Relevant bibliographies by topics / Fascism in art

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Academic literature on the topic 'Fascism in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Fascism in art"

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Bolt, Mikkel. "Senfascismens æstetisering af (den hvide) arbejderklasse." Tidskrift för litteraturvetenskap 49, no. 2-3 (January 1, 2019): 78–88. http://dx.doi.org/10.54797/tfl.v49i2-3.6637.

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Late Fascism’s Aestheticization of the (White) Working Class: Notes for a Communist Art Theory The article presents a double take on what I propose to call late fascism in order to distinguish between the inter-war fascist movements and contemporary fascist parties and politicians. Firstly, I follow Walter Benjamin’s analysis of fascism as a question of aestheticization. Fascism is just as much a question of culture and ideology as a question of politics, and we need to map the specific fascist culture that contemporary fascist politicians produce. Secondly, I connect this analysis of fascist culture to an analysis of the specific class composition of late fascism, arguing that late fascism operates through a process of reverse victimization where a privileged white working class comes to see itself as threatened.
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Gardell, Mattias. "‘The Girl Who Was Chased by Fire’: Violence and Passion in Contemporary Swedish Fascist Fiction." Fascism 10, no. 1 (June 24, 2021): 166–85. http://dx.doi.org/10.1163/22116257-10010004.

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Abstract Fascism invites its adherents to be part of something greater than themselves, invoking their longing for honor and glory, passion and heroism. An important avenue for articulating its affective dimension is cultural production. This article investigates the role of violence and passion in contemporary Swedish-language fascist fiction. The protagonist is typically a young white man or woman who wakes up to the realities of the ongoing white genocide through being exposed to violent crime committed by racialized aliens protected by the System. Seeking revenge, the protagonist learns how to be a man or meets her hero, and is introduced to fascist ideology and the art of killing. Fascist literature identifies aggression and ethnical cleansing as altruistic acts of love. With its passionate celebration of violence, fascism hails the productivity of destructivity, and the life-bequeathing aspects of death, which is at the core of fascism’s urge for national rebirth.
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Pelikan, Egon. "Uncovering Mussolini and Hitler in Churches: The Painter's Ideological Subversion and the Marking of Space along the Slovene-Italian Border." Austrian History Yearbook 49 (April 2018): 207–37. http://dx.doi.org/10.1017/s0067237818000164.

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This study analyzes the phenomenon of church paintings as subversive visual representations of Fascism and as an act of systematic rebellion against Fascist “ideological marking of space.” Slovene Expressionist painter and sculptor Tone Kralj's (1900−75) paintings functioned as ideological markers of national territory. He painted churches along the ethnic border as it was imagined by the Slovene community, delineating it with visual symbols of anti-Fascism and anti-Nazism. Kralj's undertaking can thus be interpreted as an instance of systematic “subversive coverage” of an ethnically exposed borderland with church paintings. Even today, his artistic “delineation” of the then-disputed ethnic border is a marking phenomenon that cannot be found anywhere else in Europe. If one of the most important authorities on Fascist ideology in Italy, Emilio Gentile, considers Fascist ideology to be a form of political religion and a modern manifestation of the sacralization of politics, then Tone Kralj's church paintings could be regarded as an instance of systematic introduction of the political and ideological into the religious context. Perhaps the most ingenious feature of Kralj's ecclesiastical art is his fusion of Catholicism with the Slovene national idea for the purpose of ideologically marking and promoting anti-Fascism and anti-Nazism as well as Slovene nationalism and Slovene irredentism in the Julian March.
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Dimitrakaki, Angela, and Harry Weeks. "Anti-fascism/Art/Theory." Third Text 33, no. 3 (May 4, 2019): 271–92. http://dx.doi.org/10.1080/09528822.2019.1663679.

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Di Martino, Giovanna. "The Living Archive." Fascism 12, no. 2 (December 13, 2023): 183–205. http://dx.doi.org/10.1163/22116257-bja10063.

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Abstract This article discusses the practices of documentation and archiving related to classical performance in the Italian Fascist regime, and their implications for the study of fascist art and culture more widely. The first part discusses a number of institutions as the sites of Italian Fascism’s archiving of classical performance. The second part, drawing on the work of Eric Ketelaar and Amalia G. Sabiescu, considers how Italian Fascism made use of the historically connoted ‘cultural tools’ of ancient Greek theatre as ‘living archives’. It discusses the aesthetic means that came to characterize all classical performances as living archives and considers the use of ancient Greek and Roman sites all over the peninsula and in colonized Libya as the archival sites of the classical performances. In the conclusion, it argues that the combination of performance and archives empowered these cultural tools to become the means for the reconstruction and transmission of Fascism’s newly crafted social memory and identity of the Italian nation.
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Donátková, Zuzana. "Futurismus a fašismus." Historica. Revue pro historii a příbuzné vědy 12, no. 2 (December 2021): 197–218. http://dx.doi.org/10.15452/historica.2021.12.0009.

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The article maps the relationship between the Italian Futurist movement and fascism from a general perspective. It deals with the relationship between the leader of Futurism F. T. Marinetti and Benito Mussolini from the beginning of their cooperation in 1915 to the end of the Second World War. Throughout its era, Futurism identified itself with Italy’s social and political climate. Futurism was one of the ideological sources for fascism and it was one of the movements that formed Fasci di Combattimento in 1919. But after Mussolini came to power, fascist cultural politics aesthetically preferred traditionalism, order, and a return to the achievements of history, a contemporary rappel à l’ordre, and Futurism found itself in cultural dissent. Marinetti thus spent the rest of his life trying to improve the position of modernist artists in fascist Italy, which would earn Futurism recognition of the official state art of the fascist regime.
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McNaughton, James. "BECKETT, GERMAN FASCISM, AND HISTORY: The Futility of Protest." Samuel Beckett Today / Aujourd'hui 15, no. 1 (November 1, 2005): 101–16. http://dx.doi.org/10.1163/18757405-015001011.

