journals.openedition.org/ejpap/1533 DOI: 10.4000/ejpap.1533 ISSN: 2036-4091 Publisher Associazione Pragma Electronic reference Giovanni Maddalena, « Vailati, Papini, and the Synthetic Drive of Italian Pragmatism », European Journal of Pragmatism and American Philosophy [Online], XI-1 | 2019, Online since 19 July 2019, connection on 21 July 2019. URL : http://journals.openedition.org/ejpap/1533 ; DOI : 10.4000/ejpap.1533 This text was automatically generated on 21 July 2019. Author retains copyright and grants the European Journal of Pragmatism and American Philosophy right of first publication with the work simultaneously licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. Vailati, Papini, and the Synthetic Drive of Italian Pragmatism 1 Vailati, Papini, and the Synthetic Drive of Italian Pragmatism Giovanni Maddalena 1. Introduction 1 According to the standard interpretation, Italian pragmatism is split into two groups. On the one hand is the mathematician Giovanni Vailati, Peano’s former collaborator, and his disciple, the economist Mario Calderoni. On the other hand, there are the two “brats,” Giovanni Papini and Giuseppe Prezzolini, naïve philosophers with eccentric ideas. While Vailati and Calderoni followed Peirce’s mathematical and logical pragmatism, the other two articulated a “magical” pragmatism, a kind of relativist, post-modern version of the original American movement. This latter view can be found in Papini’s description of it,1 and the twofold description of the Italian pragmatism has become a common place of the scholarship. -
Giovanni Papini's
GIOVANNI PAPINI’S ‘‘ STOMA DI CRISTO ” * IOVANNI PAPINI’S “ Story of Christ ” is, to G put it on its lowest level, the literary sensation of the moment in Italy. Within one week after publication ten thousand copies were sold, and very shortly afterwards the whole of the first edition of twenty thousand was exhausted-this with a serious and by no means sensational book of over six hundred pages. The reason may perhaps partly be sought in the fact that the curious wished to see what would be made of the Gospels by a writer who, whatever the intellectual distinction of his other work, had certainly been guilty of uttering defiant anti-Christian senti- ments and had, in addition to the legitimate effect produced by his works of imagination, exerted a definite influence against religion among the young intellectuals of Italy. But no one who looks beyond the immediate circumstances will account for all the popularity of Papini’s book in this way. He will add the further important facts-first, that this is a re- writing of the Gospel-story by a poet ; secondly, that the act of faith uttered by Papini in this book corre- sponds to the profoundly Catholic and Christian senti- ments of the Italian people, the younger generation not by any means excepted-for the war has driven many a doubter to serious reflection and self-examina- tion, with spiritual results similar to those which were produced in Papini himself. By its literary qualities, then, and by its appropriateness to the prevailing religious emotions of men in Italy and in other countries which passed through the war, Giovanni * Storia di Cristo, by Giovanni Papini. -
Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941
Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941 by Elizabeth Crisenbery Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Advisor ___________________________ Benjamin Earle ___________________________ Philip Rupprecht ___________________________ Louise Meintjes ___________________________ Roseen Giles Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2020 ABSTRACT Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941 by Elizabeth Crisenbery Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Advisor ___________________________ Benjamin Earle ___________________________ Philip Rupprecht ___________________________ Louise Meintjes ___________________________ Roseen Giles An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2020 Copyright by Elizabeth Crisenbery 2020 Abstract Roger Griffin notes that “there can be no term in the political lexicon which has generated more conflicting theories about its basic definition than ‘fascism’.” The difficulty articulating a singular definition of fascism is indicative of its complexities and ideological changes over time. This dissertation offers -
Arthur Livingston
Arthur Livingston: An Inventory of His Papers at the Harry Ransom Humanities Research Center Descriptive Summary Creator: Livingston, Arthur, 1883-1944 Title: Arthur Livingston Papers Inclusive Dates: 1494-1986 Extent: 22 document boxes, 3 galley folders, 1 oversize folder (9.16 linear feet) Access: Open for research Administrative Information Acquisition: Gift, 1950 Processed by: Robert Kendrick, Chip Cheek, Elizabeth Murray, Nov. 1996-June 1997 Repository: Harry Ransom Humanities Research Center The University of Texas at Austin Livingston, Arthur, 1883-1944 Biographical Sketch Arthur Livingston, professor of Romance languages and literatures, publisher, and translator, was born on September 30, 1883, in Northbridge, Massachusetts. Livingston earned the A. B. degree at Amherst College in 1904, continuing his work in Romance languages at Columbia University, where he received the Ph. D. in 1911. His teaching positions included an instructorship in Italian at Smith College (1908-1909), an associate professorship in Italian at Cornell University, where