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Journal articles on the topic 'Fascist architecture in Albania'

Author: Grafiati

Published: 10 March 2023

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1

Haxha, Elsa. "American Misions in Albania during World War II." Mediterranean Journal of Social Sciences 8, no. 1 (2017): 322–24. http://dx.doi.org/10.5901/mjss.2017.v8n1p322.

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Abstract As is known historically, part of the World Anti-Fascist Grand Coalition was also another great ally, United States. Even the allies had issued the Declaration of December 1942, for recognition of the anti-fascist resistance of the Albanian people, as well as Great Britain and the Soviet Union, making it part of the International Coalition and part of his war against the common enemies nazi and fascists. Nevertheless, beyond the lack of these interests, the Americans under the World Anti-Fascist Grand Coalition few months after the british began in the tiny Balkan military missions, a

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2

Pandelejmoni, Enriketa. "Italian fascist modernisation and colonial landscape in Albania 1925-1943." Perspectivas - Journal of Political Science 25 (December 17, 2021): 43–56. http://dx.doi.org/10.21814/perspectivas.3243.

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Environmental history and landscape transformations vis-à-vis agricultural modernization policies such as the reclaiming of land hardly features in studies on the Italian fascist annexation of Albania. This paper focuses on the main features of Italian economic and landscape efforts in Albania during the fascist years through a general overview of the Italian period with respect to economic and land reclamation works, and an exploration of Italys colonial policies in the modernization and regeneration of Albanian landscape. Its scope includes Italys interwar interventionist efforts in Albania

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Papa-Pandelejmoni, Enriketa. "Albania during WWII: Mustafa Merlika Kruja’s Fascist Collaboration." European Legacy 19, no. 4 (2014): 433–41. http://dx.doi.org/10.1080/10848770.2014.919192.

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4

Villari, Giovanni. "A Failed Experiment: The Exportation of Fascism to Albania." Modern Italy 12, no. 2 (2007): 157–71. http://dx.doi.org/10.1080/13532940701362698.

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Using Italian and Albanian archive sources, this essay analyses the effectiveness of Italian policy in Albania, during the years of its union with Italy (1939–1943), in the creation of a model Fascist state and in the generation of support for Italy among the Albanian population. Through the creation of party and state structures similar to those in Italy, Fascism intended to give voice to Albanian Nationalist demands, but Italian policy was undermined by a basic defect which helped to cool any initial enthusiasm: the loss of all semblance of Albanian independence and the exploitation of local

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5

Ben-Ghiat, Ruth. "Architecture and Urbanism in Fascist Italy." Journal of Urban History 20, no. 1 (1993): 123–32. http://dx.doi.org/10.1177/009614429302000107.

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6

Ghirardo, Diane. "Architecture and Culture in Fascist Italy." Journal of Architectural Education 45, no. 2 (1992): 66. http://dx.doi.org/10.1080/10464883.1992.10734491.

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Vukadinović, Igor. "Prosvetna politika Kraljevine Albanije na Kosovu i Metohiji tokom Drugog svetskog rata." Tokovi istorije 29, no. 1 (2021): 109–32. http://dx.doi.org/10.31212/tokovi.2021.1.vuk.109-132.

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Kingdom of Albania’s fascist regime considered education as one of the pillars of its policy in Kosovo and Metohija during World War II. With the aim of spreading and strengthening Albanian national identity and culture, several hundreds of educators were sent from the “Old Albania” to Kosovo and Metohija. The Italian occupation authorities were not supportive of the educational policy pursued by the officials in Tirana, which often resulted in disagreement between the two sides. After liberating the province in 1944, the Communist Party of Yugoslavia decided to keep the teachers and educators

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8

Bartolini, Francesco. "Architettura e fascismo. Temi e questioni storiografiche." PASSATO E PRESENTE, no. 78 (October 2009): 125–37. http://dx.doi.org/10.3280/pass2009-078007.