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Accessing his letters and German diaries, this article argues that Beckett changes his aesthetic response to the rise of fascism during and after his trip to Nazi Germany in 1936-37. Before the trip Beckett satirises a stereotypical modernism's inability to counter the rise of totalitarianism; when confronted with Nazi totalising narratives of art and history, however, Beckett reevaluates the capacity of modernism to frustrate increasingly irrational fascist narratives. He even posits his German diaries as a documentary alternative to fascist histories. Not until he returns, however, does Beckett manage to formulate in his creative work a satisfying aesthetic response.
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Lewis, Tyson, and Peter Hyland. "Anti-Fascist Politics of Studioing." Revista Portuguesa de Pedagogia 56 (December 30, 2022): e056021. http://dx.doi.org/10.14195/1647-8614_56_21.

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This article argues that art education ought to be central to the struggle against contemporary capitalist fascism. The authors turn to the space and time of the studio as the unique contribution of art education to antifascist struggles. In particular, the pataphysics of the studio – including its emphasis on producing particulars, laws of exceptions, and impossible solutions – all set adrift the rigidification of desirous production under capitalist reterritorialization. In conclusion, the article offers an invitation to art educators to experiment with a particular studious practice the authors call “protocoling” in relation to racist stereotypes as a way to break apart fascist subjectivities and the capture of desire into paranoid assemblages.
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Zammarchi, Enrico. "‘If I see a black dot, I shoot it on sight!’: Italian rap between anti- and neo-fascisms." Global Hip Hop Studies 1, no. 2 (August 1, 2020): 293–312. http://dx.doi.org/10.1386/ghhs_00022_1.

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This article explores the connections between anti-fascism and hip hop in Italy between the 1990s and today. In the first part, I look at how several bands affiliated with the posse movement of the early 1990s relied on the network of students and of young people hanging out in the centri sociali (squatted centres) to spread their political messages. Picking up the baton from the militant singer-songwriters of the 1970s, Italian posses often mixed rap with other foreign musical influences such as reggae and punk, frequently rapping about the lack of anti-fascist activism among the youth and denouncing the gradual abandonment of anti-fascist ideals by members of the parliamentary Left. In the second part of the article, I discuss how, in the late 2000s, a new generation of anti-fascist hip hop artists emerged, with rappers such as Kento and Murubutu being among the most influential representatives of a subgenre known as ‘letteraturap’ (literature-rap). Kento and Murubutu’s narrative skills show their opposition to Fascism through the use of fictional characters, using short stories that are rich of metaphors to illustrate the importance of resisting to contemporary forms of fascism. Lastly, this article explores the gradual appropriation of hip hop culture by neo-fascist groups such as CasaPound. Understanding hip hop’s potentialities to recruit large numbers of young people, CasaPound organized street art conventions on graffiti, and promoted the emergence of hip hop crews like Rome’s Drittarcore. I conclude the article by analysing the efficacy of anti-fascist rap in earlier decades and considering CasaPound’s attempt to appropriate some of hip hop culture’s disciplines, ultimately showing not only a general crisis in political ideologies and cultural values, but also the power of neo-fascist movements to manipulate and reinvent subcultural formations to influence the youth.
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Scheffler, Tomasz. "Przestępstwo publicznego propagowania faszystowskiego lub innego totalitarnego ustroju państwa art. 256 k.k.. Analiza doktrynologiczna wybranych wypowiedzi piśmiennictwai judykatury. Część szczególna I." Studia nad Autorytaryzmem i Totalitaryzmem 40, no. 4 (February 18, 2019): 145–59. http://dx.doi.org/10.19195/2300-7249.40.4.9.

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THE CRIME OF PUBLIC PROPAGATION OF A FASCIST OR OTHER TOTALITARIAN GOVERNMENTAL SYSTEM ARTICLE 256 OF THE PENAL CODE: A DOCTRINOLOGICAL ANALYSIS OF SELECTED SCHOLARLY WRITINGS AND JUDICATURE. DETAILED PART IThe paper presents interpretations of the content of art. 256 of the Polish Penal Code of 1997 The crime of public propagation of a fascist or other totalitarian governmental system, which were developed in the years 1998–2001. The most difficult problem for commentators was to understand the complexity of the phenomenon of totalitarianism and the consequences resulting from accepting one of the competing concepts of totalitarianism. Similarly, interpretational problems led to misunderstandings of the concept of fascism and the governmental system. As a result, individual authors incorrectly found resemblance between the regulations contained in the Penal Code of 1969 and the regulation contained in art. 256 from 1997.
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Dissertations / Theses on the topic "Fascism in art"

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Xiao, Leshan. "Art of the Weimar Republic and the Premonitions of Fascism." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1932.

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Founded in 1918 following the carnage of World War One until the Nazi takeover of 1933, the Weimar Republic is widely renowned as a bastion of freedom and democracy that existed only briefly between the reigns of two authoritarian regimes. The Weimar period witnessed an unprecedented prosperity of art and culture, with tremendous advancements in the fields of literature, the visual arts, and film. However, the remnants of the old Empire persisted within the new Republic, and new fascist factions rose to prominence within German society. Artists that lived through the era, both liberal and conservative, observed and provided their opinions on this phenomenon that would culminate in the advent of Nazi Germany. The purpose of this paper is to examine works of art across genres and by different artists, establish a connection with the fascist trends in Weimar Germany, and understand the attitudes of each respective artist towards the decline of German society into illiberalism and barbarism. I argue that artists anticipated fascist political and cultural developments in the years prior to the Nazi seizure of power in 1933, and look at the various artists in the realms of literature, the visual arts, and film.
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Kessler, Henry A. "The Palazzo della Civilta Italiana: From Fascism to Fendi." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429640180.

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Aguirre, Mariana G. "Artistic collaboration in Fascist Italy : Ardengo Soffici and Giorgio Morandi." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318288.

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Frétigny-Ryczek, Marie. "L'Ecole romaine de 1918 à nos jours : histoire d'une fortune critique." Thesis, Paris, Institut d'études politiques, 2013. http://www.theses.fr/2013IEPP0051/document.

