Academic literature on the topic 'Propaganda imperiale'

Straipsnis remiasi nuostata, kad propaganda yra ne tik manipuliacijos, bet ir motyvacijos, subjekto formavimo, kultūrinių tapatybių saugos priemonė ir užtikrina ne tik valdančiųjų klasių, religijų, bet ir civilizacinį tęstinumą. Dažniausiai propaganda, siekdama formuoti sau palankų subjektą, jo tapatybę, remiasi edukacine veikla, kuri geriausiai ilgalaikiu požiūriu atitinka propagandos siekius. Būtent tokia prasme straipsnyje nagrinėjama Sacra Congregatio de Propaganda Fide tikslai, jų sąsajos su jėzuitų ordinu ir jo veikla XVIII a. Lietuvoje steigiant misijas, mokyklas, kolegijas, universitetą. Kartu, remiantis R. Brague prielaida apie tai, kad Europos tapatybė buvo formuojama jos paribiuose, kur aiškiausiai apibrėžiami kultūriniai, religiniai, ideologiniai skirtumai, parodoma, kad jėzuitų ordinas formavo LDK gyventojų europietišką tapatybę, kuri buvo nuosekliai naikinama po 1795 metų paskutinio Lietuvos–Lenkijos valstybės padalijimo. Straipsnyje pastebima, kad XVII–XVIII amžiaus Vatikano propagandos doktrina rėmėsi iš esmės renesansinės kilmės nuostatomis, apie tai, kad krikščioniškasis lavinimas, susietas su oratoriniais menais ir kalbiniu įkvėpimu, geriausiu būdu tarnauja evangelizacijai, tačiau kartu pastebima, kad jėzuitai, siekdami savo tikslų, turėjo nuolatos vykdyti ir aktyvią pasaulietinę ir tarp ordinų politinę veiklą.Pagrindiniai žodžiai: propaganda, evangelizacija, edukacija, oratorystė, europietiškas tapatumas, jėzuitai, propagandos subjektas.ECCENTRIC EUROPE AND PROPAGANDA OF FAITHConsiderations about Sacra Congregatio de propaganda fide and its influence on the European identity of Lithuania in XVII–XVIII centuriesGintautas Mažeikis SummaryThe main thesis about common European identity is based on the maintaining of R. Brague that identities are formed on the borders. The main power for forming self consciousness of local people as Europeans was propaganda. Propaganda is considered as systemic, rational, long-term persuasions of thinking and self evaluation of people. Propaganda seeks to construct the discourse or propaganda subject and legitimate its suggestion and behavior. The Vatican institution of propaganda was formed by popes Gregory XIII and Gregory XV. Finally Congregatio de propaganda fide was established in 1622. The firsts principles of propaganda idea were directly related to the Renaissance Studia humanitatis. P. Neri and his Congregatio oratorium continued Florence’s Christian humanism and ecstatic rhetoric of G. Sovanarola. Neri also continued some ideas of L. Valla about rhetoric manifestation of the truth. Gregory XIII supported movement and ideas of Neri. From the other side he was a patron of Society of Jesus and he established first propaganda commission for the providing of Catholic faith on the borders of European world. Gregory XIII initiated propaganda through spreading of Jesuit’s and other Christian order’s missions, colleges, universities. The propaganda and Jesuits influence on Grand Duck of Lithuania is compared with Jesuits activities in the North America. Lithuanians were very pagans in the rural spheres in this time. The protestant movement was influenced in the cities. The Vatican Episcope’s power was not popular between Lithuanian noblemen and the influence of Protestant Livonia was significance. From the civilization point of view Russian or Eurasian pressing was felt all time and many of Grand Duke of Lithuania lands were Slavs. The article seeks to show how did Jesuits form the network of education, how they competed with other Catholic orders, how they make new discipline and communities of local people. Jesuits became very important power for forming European subject on the borders of Europe in the XVII and XVIII centuries. They created new religious, scientific, political, national discourses and educational networks necessary for interpellation of subject of European civilization. Thought Russian Imperia tried to build new identities and world feeling, new educational system and propaganda after occupation of Lithuania in 1795 the European identity of Lithuanians survived on the archeological level, history of education and myths.Keywords: propaganda, evangelization, education, rhetoric, European identity, Jesuits, Catholic orders, subject of propaganda.