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- Architecture and Fascism. Issues and interpretative perspectives examines the historical debate regarding Fascist architecture which has been ongoing over the last decade. In particular, it analyses some interpretative issues that have proven most interesting both for political historians and architectural historians: the existence of a «totalitarian style», the relationship between the Fascist regime and architects, the ideological connotation of urban and rural landscape, the legacy of the Fascist experience on the Italian Republic.Key words: Italian Architecture, Fascism, Totalitarianism,

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Griffin, Roger, and Rita Almeida de Carvalho. "Editorial Introduction: Architectural Projections of a ‘New Order’ in Fascist and Para-Fascist Interwar Dictatorships." Fascism 7, no. 2 (2018): 133–40. http://dx.doi.org/10.1163/22116257-00702001.

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The three articles that follow are the second part of a special issue of Fascism devoted to case studies in ‘Latin’ architecture in the fascist era, the first part of which was published in volume 7 (2018), no. 1. The architecture of three clearly para-fascist regimes comes under the spotlight: those of Spain, Portugal, and Brazil, in each of which a genuine fascist movement was either absorbed into a right-wing dictatorship (as occurred under Franco) or disbanded by it while perceptibly retaining some fascist elements (as in the case of the Salazar and Vargas regimes). Once again, the juxtapo

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Güçlü, Yücel. "Fascist Italy’s 'Mare Nostrum' Policy and Turkey." Belleten 63, no. 238 (1999): 813–46. http://dx.doi.org/10.37879/belleten.1999.813.

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Following his seizure of power in 1922, Mussolini began to pursue the policy of 'mare nostrum' of the ancient Romans. He had an eye on the Anatolian lands bordering the Mediterranean. Local symbol of the Italian menace was the Dodecanese Islands which were started to be fortified in 1934. Mussolini's speech of that year showed that Italy did not renounce its earlier designs on Turkish territory. Atatürk did not take Mussolini's claims seriously, but the danger Italy represented could not be ignored. During the Ethiopian crisis, Turkey supported the League of Nations' sanctions against Italy an

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11

Nishku, Genta. "The Wretched on the Walls: A Fanonian Reading of a Revolutionary Albanian Orphanage." Feminist Critique: East European Journal of Feminist and Queer Studies, no. 3 (2020): 39–63. http://dx.doi.org/10.52323/309702.

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Using Franz Fanon’s “On Violence,” this paper analyzes dynamics of power and violence in Lulëkuqet mbi Mure / Red Poppies on Walls, a 1976 Albanian film about WWII anti-fascist resistance, told through the story of a group of orphans in Italian-occupied Albania. Fanon’s explication that the colonizer’s power is founded on force and maintained through violence, capitalist exploitation, dehumanization and compartmentalization, elucidates the film. His argument that decolonization is possible only through greater counter-violence is critical in understanding why the orphans use violent means to l

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Distretti and Petti. "The Afterlife of Fascist Colonial Architecture: A Critical Manifesto." Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 16, no. 2 (2019): 47. http://dx.doi.org/10.5749/futuante.16.2.0047.

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13

Brott, Simone. "Architecture et révolution: Le Corbusier and the Fascist Revolution." Thresholds 41 (January 2013): 146–57. http://dx.doi.org/10.1162/thld_a_00106.

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14

Vukadinović, Igor. "Activity of Albanian emigration in the West towards the issue of Kosovo and Metohija (1945-1969)." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 2 (2021): 237–55. http://dx.doi.org/10.5937/zrffp51-26886.

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After the Second World War, a large number of members of the fascist regime of the Kingdom of Albania found refuge in Italy, Turkey and the countries of Western Europe, where they continued to politically act. The leading political options in exile - Balli Kombetar, Zogists and pro-Italian National Independent Bloc, decided to cooperate with each other, so they have formed the Albanian National Committee in 1946. The turning point for the Albanian extreme emigration in the West is Operation Valuable, by which the United States and Great Britain sought to overthrow the Communist regime of Enver

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Bartolini, Flaminia. "Fascism on display: the afterlife of material legacies of the dictatorship." Ex Novo: Journal of Archaeology 5 (December 31, 2020): 19–32. http://dx.doi.org/10.32028/exnovo.v5i.409.