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Cette thèse de doctorat ne vise pas tant à questionner la pertinence de la formule d'École romaine (Scuola Romana) appliquée à un groupe de peintres et de sculpteurs actifs à Rome dans l'entre-deux-guerres qu'à tenter de comprendre le succès de cette étiquette jusqu'à nos jours. Différentes méthodes sont utilisées pour aborder les écrits de critique d'art et les discours scientifiques, mais aussi les productions textuelles plus liées à la fiction et au témoignage. D'autre part, ce travail analyse les carrières singulières des artistes ainsi que le devenir des œuvres afin de replacer l'École romaine par rapport à une histoire du goût en Italie et au-delà. L'étude suit une progression chronologique. Elle porte d'abord sur la réception de l'École romaine du temps de son activité, entre 1918 et 1945, puis interroge la place des artistes du mouvement dans l'Italie de l'après-Seconde Guerre mondiale, dans un contexte marqué par les divisions politiques. Enfin, à partir des années 1980, l'on assiste à une tentative de revalorisation marchande de l'École romaine sans précédent. Il s'agit alors d'évaluer les résultats de cette action et de comprendre ce qui l'a rendue possible. Les questions de la modernité artistique ainsi que celles des liens de la scène artistique romaine avec le fascisme puis avec la mémoire du régime sont au cœur de cette recherche, constituant des approches neuves pour étudier un objet encore mal connu en France
This PhD thesis questions the label « Ecole romaine » (also known as Scuola romana) used to designate a group of painters and sculptors in Rome between 1918 and 1945. We aim to understand the reasons for the success of this expression until now. We use various methods in order to investigate the discourses of both art critics and scholars as well as more fictional texts, often written as testimonies. Furthermore, this work analyses the singular career of each artist and the reception of their works in order to consider the Ecole Romaine within a history of taste in Italy and abroad. Our study follows a chronological development. First, we analyse the reception of the School when active, between 1918 and 1945. Then, we examine the place of our artists in post-war Italy, in a context of great political divisions. Finally, we study how, in the early 1980s, various actors on the artistic scene tried to raise the value of the Ecole Romaine's works on the art market. What were the results of their attempt, and to what extent this renewal of interest had a lasting impact, especially in the museums field ? The questions of artistic modernity and of the relationship between the Ecole Romaine and the fascist regime are central in this research. These constitute new approaches to a theme which has remained relatively unknown outside of Italy
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Lacroix, Michel 1969. "La beaute comme violence : la dimension esthetique du fascisme francais, 1919-1939." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37754.

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Everything about fascism is aesthetic: this is what our thesis aims to demonstrate, based on the example of interwar French Fascism (1919--1939). It studies both discourses, symbolic practices, and literary texts, in order to show the multiple aspects of fascism's aesthetic dimension. Two theories, discourse analysis and sociocriticism, have guided us and permitted us to explain the interaction between aesthetics and ideology.
Our thesis is divided in three parts, each one devoted to one of fascism's central themes: the leader, the youth, and the group. In our first chapter, we examine the charismatic leader's many faces, among which are the poet and the warrior. We then show that fascism's discourse on heroism makes of the epic hero an ideological model and that, in its turn, this ideological hero greatly influenced Pierre Drieu la Rochelle's representation of the hero. But, as we indicate, Drieu's novels reveal that the cult of the hero is both a glorification of the self and a self-hatred. In our second chapter we examine fascism's cult of youth such as it was in Italy and Germany, after which we have demonstrated that, in a way, French fascism was an extreme radicalization of the contemporary French discourse on youth. Then, we analyse one of Robert Brasillach's novels which brings to the fore the dark side of fascism's cult of youth: its death drive.
In our last chapter, we unearth the aesthetic principles underlying fascism's political spectacle, principles that we also find at the heart of Drieu's texts. We consequently state that Drieu has adopted fascism's aesthetic years before he realized he had fascist ideas. Going a little further yet, we stipulate that Drieu thus reveals that the aesthetic was one of the main roads towards fascism. We then establish, in our final conclusion, a synthetic description of fascist aesthetics: an aesthetics of pathos, exhibition, sublime, violence, and death.
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Kampa, Artemise. "Le syncrétisme esthétique de Forces Nouvelles (1935-1942) : une voie pour la définition de l’identité culturelle française dans l’imaginaire de l’entre-deux-guerres." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100081/document.