Livingston also supervised the Petrarch Catalogue (1910-1911), and an associate professorship in Romance Languages at Columbia University (1911-1917). Among the various honors bestowed upon Livingston were membership in Phi Beta Kappa and the Venetian academic society, the Reale deputazione veneta di storia patria; he was also decorated as a Cavalier of the Crown of Italy. Livingston's desire to disseminate the work of leading European writers and thinkers in the United States led him to an editorship with the Foreign Press Bureau of the Committee on Public Information during World War I. When the war ended, Livingston, in partnership with Paul Kennaday and Ernest Poole, continued his efforts on behalf of foreign literature by founding the Foreign Press Service, an agency that represented foreign authors in English-language markets. -
Italian Experimentalism and the Contemporary City
Discorsi per Immagini: Of Political and Architectural Experimentation Amit Wolf Queste proposte di lavoro comprendono anche una possibilità di impiego culturale degli architetti al di fuori della professione integrata nel capitale. Attraverso la partecipazione al movimento di classe questi trovano il loro campo di ricerca: l’architettura dal punto di vista operaio, la progettazione delle nuove Karl-Marx-Hof in cui la struttura dell’abitazione collettiva è lo strumento di battaglia. Claudio Greppi and Alberto Pedrolli, “Produzione e programmazione territoriale”1 Of primary interest to us, however, is the question of why, until now, Marxist oriented culture has…denied or concealed the simple truth that, just as there can be no such thing as a political economics of class, but only a class critique of political economics, likewise there can never be an aesthetics, art or architecture of class, but only a class critique of aesthetic, art, architecture and the city. Manfredo Tafuri, “Toward a Critique of Architectural Ideology”2 No account of recent trends in American architecture should fail to mention Manfredo Tafuri’s “Toward a Critique of Architectural Ideology.” This text played a vital role in the distancing of ideas from things in the intellectual conceptualization of the profession; indeed, it set the ground for what is now referred to as “criticality.” The above quotation closes the Roman critic’s essay for the New Left’s first issue of Contropiano. Its final adage follows Tafuri’s dismissal of the possibility of an architectural experimentation that might nudge and expand the field’s stale professionalism in the years around 1968. -
Domesticating Viragos. the Politics of Womanhood in the Romanian Legionary Movement
fascism 5 (2016) 149-176 brill.com/fasc Domesticating Viragos. The Politics of Womanhood in the Romanian Legionary Movement Mihai Stelian Rusu Lucian Blaga University of Sibiu, Romania [email protected] Abstract Building on the basic premise that the attempt to create a New Man was one of fas- cism’s master-ideas, this article focuses on the feminine underside of this program of political anthropogenesis. The article centers on the image of the New Woman and the politics of womanhood within the Romanian Legionary movement. It argues that the Legion’s trademark rhetoric of martial heroism and martyrdom led to an essential tension between a virile model of womanhood (patterned upon the masculine ideal type of the martyr-hero) and a more conservative domestic model. A third, reconcilia- tory hybrid model, which mixed features borrowed from the two antagonistic types of Legionary womanhood was eventually developed to defuse this tension. Keywords gender politics – fascist femininity – New Man – New Woman – Romania – Iron Guard – women The Gender Politics of Fascist Movements Prompted by an upsurge of scholarly interest in the relationship between women and fascism, in recent decades a valuable corpus of scholarship has emerged from the intersection of gender and fascist studies.1 The scholarship 1 Jill Stephenson, Women in Nazi Society (New York: Barnes & Noble, 1975); Leila J. Rupp, ‘ Mother of the “Volk”: The Image of Women in Nazi Ideology,’ Signs 3 (1977): 362–379; Ale xander de Grand, ‘Women under Italian Fascism,’ The Historical Journal 19 (1976): 947–968. © Rusu, 2016 | doi 10.1163/22116257-00502004 This is an open access article distributed under the terms of the Creative Commons Attribution- Noncommercial 4.0 Unported (CC-BY-NC 4.0) License. -
Nationalism and Regionalism In
Nationalism and Regionalism in the Art of Ardengo Soffici 1907-1938 HELEN MARAH DUDLEY A thesis submitted to the Department of Art History in conformity with the requirernents for the degree of Master of Arts Queen's University Kingston, Ontario, Canada September, 1998 copyright O Helen Marah Dudley, 1998 National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibiiographiques 395 Wellington Street 395, rue Wellington Oîtawa ON K1A ON4 OttawaON K1AW CaMda canada The author has granted a non- L'auteur a accordé une licence non exclusive Licence allowing the exclusive permettant à la National Library of Canada to Biblotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copwght in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT This thesis will examine the pre and post World War One cultural politics and anistic output of the Florentine artist, art critic, and author Ardengo Soffici ( 1879-1 96.0. Soffici is perhaps best known for his cubist inspired art and contact with the avant-garde circle of Pablo Picasso and Georges Braque.