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The year 2015 marked the seventy-fifth anniversary of the end of World War II, a commemoration that prompted Italy to reconsider the complexity of the Fascist phenomenon and how the artistic creations and urbanism of the regime contributed to shaping city landscapes across the country. Fascist material legacies are an unequivocal presence in any Italian city, but the ways in which they have been preserved or not, reused or abandoned, provokes consideration of the complexities of the country’s renegotiation of its Fascist past, shifting from iconoclasm to present-day heritage status. Heritage d

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Malone, Hannah. "Legacies of Fascism: architecture, heritage and memory in contemporary Italy." Modern Italy 22, no. 4 (2017): 445–70. http://dx.doi.org/10.1017/mit.2017.51.

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This article examines how Italy has dealt with the physical remains of the Fascist regime, as a window onto Italian attitudes to the past. Theventennioleft indelible marks on Italy’s cities in the form of urban projects, individual buildings, monuments, plaques and street names. In effect, the survival of physical traces contrasts with the hazy memories of Fascism that exist within the Italian collective consciousness. Conspicuous, yet mostly ignored, Italy’s Fascist heritage is hidden in plain sight. However, from the 1990s, buildings associated with the regime have sparked a number of debate

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Tucci, Pier Luigi. "EPHEMERAL ARCHITECTURE AND ROMANITÀ IN THE FASCIST ERA: A ROYAL-IMPERIAL TRIBUNE FOR HITLER AND MUSSOLINI IN ROME." Papers of the British School at Rome 88 (June 4, 2020): 297–341. http://dx.doi.org/10.1017/s0068246220000069.

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Ephemeral architecture was the antithesis of the permanent buildings typical of the ‘Fascism of stone’, and yet many architects took advantage of this paradox to create an imaginary Rome. A widespread use of ephemeral structures was made around 1938, during the Mostra Augustea della Romanità and Hitler's state visit to Italy, in order to support a political programme that marked the totalitarian turn in the Fascist regime after the foundation of the empire and aimed at strengthening the alliance between Fascist Italy and Nazi Germany. Relying on methodologies of particular relevance to Roman a

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18

Galán, Ignacio G. "Building Simultaneity in Fascist Italy." Journal of the Society of Architectural Historians 80, no. 2 (2021): 182–201. http://dx.doi.org/10.1525/jsah.2021.80.2.182.

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Rifkind, David. "Furnishing the Fascist interior: Giuseppe Terragni, Mario Radice and the Casa del Fascio." Architectural Research Quarterly 10, no. 2 (2006): 157–70. http://dx.doi.org/10.1017/s1359135506000236.

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Fortuna, James J. "‘Un'arte ancora in embrione’: international expositions, empire, and the evolution of Fascist architectural design." Modern Italy 25, no. 4 (2020): 455–76. http://dx.doi.org/10.1017/mit.2020.61.

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This article reconsiders the development of Fascist architecture throughout the late interwar period. It pays especial attention to the structures erected for the most significant international expositions held, or planned to be held, between 1933 and 1942, in order to identify significant trends in Party-sponsored design. It argues that the ‘dynamism’ of Fascist design was a consequence of the regime's preference for an increasingly imperial tone which developed in direct proportion to its increasingly imperial identity. It points to Piacentini and Pagano's Italian Pavilion built for the 1937

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21

Sygkelos, Yannis. "The National Discourse of the Bulgarian Communist Party on National Anniversaries and Commemorations (1944–1948)." Nationalities Papers 37, no. 4 (2009): 425–42. http://dx.doi.org/10.1080/00905990902985678.

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During the early post-war years (1944–1948), the newly established communist regimes in Eastern Europe followed the Soviet example. They honoured figures and events from their respective national pasts, and celebrated holidays dedicated to anti-fascist resistance and popular uprisings, which they presented as forerunners of the new, bright and prosperous “democratic” era. Hungarian communists celebrated 15 March and commemorated 6 October, both recalling the national struggle for independence in 1848; they celebrated a martyr cult of fallen communists presented as national heroes, and “nationa

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22

Ulanskii, Aleksandr Aleksandrovich. "ARCHITECTURE OF ITALY IN PROPAGANDA POLICY OF THE FASCIST STATE." Manuscript, no. 1 (January 2019): 162–65. http://dx.doi.org/10.30853/manuscript.2019.1.34.

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23

Rifkind, David. "Gondar." Journal of the Society of Architectural Historians 70, no. 4 (2011): 492–511. http://dx.doi.org/10.1525/jsah.2011.70.4.492.