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Cette thèse analyse la position problématique et paradoxale du groupe Forces Nouvelles dans le large mouvement du retour à la figuration réaliste qui s’opère dans l’esthétique de l’entre-deux-guerres. Lancé en 1935 comme un groupe à la fois antimoderne et anticonformiste, Forces Nouvelles avance un nouveau langage pictural, un réalisme plus sensible investi dans l’expression de l’intériorité de l’être et éloigné de toute connotation sociale et idéologique, au-delà de toute trivialité ou de classicisme éteint. Pour beaucoup, ce réalisme d’esprit humaniste donnait au groupe un profil esthète et noble. Cette ambivalence entre réalisme et classicisme, entre activisme et esthétisme, est perpétuée dans la critique d’art même après la dissolution de l’ensemble en 1942. Cette identité ambiguë et obscure de Forces Nouvelles prend son sens une fois mise en relation avec les quêtes spirituelles et idéologiques de l’intelligentsia des années 1930. Révoltée contre l’idéologie matérialiste - dans sa forme libérale ou marxiste -, cette intelligentsia non-conformiste aspire à une nouvelle modernité plus spirituelle et morale ; explorant une voie alternative, ni à droite ni à gauche, elle vire souvent au conservatisme le plus anachronique et frôle la dérive fasciste. Forces Nouvelles, partageant une forme de pensée analogue à celle de l’élite contestataire – à la fois nihiliste et synthétique –, s’investit dans la recherche d’une esthétique originale, moderne et spirituelle, dans la recherche d’une nouvelle Renaissance ; s’inspirant d’une tradition picturale supposée authentique, le groupe élabore jusqu’au bout un style réaliste, grave et austère, effleurant l’archaïsme. En résonance avec la vision de cette génération non-conformiste, avec l’avènement d’un nouvel ordre moral, Forces Nouvelles propose un style réaliste au fondement existentiel comme horizon d’une nouvelle esthétique ultramoderne
This dissertation analyses the problematic, paradoxical position of the group known as Forces Nouvelles within the large movement of a return to realistic figuration, which takes place in the context of interwar aesthetics. Forces Nouvelles, launched in 1935 as an anti-modern, anti-conformist group, proposes a new pictorial language, a more sensitive realism at the service of the expression of the interiority of human beings and remote from social and ideological associations, beyond trivial realism and jaded classicism. This humanistic realism would confer a noble aesthete's profile to the group. Such ambivalence between realism and classicism, between activism and aestheticism is carried over in art criticism even after the dissolution of the group in 1942. This ambiguous, obscure identity of Forces Nouvelles becomes meaningful in the light of the spiritual and ideological quest of the 1930s intelligentsia, which revolted against materialist ideology, whether liberal or Marxist, aspiring to a new, more spiritual and moral, modernity. In its exploration of a new alternative, which is neither right nor left-oriented, it veers towards the most anachronistic conservatism verging on fascism. Having intellectual affinities with the radical elite, this both nihilistic and eclectic group, strives to achieve original aesthetics - modern and spiritual - and a new Renaissance. Based on a supposed authentic pictorial tradition Forces Nouvelles adopts a realistic style, grave and sober, verging on archaism. Resonating with the vision of this non-conformist generation and the advent of a new moral order Forces Nouvelles puts forward a realistic style with an existential basis as the aesthetics of ultra-modernity
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Castura, Marilisa. "A context for Fascist art and culture : an examination of debates in Critica fascista (1923-1943." Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446305.

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Héry-Montanes, Emilia. "Fascisme imaginaire : imaginaire du Fascisme dans l'art italien contemporain (1945-2015)." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H027.

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Pendant soixante-dix ans, de 1945 à 2015, les artistes italiens ont, à travers leurs œuvres, mené un travail de mémoire. Entre une génération née avant le Fascisme, une alors qu'il est à l'apogée de sa puissance impérialiste, une autre après la guerre et enfin une génération de jeunes artistes nés trente ans après la fin du conflit, les mémoires singulières et collectives se bousculent. L'objectif de cette recherche est de reconstruire l'histoire de ces témoignages sur un passé vécu ou pas, et de donner les outils pour comprendre les conditions de leur genèse. Parler de la mémoire à travers des œuvres d'art est une expression intime, singulière, mais également un acte éminemment politique. Les manipulations de la mémoire du Fascisme influencent-elles tout au long de la période la création sur le sujet ? Quelles postures les artistes adoptent-ils face aux problématiques soulevées par une redéfinition du danger fasciste alors que la dictature est officiellement terminée ? Quelles formes plastiques sont données à ces remémorations et réactualisations ?
Over a period spanning 70 years, 1945 through 2015, ltalian artists carried out a "memory" endeavour for those generations that were bom before the fascist era, during the period of its highest imperialistic aims, during the aftermath of the war, and even for the generation of those artists bom 30 years after the end of the war. As a result, a multitude of individual and collective memories had emerged. This work aims to reconstruct and track the history of these memories (whether or not actually experienced by the artist), and to provide the tools to understand the genesis ofthese memories. Analysing "memory" through art pieces is an intimate, singular, and political act. To what extent fascist memory manipulations affect artistic creations? How do the artists react and position themselves, once confronted with the problems of re-defining "Fascism", after the dictatorship fell? Which new "plastic forms" emerge from these new adaptations of individual and collective memories?
Durante settant'anni, dal 1945 al 2015, gli artisti italiani, attraverso le loro opere, hanno svolto un lavoro di memoria. Fra una generazione nata prima del Fascismo, una nata quando questo è al culmine della sua potenza imperialista, un'altra nata dopo la guerra e infine una generazione di giovani artisti nati trent'anni dopo la fine del conflitto, le memorie individuali e collettive si affollano. L'obiettivo di questa ricerca è di ricostruire la storia di queste testimonianze su un passato, vissuto o no, e di fomire gli strumenti per capire le condizioni della loro genesi. Parlare della memoria attraverso le opere d'arte è un'espressione intima, singolare, ma allo stesso tempo un atto eminentemente politico. Nel periodo preso in esame, le manipolazioni della memoria del Fascismo influenzano la creazione su questo tema? Quai è la posizione degli artisti di fronte alle problematiche nate da una ridefinizione del pericolo fascista, sebbene la dittatura sia ufficialmente caduta? Quali forme plastiche son date a queste rimemorazioni e riattualizzazioni?
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Giorio, Maria-Beatrice. "Gli scultori italiani e la Francia : influenze e modelli francesi nella prima metà del novecento." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100053/document.

