This collection includes articles that show this new consensus, which is inevitably contested, as well as making available material which relates to aspects of fascism independently of any sort of consensus and also covering fascism of the inter and post-war periods.
This is a comprehensive selection of texts, reflecting both the extreme multi-faceted nature of fascism as a phenomenon and the extraordinary divergence of interpretations of fascism. This book examines how the work of Mario Sironi shaped the political myths of Italian Fascism. The first English-language monograph on Il Fronte Nuovo delle Arti, this study explores the rise and fall of this postwar Italian artists' group as a representative instance of the tensions facing Italian painting during the transition out of two decades of Fascism and into the global divisions of the Cold War.
Adrian Duran argues that the binary structures of the era - realism vs. Beginning with the dialogues that framed the formation of the Fronte Nuovo, this book reconsiders artists' works, correspondence, critical writings, and manifestos. These are married to examinations of specific exhibitions, the most important of which are the group's inaugural exhibition and the and Venice Biennali. The critical responses to these exhibitions are reconsidered in light of their groundings in the heated political debates of the period.
In total, these diverse sources reveal the vast divide between the internal discourse of the arts, generated by the participant artists and their works, and the surrounding politics of Cold War Italy.
The contributors in this book consider Walter Benjamin's ideas in the context of digitalization of architecture where it is the very technique itself that determines the processes of design and the final form. This book was published as a special issue of Architectural Theory Review. Investigating the central role that theories of the visual arts and creativity played in the development of fascism in France, Mark Antliff examines the aesthetic dimension of fascist myth-making within the history of the avant-garde.
On Friday, February 20, , I had the pleasure to be present at the inaugural lecture of my colleague Jan Reedijk, who had just been named at the Chair of Inorganic Chemistry of Leiden University. According to tradition, the ceremony took place in the impressive Hall of the old University Academy Building.
In the course of his lecture, Jan mentioned a number of recent developments in chemistry which had struck him as particularly important or interesting. Among those was the synthesis of large metal cluster compounds, and, to my luck, he showed a slide ofthe molecular structure of [PtI9 C b] To my luck, since at traditional Leiden University it is quite unusual to show slides at such ceremonies. This constituted my first acquaintance with this exciting new class of materials. I became immediately fascinated by this molecule, partly because of the esthetic beauty of its fivefold symmetry, partly because as a physicist it struck me that it could be visualized as an "embryonically small" metal particle, embedded in a shell of CO ligands.
As they did so these regimes uniformly adopted what we would call a modernist aesthetic — huge-scale experiments in modernism were funded and supported by fascist and totalitarian dictators. Focusing largely on Mussolini's Italy, Francesca Billiani argues that modernity was intertwined irrecoverably with fascism — that too often modernist buildings, art and writings are seen as a purely cultural output, when in fact the principles of modernist aesthetics constitute and are constituted by the principles of fascism.
The obsession with the creation of the 'new man' in art and in reality shows this synergy at work. This book is a key contribution to the field of twentieth century history — particularly in the study of fascism, while also appealing to students of art history and philosophy. While state governments determine the "Who? The sovereign God of the universe has redemptive purpose in the movements of the people.
In many instances, the formerly "unreached" are moving "within reach. They are invited to respond. Targeting both students and practitioners, it informs, inspires, and equips.
The visual image is the common denominator of cinema and painting, and indeed many filmmakers have used the imagery of paintings to shape or enrich the meaning of their films. In this discerning new approach to cinema studies, Angela Dalle Vacche discusses how the use of pictorial sources in film enables eight filmmakers to comment on the interplay between the arts, on the dialectic of word and image, on the relationship between artistic creativity and sexual difference, and on the tension between tradition and modernity.
While addressing issues of influence and intentionality, Dalle Vacche concludes that intertextuality is central to an appreciation of the dialogical nature of the filmic medium, which, in appropriating or rejecting art history, defines itself in relation to national traditions and broadly shared visual cultures.
These two volumes collect thirty-eight selected papers from the scientific contributions presented at the Fourth European Workshop on Quantum Systems in Chemistry and Physics QSCP-IV , held in Marly-le-Roi France in April , , A total ofone hundred and fifteen scientists attended the workshop, 99 from Europe and 16 from the rest ofthe world. The Promise of Fintech Author : Ms.
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