Résumé: En plein coeur du XXeme siècle et au centre de l’Europe, deux régimes vantant leur propre modernité se réfèrent ouvertement au précédent impérial romain, et è la figure d’Auguste. Quel peut-être le sens de cette référence? Et quelle différence peut-on constater entre l’usage fasciste italien et l’usage nazi de l’antiquité romaine?Mots-clés: Empire Romain, Civilisation Occidentale, fascisme, usages de l’histoire, propagande politique.Resumen: A mediados del siglo XX y en el centro de Europa, dos regímenes que presumen de su propia modernidad se refieren abiertamente al precedente imperial romano y a la figura de Augusto. ¿Que sentido puede tener esta referencia? Y ¿qué diferencia puede encontrarse entre el uso fascista italiano y el uso nazi de la antigüedad romana?Palabras clave: Imperio romano, civilización occidental, fascismo, uso de la Historia, propaganda política.

The Victoria League, founded in 1901 as a result of the South African War, was the only predominantly female imperial propaganda society in Britain during the Edwardian period. To accommodate women's activism within the ‘man's world’ of empire politics the League restricted its work to areas within woman's ‘separate sphere’ while transforming them into innovative methods of imperial propaganda. Through philanthropy to war victims, hospitality to colonial visitors, empire education, and the promotion of social reform as an imperial issue, the League aimed to encourage imperial sentiment at home and promote colonial loyalty to the ‘mother country’. The League's relationship with its colonial ‘sister societies’, the Guild of Loyal Women of South Africa and the Canadian Imperial Order, Daughters of the Empire, demonstrates both the primacy of the self-governing dominions in its vision of empire, and the importance of women's imperial networks. The Victoria League illustrates both significant involvement by elite women in imperial politics and the practical and ideological constraints placed on women's imperial activism.

This thesis demonstrates key imperial virtues communicated on Roman Imperial triumphal monuments. A closer examination of monuments located in Rome reveals the presentation of personality traits such as military valor, piety, and mercy through symbolism, nature scenes, and personifications of abstract qualities. Each monument is dedicated to an emperor and exemplifies his virtues. The representation of imperial virtues conveys an emperor's worth to the public by communicating his better qualities. Architecture and coin evidence served as media to convey an emperor's qualities to the public and fostered general acceptance of his rule among the public. Valor (virtus), piety (pietas), and mercy (clementia) are each examined to demonstrate their importance, their multiple types of representations in architecture, and their presentation and reach on coins. Chapters 2 through 4 look at the symbolism and representation of military courage and honor. As a military virtue, valor is easiest to represent and point out through battle scenes, military symbols, and gods who assisted the emperor in war. Honor (honos), as a close association to valor is also a promotable trait. Chapters 5 through 7 look at the multiple representations of an emperor's piety. Piety, being the Roman empire's oldest virtue, can be seen through sacrificial scenes, mythological scenes, and symbols associated with these same gods and sacrifices. Chapter 8 looks at personifications of abstract qualities and natural phenomena and their role in Roman cosmology. Chapter 9 looks at the last virtue, mercy, which is demonstrated as the most valuable but also rare because it demands special skills and balance within a ruler. Mercy's rarity makes its symbolism and representational scenery smaller in comparison to the first two but still evident in architecture and coins. Possession of each trait awarded the possessor honor and divinity heaped on him, as discussed in Chapter 10. The Romans saw divinity as an honor which the senate awarded upon display of these superior virtues. Several arguments are considered and add different viewpoints to how divinity was acquired whether for the possession of these qualities or the actions that resulted from them. This analysis of symbolism and relevant divine scenes associated with imperial virtues demonstrate the emperor's superiority through possession of these virtues and show their subtle inclusion in imperial architecture.