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Cette étude a analysé la présence des sculpteurs italiens à Paris du début du XX siècle à la fin des années Trente, afin de reconstituer un chapitre important de l'histoire des échanges artistiques en France. Nous nous sommes servis d'une méthode historique et philologique, qui a bien été appliquée aux écrits critiques et à la presse de l'époque. Pour ce qui concerne le début du siècle, nous avons remarqué une participation considérable de la part des italiens aux principaux événements expositifs de la capitale comme les Salons officiels; le succès de public et commercial leur avait permis d'obtenir une place parmi les artistes à la mode les plus connus. Pendant les années Vingt, nous avons constaté un nombre moins significatif de sculpteurs; nous avons lu ce fait en nous rapportant à la situation historique italienne, qui en ce temps subissait des importants changements dus à l'ascension du régime fasciste. Les italiens qui étaient encore présents en France après la Guerre ne s'inséraient guère dans le cadre des nouvelles recherches artistiques italiennes, ils poursuivaient, au contraire, des orientations esthétiques plutôt dépassées. La dernière partie de notre étude s'est intéressée à l'essor du nouveau langage artistique de la péninsule italienne qui pendant les années Trente se répandit enfin même à l'étranger. Les sculpteurs italiens pouvaient donc participer activement à la vie expositive parisienne, tout en montrant le visage d'une plastique qui avait enfin pris conscience de ses potentialités. La France de sa part accueillait volontiers ces expérimentations, dans le but d'instituer une relation d'amitié durable avec le pays voisin
This study has analyzed the presence of Italian sculptors in Paris from the beginning of the 20th Century to the end of the third decade, with the aim of reconstructing an important chapter of the history of artistic exchanges between Italy and France. We have favored an historical-philological method, based on critical publications and old French and Italian press.Concerning the beginning of the century, we have remarked a considerable participation of Italians in the main expositions in the French capital, such as official Salons; critical and market success allowed them to get a main role in the crew of the most popular artists.During the twenties, we have noted a less considerable participation of Italian sculptors; we have interpreted it in relation to historical context of fascist Italy, where the government was trying to develop a national cultural program. The Italian artists in France, after the First World War, didn't share the new Italian artistic orientation; they went on with outdated aesthetic choices.The last part of our research was interested in the development of the new Italian artistic language, finally known out of Italy. The Italian sculptors consequently could take part in arts activity in Paris, showing the face of a new sculpture, finally aware of its potentialities. France gave these experimentations a good welcome in the aim of constituting a longtime friendship with the Italian country
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Mollard, Ingrid. "L’homme volant : l’imaginaire aéronautique dans la culture visuelle européenne de 1903 à 1937." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040054.

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Le monde aéronautique a connu un essor significatif durant les premières décennies du XXe siècle. Propulsé par des avancées technologiques sans précédents, l’aéronautique fut rapidement omniprésente dans tous les secteurs de la vie et de la culture européennes. De la figure du pilote d’aéroplane émergea subtilement, puis avec force, l’image d’un homme robuste et valeureux qui personnifiait son pays. Trouvant un réceptacle favorable dans les héros nés de la Grande Guerre, les gouvernements totalitaires qui émergèrent façonnèrent le pilote comme l’avatar d’un homme idéal. L’imaginaire européen du premier tiers du XXe siècle vit alors naitre « l’homme volant », une facette de « l’homme nouveau », incarnant la grandeur de sa nation
Aeronautics underwent a significant development during the first decades of the 20th century. Helped by new technological advancements aeronautics quickly became omnipresent in all sectors of the European life and culture. From the figure of the airplane’s pilot emerged subtly, then with strength, the image of a strong and brave man personifying his country. Finding a favorable receptacle in the Great War’s heroes, the totalitarian governments shaped the pilot as the avatar of an ideal man. The European imagination of the first third of the 20th century gave birth to the "flying man", a facet of the “new man”, embodying the greatness of its nation
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Books on the topic "Fascism in art"

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Mussolini, Casa natale, ed. L'arte per il consenso: Dipinti, manifesti, riviste. New York: Publicity & Print Press, 2001.

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Klaus, Behnken, Wagner Frank 1927-, and Neue Gesellschaft für Bildende Kunst., eds. Inszenierung der Macht: Ästhetische Faszination im Faschismus. Berlin: NGBK, 1987.

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Klaus, Behnken, Wagner Frank 1927-, and Neue Gesellschaft für Bildende Kunst., eds. Erbeutete Sinne: Nachträge zur Berliner Ausstellung "Inszenierung der Macht, ästhetische Faszination im Faschismus". Berlin: NGBK, 1988.

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Aurrekoetxea, Aitor. Futurismo y fascismo: Estéticas y poéticas de la modernidad : 1909-1922. Granada: Editorial Comares, 2019.

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Leduc, Alain. Art morbide?: Morbid art. Pantin: Revue commune, 2004.

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Giorgio, Di Genova, Duranti Massimo, Caproni Armani Maria Fede, and Arte contemporanea a Palazzo Mediceo (Seravezza, Italy), eds. "L' uomo della Provvidenza": Iconografia del Duce 1923-1945. Bologna: Edizioni Bora, 1997.

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Acquarelli, Luca. Le fascisme italien au prisme des arts contemporains: Réinterprétations, remontages, déconstructions. Rennes: Presses universitaires de Rennes, 2021.

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Lacroix, Michel. De la beauté comme violence: L'esthétique du fascisme français, 1919-1939. [Montréal]: Presses de l'Université de Montréal, 2004.

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Vereniging Dante Alighieri. Afdeling Groningen. and Rijksuniversiteit te Groningen Bibliotheek, eds. Kunst, cultuur, en politiek in Italië, 1920-1940: Studies ter begeleiding van een tentoonstelling van boeken en tijdschriften uit de bibliotheek van de Vereniging Dante Alighieri, afdeling Groningen. Groningen: Universiteitsbibliotheek, 1991.

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Epstein, Mark. TOTalitarian ARTs: The visual arts, fascism(s) and mass-society. [Cambridge, England]: Cambridge Scholars Publishing, 2017.

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Book chapters on the topic "Fascism in art"

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Ghosh, Pothik. "Fascism and a Marxist Praxis of Art." In Insurgent Metaphors, 43–75. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003332626-2.

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Pawlowski, Merry M. "Introduction: Virginia Woolf at the Crossroads of Feminism, Fascism and Art." In Virginia Woolf and Fascism, 1–10. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230554542_1.

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Harris, Leigh Coral. "Acts of Vision, Acts of Aggression: Art and Abyssinia in Virginia Woolf’s Fascist Italy." In Virginia Woolf and Fascism, 75–91. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230554542_6.

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Pawlowski, Merry M. "Toward a Feminist Theory of the State: Virginia Woolf and Wyndham Lewis on Art, Gender, and Politics." In Virginia Woolf and Fascism, 39–55. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230554542_4.

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White, Anthony. "Introduction." In Italian Modern Art in the Age of Fascism, 1–19. New York: Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429203541-1.

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White, Anthony. "The Folk Machine." In Italian Modern Art in the Age of Fascism, 20–65. New York: Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429203541-2.