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Gondar, Ethiopia, expanded dramatically in the late 1930s as a colonial administrative center for Italian East Africa. David Rifkind shows how urban design and architecture functioned in Gondar between 1936 and 1941 as key tools of Italian colonial policy. Italian urbanism throughout the fascist era illustrates the disquieting compatibility of progressive planning and authoritarian politics, and in Gondar modern urban design was used to define imperial identity for both Italian settlers and African colonial subjects. Gondar: Architecture and Urbanism for Italy's Fascist Empire documents the st

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24

Gami, Bavjola Shatro. "A Stranger in Rome: Musine Kokalari and Her Memoir La mia vita universitaria in Twentieth-Century Albanian Literature." Mediterranean Studies 30, no. 1 (2022): 76–107. http://dx.doi.org/10.5325/mediterraneanstu.30.1.0076.

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ABSTRACT This article focuses on the memoir of Musine Kokalari, the first woman writer in Albanian literature. Her memoir La mia vita universitaria (My University Life) was written in Italian during her stay in Rome as a student at Sapienza University. It was published only in 2009 (Tirana) and in 2016 (Rome) as a result of the author being harshly persecuted by the communist regime and her work being banned in Albania for almost half a century. Kokalari’s memoir is analyzed through a cultural and biographical approach as well as text analysis. Being a stranger and remaining one while living i

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MYERS, LINDSAY. "Meo's Fists – Fighting For or Against Fascism? The Subversive Nature of Text and Image in Giovanni Bertinetti's I pugni di Meo." International Research in Children's Literature 1, no. 1 (2008): 1–15. http://dx.doi.org/10.3366/e1755619808000069.

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During the 1920s and 1930s Italian children's literature was heavily influenced by fascist propaganda. Stories which celebrated patriotism, militarism and obedience appeared in great numbers as did biographies of Mussolini. Children's book illustrations also underwent stylistic changes becoming more statuary and geometric in accordance with the principles behind fascist architecture and propagandist art. Not all of the Italian writers and artists who ostensibly endorsed fascist ideologies, however, were entirely compliant with fascist dictates. Careful reading of some of the key works by write

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Ballent, Anahi. "Faces of Modernity in the Architecture of the Peronist State, 1943–1955." Fascism 7, no. 1 (2018): 80–108. http://dx.doi.org/10.1163/22116257-00701005.

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Within the context of Peronist expectations regarding culture, the article examines three cases of architectural and urban projects that displayed various kinds of articulation in terms of promotional policies, state institutions, intervening technology, the urban aspects involved, and the architectural aesthetics proposed. The works are interpreted—with respect to their aesthetic forms and images and the political content they transmit—as materializations of the new order envisaged by Peronism. Each of the case studies highlights different visualizations or aspects of this new order. In conce

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Maulsby, Lucy M. "Review: Modern Architecture, Empire, and Race in Fascist Italy." Journal of the Society of Architectural Historians 81, no. 2 (2022): 245–47. http://dx.doi.org/10.1525/jsah.2022.81.2.245.

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Maulsby, Lucy M. "Giustizia Fascista." Journal of the Society of Architectural Historians 73, no. 3 (2014): 312–27. http://dx.doi.org/10.1525/jsah.2014.73.3.312.

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Designed by the architect most closely associated with fascism, Marcello Piacentini, the Palace of Justice was the largest building constructed in Milan in the interwar period. Piacentini intended that the building, with its extensive decorative program, would assert the state’s authority in Milan, the commercial and financial center of Italy and the birthplace of fascism, and serve as a permanent monument to the legal system that structured the fascist state. In Giustizia Fascista: The Representation of Fascist Justice in Marcello Piacentini’s Palace of Justice, Milan, 1932–1940, Lucy M. Maul

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de Carvalho, Rita Almeida. "Ideology and Architecture in the Portuguese ‘Estado Novo’: Cultural Innovation within a Para-Fascist State (1932–1945)." Fascism 7, no. 2 (2018): 141–74. http://dx.doi.org/10.1163/22116257-00702002.