of the images of World War II and of the Resistance, and the silent and hidden face revealed by many documentaries, in primis those of Francesco Pasinetti. The candidate’s subject of the research is the evolution of Italian documentary cinema from the ‘30’s to mid-40’s with a few partial references of the production of the ‘20’s. This is because a large part of the examined documents come from the Archives of the Luce Institute, which, from 1926-27, optimized the typologies of audio-visual products and communication strategies that this research, as well as a large part of the reference bibliography, has demonstrated to be almost unchanged over the considered years. The introduction underlines how, from the ‘30’s, the apparent absence of masters, as elsewhere were Flaherty, Grierson or Ivens, or of a unifying school, as a result gives a critic storiography’s skeptical position to the documentary production and the poor amount of studies over this subject. The following chapters deal with the movies in question. The films are analyzed, as can be foreseen, from a diachronic point of view, but, above all, by pointing out their different purposes or requests: from the cinema archives’ educational-informative documentaries to the most clearly propagandistic ones, even concerning war, made by Luce, and, starting from 1938, by Incom. A chapter of the thesis was devoted to the auteur documentaries, particularly Cines’ under the direction of Emilio Cecchi (we analyzed the films by lasetti, Bragaglia, Poggioli, Vergano, Barbaro, Perilli, Gabriellino D’Annunzio who wanted to discover, among other things, the locations of archeology and art): we tried to demonstrate the exceptionality of these materials and a few others, such as I cantieri dell’Adriatico by Umberto Barbaro or Il pianto delle zitelle by Giacomo Pozzi Bellini, in comparison with a remaining propagandistic production or a production in which Luce does not use the important names that it has. The second part of this chapter is devoted to the quality documentary and is related to the production of the so-called Fascist “left” (made up of young academics, a few of them already secretly anti-Fascists), whose battle, above all, during the first years of World War II, aims at affirming a realistic view that, abandoning the conventions and falsenesses of the old way to make a show, opens the gate to the popular world, to the Italian society like it is and not like the myths and the slogans of the regime in the contemporary propagandistic documents represent it. Particular attention was paid to the documentaries made in Northern Italy, from Gente di Chioggia by Basilio Franchina to Comacchio by Fernando Cerchio, and, above all, by Francesco Pasinetti, author to whom the greatest attention was devoted in this work and, in particular, to his relationships with the Fascist culture and the city of Venice of which he is the most detailed and inspired poet. The largest part of the examined documents is relevant to the newsreels and documentaries of the Institute Luce with a Venetian location to outline, not only the relationship between film and propaganda or film and poetical needs of a specific director, but the modes by which the cinema could interpret the Italian territory and, specifically, this region. A few important figures: 250 records (the word indicates the single references of the Archives and, therefore, can be used either for newsreels or documentaries or film libraries) from Belluno (meant as a chief town and province), 370 from Padova, 50 from Rovigo, 100 from Treviso, 960 from Venice, 290 from Verona, 120 from Vicenza. The analysis of such a rich group of materials allowed us to identify a series of recurrences (also deductable by numbers) in the objects and modes of the communication of newsreels and allowed to compare them with those of other regions or other forms of communication. This comparison was particularly interesting in the case of Venice, a city suspended between formalism and worldiness of the Luce newsreels, between the historical strength The candidate’s subject of the research is the evolution of Italian documentary cinema from the ‘30’s to mid-40’s with a few partial references of the production of the ‘20’s. This is because a large part of the examined documents come from the Archives of the Luce Institute, which, from 1926-27, optimized the typologies of audio-visual products and communication strategies that this research, as well as a large part of the reference bibliography, has demonstrated to be almost unchanged over the considered