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White, Anthony. "The Men Who Turn Around." In Italian Modern Art in the Age of Fascism, 66–112. New York: Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429203541-3.

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White, Anthony. "Mario Radice." In Italian Modern Art in the Age of Fascism, 113–57. New York: Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429203541-4.

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White, Anthony. "Conclusion." In Italian Modern Art in the Age of Fascism, 158–63. New York: Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429203541-5.

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Merusi, Fabio. "Legge e giustizia amministrativa durante il ventennio fascista." In Studi e saggi, 99–117. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-455-7.04.

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The paper focuses on the relationship between the Fascist regime and the administrative justice. Once identified in the “invention” of exclusive jurisdiction (over individual matters) a “revolutionary” act of the early Fascism, the paper faces the problem of the administrative litigation over public debt. The issue is treated starting from the transformation of the jurisdiction of merit in the matter of public debt into exclusive jurisdiction: a special attention is paid to the two opposite theses of the “left-wing fascism” and the Italian Constitutional Court. Subsequently, the reflection shifts to the Fascist laws that have limited or excluded since 1923 the appeal against certain administrative acts, also referring to the reactions of the doctrine of the time. A particular case concerns the vice of excess of power which, in the Fascist period, was rationalized and also took on a different meaning from the original one foreseen by the law of 1889. After the fall of Fascism, a final look is turned to the two elusive techniques of the appeal to the administrative judge represented by the laws-measure and the so called “theft of jurisdiction”
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Conference papers on the topic "Fascism in art"

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Valenti, Fabio. "The Fascial System." In Socratic Lectures 8. University of Lubljana Press, 2023. http://dx.doi.org/10.55295/psl.2023.i13.

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The word Fascia has long been used by gross anatomists to embrace a spectrum of undifferentiated mesenchymal tissues that wrap organs and tissues of the body, or form a packing material between them. The inherent implication of this traditional view is that fasciae are inconsequential residues that are less important than the tissues with which they are associated. The errors of this assumption are being exposed and undoubtedly fascia is becoming more and more of considerable importance to many professionals working in health-related disciplines. Encouragingly, there has been a strong resurgence of interest into both basic and applied research in fasciae in recent years, also thanks to new fascia related findings. Knowledge of the fascial system’s characteristics and functions is spreading from primary medical researchers to professionals in many health fields throughout the world. Nowadays is well known that the Fascia is a mechanically active tissue with a proprioceptive and nociceptive properties. The Fascial continuum complexity is the result of perfect synergy evolution among different tissues made up of solid and fluid portions, which interpenetrate and interact with each other, forming a polymorphic three-dimensional network. Normal movement of the body is allowed because of the presence of the fascial tissues and their inseparable interconnection, one of the fundamental characteristics of the fascia is the ability to adapt to mechanical stress, remodeling the cellular/tissue structure and mirroring the functional necessity of the environment where the tissue lays. So, Fascia can transmit tension and in view of its proprioceptive and nociceptive functions could be responsible for disorders and pain radiating to remote anatomical structures. Dysfunction of the fascial system that is perpetuated in everyday movements can also cause an emotional alteration of the person. So, the fascial unity could influence not only movement but also emotions. Because the importance of fascia in human movement (both motion and emotion), shock absorption, metabolic and physiological processes, proprioception, healing and repair, the fascia in a broadest sense may be the literal representation of our inner being. Theoretically, Fascia probably hold many of the keys for understanding muscle action and musculoskeletal pain, and maybe it is of pivotal importance in understanding the basis of the body functioning. Further intensive research is essential to understand the function of the Fascia. The proposed article is a reflection to better understand the anatomy and main characteristics of the human fascial system. Keywords: Fascia; Facial system; Myofascial chains
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Coppens, Steve, Rebekka Dreelinck, Liesbeth Brullot, Philippe Van Loon, and Danny Feike Hoogma. "#36984 PRO-CON – fascial plane blocks: are they effective?" In ESRA Abstracts, 40th Annual ESRA Congress, 6–9 September 2023. BMJ Publishing Group Ltd, 2023. http://dx.doi.org/10.1136/rapm-2023-esra.689.

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Chin, LiKang, Anthony Calabro, and Kathleen A. Derwin. "Development and Characterization of Tyramine Substituted-Hyaluronan (TS-HA) Enriched Fascia for Rotator Cuff Repair." In ASME 2010 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2010. http://dx.doi.org/10.1115/sbc2010-19553.

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The failure rate of rotator cuff repair is reportedly as high as 70%. Several commercially available extracellular matrices are indicated for augmentation of rotator cuff repair. However, none has yet demonstrated both the appropriate biological milieu and mechanical properties for tendon healing. We are interested in fascia lata for its tendon-like mechanical properties. We propose modulating inflammation by enriching fascia lata with high molecular weight hyaluronan (HA), a molecule well known for its anti-inflammatory properties. Of particular interest is tyramine-substituted hyaluronan (TS-HA), i.e., HA substituted with tyramine adducts to allow cross-linking between chains. The extent to which TS-HA treatment affects the mechanical properties of fascia lata is not known. The objectives of this study are to develop and characterize TS-HA enriched fascia lata and to investigate the hypothesis that TS-HA treatment does not significantly decrease the mechanical properties of fascia.
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Julias, Margaret, Lowell T. Edgar, Helen M. Buettner, and David I. Shreiber. "Emulating the Anatomy of Acupuncture Points With In Vitro Models." In ASME 2009 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2009. http://dx.doi.org/10.1115/sbc2009-206519.