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This article challenges the common assumption of the fascist nature of the Portuguese Estado Novo from the thirties to mid-forties, while recognizing the innovative, modernizing dynamic of much of its state architecture. It takes into account the prolix discourse of Oliveira Salazar, the head of government, as well as Duarte Pacheco’s extensive activity as minister of Public Works, and the positions and projects of the architects themselves. It also considers the allegedly peripheral status of architectural elites, and the role played by decision makers, whether politicians or bureaucrats, in

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Storchi, Simona. "The ex-Casa del Fascio in Predappio and the question of the “difficult heritage” of Fascism in contemporary Italy." Modern Italy 24, no. 02 (2019): 139–57. http://dx.doi.org/10.1017/mit.2019.8.

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This article focuses on the history and reception of the ex-Casa del Fascio in Predappio, from the end of the Second World War to the current plans for its restoration and reuse as a study centre and a museum of Fascism. Taking into account changes in legislative, political, and cultural contexts, the article proposes an approach to the legacy of Fascist architecture in Italy based not just on its ideological charge, but also on cultural and political shifts, changes in legislation, and the complex relationships between the bodies in charge of the preservation and management of public heritage

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Pishchulina, Viktoria V. "Architecture of One-Apsidal Churches of North Black Sea Coast VI-XII c." Materials Science Forum 931 (September 2018): 790–96. http://dx.doi.org/10.4028/www.scientific.net/msf.931.790.

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A one-apsidal hall church is always a reflection of so-called “vulgar” Christianity, thus revealing the important peculiarities of the spatial culture of the region where it is erected. In this region we can mark two periods when such temples were built: VI-VII c. and X-XII c. The first period is associated with the missionary activity by Byzantine Empire, Antioch, Caucasian Albania which was conditioned by both geopolitical interests (Byzantian Empire, Antioch) and the shift of The Great Silk Way to the north (Caucasian Albania). The second, as the research has shown, is connected with the mi

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Ballinger, Pamela. "A Sea of Difference, a History of Gaps: Migrations between Italy and Albania, 1939–1992." Comparative Studies in Society and History 60, no. 1 (2018): 90–118. http://dx.doi.org/10.1017/s0010417517000421.

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AbstractThis article examines extended debates after World War II over the repatriation of Italian civilians from Albania, part of the Italian fascist empire from 1939 until 1943. Italy's decolonization, when it is studied at all, usually figures as rapid and non-traumatic, and an inevitable byproduct of Italy's defeat in the war. The tendency to gloss over the complexities of decolonization proves particularly marked in the Albanian case, given the brevity of Italy's formal rule over that country and the overwhelming historiographical focus on the Italian military experience there. In recover

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Beese, Christine. "»La Sapienza«." Architectura 46, no. 2 (2019): 190–213. http://dx.doi.org/10.1515/atc-2016-2004.

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AbstractThe following article will point out the way in which the roman Città Universitaria (1932 –1935) played a crucial role for the historiography of architecture in Italy. While the debate of the 1930ies was marked by negotiations of a genuine fascist art, essence and appropriate form, important historians and critics of the post-war era were engaged in establishing the master narrative of an ethical and progressive modernity in contrast to a retrograde and reprehensible traditionalism. The endeavor to take the Universities architecture and artwork in for a particular concept of artistic q

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Kallis, Aristotle. "Futures Made Present: Architecture, Monument, and the Battle for the ‘Third Way’ in Fascist Italy." Fascism 7, no. 1 (2018): 45–79. http://dx.doi.org/10.1163/22116257-00701004.

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During the late 1920s and 1930s, a group of Italian modernist architects, known as ‘rationalists’, launched an ambitious bid for convincing Mussolini that their brand of architectural modernism was best suited to become the official art of the Fascist state (arte di stato). They produced buildings of exceptional quality and now iconic status in the annals of international architecture, as well as an even more impressive register of ideas, designs, plans, and proposals that have been recognized as visionary works. Yet, by the end of the 1930s, it was the official monumental stile littorio – cla

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Kreka, Alba. "REFLECTING ABOUT THE CIVIL WAR IN ALBANIA." KNOWLEDGE - International Journal 54, no. 5 (2022): 867–70. http://dx.doi.org/10.35120/kij5405867k.