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In traditional acupuncture, fine needles are inserted and rotated at specific locations on the body that correspond to specific therapeutic effects, which can occur locally or at a distance from the needling point. The majority of acupuncture points co-align with fascial planes under the skin, which present more subcutaneous connective tissue [1] (Fig 1). Needle insertion and rotation induces this connective tissue to couple to and wind around the needle, forming a whorl of alignment and generating measurable force on the needle that is significantly higher at fascial planes in comparison to insertion above a muscle [2, 3]. However, the effects of the varying tissue anatomy at fascial planes on fiber winding are not known. At these planes, the tissue is bounded on two sides by skeletal muscle and generally becomes narrower with increasing depth, presenting distinct boundary conditions compared to locations above a muscle, which resembles an infinite plane.
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Kulik, Sergei. "THE CATHOLICISM AND SUNNI ISLAM POSITION AND ROLE IN THE FASCISM AND NATIONAL SOCIALISM IDEOLOGICAL COORDINATE SYSTEM AT THE TURNING POINT OF THE SECOND WORLD WAR." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s10.059.

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Саврав, Игорь, Эфи Шпеннес, and Ольга Обратнева. "Развитие международного сотрудничества в области среднего профессионального образования в Псковском государственном университете." In Россия — Германия в образовательном, научном и культурном диалоге. Конкорд, 2021. http://dx.doi.org/10.37490/de2021/020.

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The article is devoted to the 15-year international cooperation between the College of Pskov State University and the Eschweiler Professional College of the Aachen region (Germany). The list of topics of the conducted educational seminars is presented. The role of the European Academy Otzenhausen in their implementation is noted The events organized during the seminars, including those of an anti-fascist orientation, are listed.
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Siyuan, Jin, Hu Min, and Chen Yabin. "Enabler Study for Plan View Cutline Styling of Front End Based on Variation Simulation." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-10566.

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Abstract In current automobile market, plan view outline styling between hood and front fascia is very popular and customers are sensitive to this styling. How to assure high aesthetic quality with low cost is very important for automotive engineers. In this paper, the variation simulation model of the usual and a new method is established and compared by 3DCS software. The development method with a new locating strategy and installation process for fascia center bracket is presented to optimize product development and process enablers. Finally, the validity of the proposed method is verified on physical model.
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Jacobitz, Frank G., Niki L. Yamamura, and Geert W. Schmid-Schönbein. "Investigation of the Spatial Structure of the Microcirculation in a Capillary Bundle From Rat Spinotrapezius Muscle Tissue." In ASME 2013 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/sbc2013-14107.

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The microcirculation in the fascia of rat spinotrapezius muscle is studied using a computational approach that accounts for the shear- and hematocrit-dependent rheology of blood [1]. The simulations are based on a realistic network reconstruction derived from microscopic images of the fascia. The model includes fundamental aspects about passive properties of microvessels [5] as well as active myogenic constriction in arterioles [2]. We also present the development of a software tool to perform a spatial analysis of the hemodynamic results. This tool provides local information about the flow properties within a spatial microvessel network map in order to optimize the comparison with experiments. A review can be found in [4].
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Julias, Margaret, Helen M. Buettner, and David I. Shreiber. "The Geometry of Connective Tissue Planes Accentuates the Biophysical Response to Traditional Acupuncture: An In Vitro Study." In ASME 2010 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2010. http://dx.doi.org/10.1115/sbc2010-19350.

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In traditional acupuncture, fine needles are inserted and rotated at defined points that correspond to specific therapeutic effects, which can occur locally or at a distance from the needling point. The majority of acupuncture points co-align with fascial planes under the skin, which present more subcutaneous loose connective tissue [1] (Fig 1 – black dot). Needle rotation induces this connective tissue specifically to couple to and wind around the needle, forming a whorl of alignment and generating measurable force on the needle that is significantly higher at fascial planes in comparison to insertion above a muscle (Fig 1A – black dot) [2, 3]. At these planes, the loose connective tissue is bounded on two sides by skeletal muscle and generally becomes narrower with increasing depth, presenting distinct geometry and boundary conditions compared to locations above a muscle, which resembles an infinite plane (Fig 1B&C).
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Boguszewski, Daniel V., Nathaniel A. Dyment, Denis L. Bailey, Jason T. Shearn, and David L. Butler. "Biomechanical Comparison of Abdominal Wall Hernia Repair Materials." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-192615.

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Complications following abdominal hernia repair include infection, mechanical failure, adhesion, and hernia recurrence [1,2]. Mesh materials require less revision surgery and reduce patient morbidity compared to when fascia is harvested [1,3]. Biologic meshes have lower infection rates and less adhesion than synthetic materials, but are more expensive [1]. In order to determine how these materials will function in vivo, it is important to simulate aspects of the actual conditions to which the material might be subjected after surgery. Previous studies have examined how different types of fascia, synthetic materials, and extracellular matrix materials responded to tests that mimic the in vivo state [3–6]. Suture retention testing has been used to compare the performance of human fascia versus possible substitutes [4]. Ball burst testing has been instrumental in understanding the biomechanical properties of different soft tissues and replacement materials by simulating biaxial forces associated with physiological loading conditions [5–7]. This objective of this was to determine which material might be most optimal for use in hernia repair. We hypothesize that biologic mesh materials will exhibit more optimal mechanical properties than synthetic materials when exposed to these test procedures.
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Reports on the topic "Fascism in art"

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Siebert, Rudolf J., and Michael R. Ott. Catholicism and the Frankfurt School. Association Inter-University Centre Dubrovnik, December 2020. http://dx.doi.org/10.53099/ntkd4301.

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The paper traces the development from the medieval, traditional union, through the modern disunion, toward a possible post-modern reunion of the sacred and the profane. It concentrates on the modern disunion and conflict between the religious and the secular, revelation and enlightenment, faith and autonomous reason in the Western world and beyond. It deals specifically with Christianity and the modern age, particularly liberalism, socialism and fascism of the 2Oth and the 21st centuries. The problematic inclination of Western Catholicism toward fascism, motivated by the fear of and hate against socialism and communism in the 20th century, and toward exclusive, authoritarian, and totalitarian populism and identitarianism in the 21st. century, is analyzed, compared and critiqued. Solutions to the problem are suggested on the basis of the Critical Theory of Religion and Society, derived from the Critical Theory of Society of the Frankfurt School. The critical theory and praxis should help to reconcile the culture wars which are continually produced by the modern antagonism between the religious and the secular, and to prepare the way toward post-modern, alternative Future III - the freedom of All on the basis of the collective appropriation of collective surplus value. Distribution and recognition problems are equally taken seriously.
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Yatsymirska, Mariya. Мова війни і «контрнаступальна» лексика у стислих медійних текстах. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11742.

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The article examines the language of the russian-ukrainian war of the 21st century based on the materials of compressed media texts; the role of political narratives and psychological-emotional markers in the creation of new lexemes is clarified; the verbal expression of forecasts of ukrainian and foreign analysts regarding the course of hostilities on the territory of Ukraine is shown. Compressed media texts reflect the main meanings of the language of the russian-ukrainian war in relation to the surrounding world. First of all, the media vocabulary was supplemented with neologisms – aggressive and sad: “rashism”, “denazification”, “katsapstan”, “orks”, “rusnia”, “kremlins”, “parebrik”, “in the swamps”, “nuclear dictator”, “putinism”, “two hundred” and others. Numerals acquired new expressive and evaluative meanings: “200s” (dead), “300s” (wounded), “400s” (russian military personnel who filed reports for termination of the contract), “500s” (hopelessly drunk russian soldiers, alcoholics who are unable to perform combat tasks). The language of war intensified the slogans of the struggle for state independence and people’s freedom. The scope of the greeting “Glory to Ukraine! – Glory to Heroes!”. New official holidays have appeared in the history of Ukraine since 2014: “Heroes of the Heavenly Hundred” Day (February 20), “Ukrainian Volunteer Day” (March 14), “Defenders and Defenders of Ukraine Day” (October 14), “Volunteer Day” (5 December). As you know, the professional holiday of the military is the Day of the Armed Forces of Ukraine” (December 6). A special style is characteristic of media texts on military topics: “Iron Force of Ukraine” (Iron Force of Ukraine), “digitize the Army” (for effective simulation of military operations); “grain corridor” (export of Ukrainian grain to African and European countries); “don’t let Ukraine lose” (the position of the Allies at the first stage of the war), “Ukraine must win!” (the position of the Allies in the second stage of the war); “in the Russian-Ukrainian war, the thinking of the 19th century collided with the thinking of the 21st century”, “a politician is a person who understands time” (Grigori Yavlinskyy, Russian oppositionist); “aggressive neutrality” (about Turkey’s position); “in Russia”, “there, in the swamps” (in Russia), “weak, inadequate evil” (about Russia), “behind the fence”; “a great reset of the world order”; “technology of military creativity”; “they are not Russian and not Ukrainian, they are Soviet”, “people without mentality”, “in Ukraine and without Ukraine” (Vitaly Portnikov about a separate category of Russian-speaking citizens in Ukraine); “information bed of Ukraine” (about combat operations on the front line; “when a descendant asks me what I did in those terrifying moments, I will know what to answer. At the very least, I did not stand aside” (opinion of a Ukrainian fighter). Compressed in media texts is implemented in the headline, note, infographic, chronicle, digest, help, caption for photos, blitz poll, interview, short articles, caricature, visual text, commercial, etc. Researchers add “nominative-representative text (business card text, titles of sections, pages, names of presenters, etc.) to concise media texts for a functional and pragmatic purpose.” accent text (quote, key idea); text-navigator (content, news feed, indication of movement or time); chronotope”. A specific linguistic phenomenon known as “language compression” is widespread in media texts. Language compression is the art of minimization; attention is focused on the main, the most essential, everything secondary is filtered out. Compression uses words succinctly and sparingly to convey the meaning as much as possible. For example, the headline “Racism. What is the essence of the new ideology of the Russian occupiers?”. The note briefly explains the meaning of this concept and explains the difference from “nazism” and “fascism”. Key words: compressed media text, language compression, language of war, emotional markers, expressive neologisms, political journalism.
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Kenes, Bulent. CasaPound Italy: The Sui Generis Fascists of the New Millennium. European Center for Populism Studies (ECPS), June 2021. http://dx.doi.org/10.55271/op0010.

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CasaPound Italy is one of the most interesting and ambiguous populist right-wing extremist groups emerged in Europe. Its supporters say they are not ‘racist’ but are against immigration because of its impact on wages and houses; not antisemitic, but anti-Israel vis-à-vis Palestine; not homophobic, but supporters of the ‘traditional family’. Never before there was in Italy an explicitly neo-fascist group enjoying the strategic viability and the marge of political manoeuvre that was secured today by the CasaPound. Although CasaPound remains substantially marginal from an electoral point of view, its visibility in the Italian system is symptomatic of the ability of the extreme right to assimilate populist and alternative agendas in order to increase the attractiveness of their communication campaigns.
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Blazakis, Jason, and Colin Clarke. From Paramilitaries to Parliamentarians: Disaggregating Radical Right Wing Extremist Movements. RESOLVE Network, December 2021. http://dx.doi.org/10.37805/remve2021.2.

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The global far right is extremely broad in nature and far from monolithic. While the “far right” is often used as an umbrella term, using the term runs the risk of over-simplifying the differences and linkages between white supremacist, anti-immigration, nativist, and other motivating ideologies. These beliefs and political platforms fall within the far-right rubric, and too often the phrase presents a more unified image of the phenomena than is really the case. In truth, the “far right” and the individual movements that comprise it are fragmented, consisting of a number of groups that lack established leadership and cohesion. Indeed, these movements include chauvinist religious organizations, neo-fascist street gangs, and paramilitary organs of established political parties. Although such movements largely lack the mass appeal of the interwar European radical right-wing extreme, they nevertheless can inspire both premeditated and spontaneous acts of violence against perceived enemies. This report is intended to provide policymakers, practitioners, and the academic community with a roadmap of ongoing shifts in the organizational structures and ideological currents of radical right-wing extremist movements, detailing the difference between distinct, yet often connected and interlaced echelons of the far right. In particular, the report identifies and analyzes various aspects of the broader far right and the assorted grievances it leverages to recruit, which is critical to gaining a more nuanced understanding of the potential future trajectory of these movements.
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