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Albania was considered "a wild province" by the British missions that served in the "land of the eagles"during the Second World War. First, the Italian occupation and then the German occupation created the ground forthe anti-fascist national liberation war, carried out by various political forces operating in the country at that time.This paper aims to analyze the approaches and controversies of the civil war in Albania through the lens of Britishmilitary missions’ (SOE) official documents, Albanian archival documentation as well as from the literature ofvarious authors. Referring to this docu

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Shumka, Laura. "Particularities of wooden carved iconostases in selected post-Byzantine churches of Albania." Muzeológia a kultúrne dedičstvo 10, no. 4 (2022): 79–88. http://dx.doi.org/10.46284/mkd.2022.10.4.6.

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This paper presents the data and study results of the post-Byzantine wood carved iconostases of different churches in Albania, which notwithstanding the circumstances of the communistic period have preserved to a considerable extent their typical characteristics. The paper aims to examine the stylistic and morphological aspects of the iconostasis in selected churches in relation to the architecture and tries to identify the relationships, sequences and reasons for such phenomena. The presence of iconostases in the Eastern Orthodox Church is based on the carried rituals and services that are ex

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Marcello, Flavia, and Paul Gwynne. "Speaking from the Walls." Journal of the Society of Architectural Historians 74, no. 3 (2015): 323–43. http://dx.doi.org/10.1525/jsah.2015.74.3.323.

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The Città Universitaria (or University City), built in Rome in the mid-1930s, used the reception of classical culture as a propaganda tool through its architecture, art, urban layout, and use of epigraphy. As Flavia Marcello and Paul Gwynne demonstrate, these elements communicated the broad sociopolitical construct of militarism and education characteristic of the Italian Fascist period. Building inscriptions using the immortal words of classical authors had both didactic and referential functions: they spoke peremptorily of accepted modes of behavior and highlighted the role of educated youth

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Sallata, Ilir. ""BALKAN HEADQUARTER" IN THE OPTIC OF ALBANIAN COMMUNISTS IN THE 1939-1944 YEARS." Knowledge International Journal 34, no. 5 (2019): 1499–502. http://dx.doi.org/10.35120/kij34051499s.

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This paper aims to present the features of the Balkan cooperation of the left political forces during the years of World War II, respectively the project of the Balkan Headquarters, in the view of the Albanian communists. The idea of Balkan co-operation spread to all communist movements in the Balkan countries, the most active was the Yugoslav Communist Party, which aimed to create a "Balkan Headquarter" under the conditions of war and a "Balkan Federation" after its end. At the end of 1942, the Yugoslav Communist leadership established contacts with the Communist Parties of Bulgaria, Greece a

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Muehlbauer, Mikael. "An Italian Renaissance Face on a “New Eritrea”:." Journal of the Society of Architectural Historians 78, no. 3 (2019): 312–26. http://dx.doi.org/10.1525/jsah.2019.78.3.312.

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A whitewashed neo-Renaissance façade set into a high rock escarpment above the village of Abreha wa-Atsbeha, in East Tigray, Ethiopia, stands in stark contrast to its sunbaked highland surroundings. Behind this façade is a relatively large rock-cut structure, one of the oldest medieval church buildings in Ethiopia. An Italian Renaissance Face on a “New Eritrea”: The 1939 Restoration of the Church of Abreha wa-Atsbeha addresses how the restoration of this church conducted by Italian Fascist authorities represents the appropriation of local history by both Fascist Italy and Ethiopia's own imperi

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Neher, Gabriele. "Review: Medina Lasansky, The Renaissance Perfected. Architecture, Spectacle, and Tourism in Fascist Italy." Art Book 12, no. 1 (2005): 29–31. http://dx.doi.org/10.1111/j.1467-8357.2005.00496.x.

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Caprotti, Federico. "Destructive creation: fascist urban planning, architecture and New Towns in the Pontine Marshes." Journal of Historical Geography 33, no. 3 (2007): 651–79. http://dx.doi.org/10.1016/j.jhg.2006.08.002.

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42

Ben-Ghiat, Ruth, and Diane Ghirardo. "Building New Communities: New Deal America and Fascist Italy." Journal of Architectural Education (1984-) 46, no. 2 (1992): 106. http://dx.doi.org/10.2307/1425205.

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Drijvers, Jan Willem, and Stephan Mols. "Van Obelisk naar Mausoleum." Lampas 52, no. 3 (2019): 377–86. http://dx.doi.org/10.5117/lam2019.3.011.mols.

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Summary This article describes a tour along noteworthy Augustean sites and monuments on the campus Martius in Rome. It starts at Piazza Monte Citorio where now the obelisk stands which was once part of Augustus’ Horologium. From there the walk goes 200 meters northwards to the original site of the obelisk/Horologium which is marked by an inscription, and then onward to the original site of the Ara Pacis. From there the tour continues to the Piazza Augusto Imperatore with Augustus’ Mausoleum and the museum of the Ara Pacis housing the restored altar. The piazza as it appears nowadays was design

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Isto, Raino. "Monumentality, Counter-monumentality, and Political Authority in Post-socialist Albania." International Journal for History, Culture and Modernity 8, no. 2 (2020): 150–87. http://dx.doi.org/10.1163/22130624-00802003.

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Abstract This article examines the role that monumentality—and efforts to critique it—have played in shaping the experience of public space in post-socialist Albania. It considers artistic and architectural strategies often labeled ‘counter-monumental’ because they were first developed as a way to challenge authoritarian and nationalist monumental structures from the past, and it argues that in Albania these counter-monumental strategies have become wedded to centralized state power. In the conditions of neoliberal capitalism, projects that aim to undo traditional monumentality can effectively

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Aliyev, Taleh. "TIGRANAKERT, OR AGUEN?" Scientific works/Elmi eserler 1, no. 1 (2022): 69–74. http://dx.doi.org/10.58225/sw.si.2022.1.69-74.

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The study of the cities and urban culture of Caucasian Albania, the study of Albanian studies, history and archaeology, as well as monuments is very relevant both in terms of archaeology and architecture. From this point of view, the study of ancient and early medieval settlements, and urban and rural archaeological monuments located in the territory of Karabakh have special importance. The monuments of the Albanian period in Karabakh and East Zangazur, the historical lands of Azerbaijan liberated from occupation, are distinguished by their richness. One of them is the Shahbulag settlement loc

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Tschudi, Victor Plahte. "Plaster Empires." Journal of the Society of Architectural Historians 71, no. 3 (2012): 386–403. http://dx.doi.org/10.1525/jsah.2012.71.3.386.

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The so-called Plastico di Roma is one of Rome’s great attractions. The extraordinary detailed plaster reconstruction of fourth-century Rome monopolizes the image of the imperial city for scholars and visitors alike. Archaeology played an important but small part in the making of the model. The majority of buildings consist of volumetric modules, invented by the “architect” Italo Gismondi and his team, to mask and replace the missing architectural evidence. Victor Plahte Tschudi traces the impact of Gismondi’s invented antiques in Plaster Empires: Italo Gismondi’s Model of Rome. Completed in 19

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Ghirardo, Diane. "Architects, Exhibitions, and the Politics of Culture in Fascist Italy." Journal of Architectural Education (1984-) 45, no. 2 (1992): 67. http://dx.doi.org/10.2307/1425274.

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Andreotti, Libero. "The Aesthetics of War: The Exhibition of the Fascist Revolution." Journal of Architectural Education (1984-) 45, no. 2 (1992): 76. http://dx.doi.org/10.2307/1425275.

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Andreotti, Libero. "Architecture as Media Event: Mario Sironi and the Exhibition of the Fascist Revolution, 1932." Built Environment 31, no. 1 (2005): 9–20. http://dx.doi.org/10.2148/benv.31.1.9.62201.

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PARFITT, ROSE. "Fascism, Imperialism and International Law: An Arch Met a Motorway and the Rest is History . . ." Leiden Journal of International Law 31, no. 3 (2018): 509–38. http://dx.doi.org/10.1017/s0922156518000304.

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AbstractWhat would happen to our understanding of international law and its relationship with violence if we collapsed the distinction between our supposedly post-colonial ‘present’ and its colonial ‘past’; between the sovereign spaces of the twenty-first century global order, and the integrated, hierarchical space of fascist imperialism? I respond to this question through an investigation into the physical contours of a precise ‘imperial location’: 30°31′00″N, 18°34′00″E. These co-ordinates refer to a point on the sea-edge of the Sirtica that is occupied today by the Ra's Lanuf oil refinery,

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