years. The introduction underlines how, from the ‘30’s, the apparent absence of masters, as elsewhere were Flaherty, Grierson or Ivens, or of a unifying school, as a result gives a critic storiography’s skeptical position to the documentary production and the poor amount of studies over this subject. The following chapters deal with the movies in question. The films are analyzed, as can be foreseen, from a diachronic point of view, but, above all, by pointing out their different purposes or requests: from the cinema archives’ educational-informative documentaries to the most clearly propagandistic ones, even concerning war, made by Luce, and, starting from 1938, by Incom. A chapter of the thesis was devoted to the auteur documentaries, particularly Cines’ under the direction of Emilio Cecchi (we analyzed the films by lasetti, Bragaglia, Poggioli, Vergano, Barbaro, Perilli, Gabriellino D’Annunzio who wanted to discover, among other things, the locations of archeology and art): we tried to demonstrate the exceptionality of these materials and a few others, such as I cantieri dell’Adriatico by Umberto Barbaro or Il pianto delle zitelle by Giacomo Pozzi Bellini, in comparison with a remaining propagandistic production or a production in which Luce does not use the important names that it has. The second part of this chapter is devoted to the quality documentary and is related to the production of the so-called Fascist “left” (made up of young academics, a few of them already secretly anti-Fascists), whose battle, above all, during the first years of World War II, aims at affirming a realistic view that, abandoning the conventions and falsenesses of the old way to make a show, opens the gate to the popular world, to the Italian society like it is and not like the myths and the slogans of the regime in the contemporary propagandistic documents represent it. Particular attention was paid to the documentaries made in Northern Italy, from Gente di Chioggia by Basilio Franchina to Comacchio by Fernando Cerchio, and, above all, by Francesco Pasinetti, author to whom the greatest attention was devoted in this work and, in particular, to his relationships with the Fascist culture and the city of Venice of which he is the most detailed and inspired poet. The largest part of the examined documents is relevant to the newsreels and documentaries of the Institute Luce with a Venetian location to outline, not only the relationship between film and propaganda or film and poetical needs of a specific director, but the modes by which the cinema could interpret the Italian territory and, specifically, this region. A few important figures: 250 records (the word indicates the single references of the Archives and, therefore, can be used either for newsreels or documentaries or film libraries) from Belluno (meant as a chief town and province), 370 from Padova, 50 from Rovigo, 100 from Treviso, 960 from Venice, 290 from Verona, 120 from Vicenza. The analysis of such a rich group of materials allowed us to identify a series of recurrences (also deductable by numbers) in the objects and modes of the communication of newsreels and allowed to compare them with those of other regions or other forms of communication. This comparison was particularly interesting in the case of Venice, a city suspended between formalism and worldiness of the Luce newsreels, between the historical strength of the images of World War II and of the Resistance, and the silent and hidden face revealed by many documentaries, in primis those of Francesco Pasinetti.
Il lavoro di ricerca del candidato ha come oggetto l’evoluzione del cinema documentario italiano dagli anni Trenta alla metà degli anni Quaranta, con alcune parziali incursioni nella produzione degli anni Venti. Questo perché parte consistente dei materiali esaminati provengono dall’Archivio dell’Istituto Luce che, proprio a partire dal 1926/27, mette a punto tipologie di prodotti audiovisivi e strategie comunicative che anche questa ricerca, al pari di buona parte della bibliografia di riferimento, ha dimostrato mantenersi sostanzialmente immutate nel corso degli anni presi in considerazione. Dalle pagine introduttive in cui si sottolinea come una, almeno apparente, assenza fin dagli anni Trenta di maestri come altrove sono Flaherty, Grierson o Ivens o di una scuola unificante si traduca in una posizione scettica della storiografia critica nei confronti della produzione documentaria e in una conseguente scarsità di studi in materia, si passa ai capitoli di analisi dei film in questione. Film analizzati prevedibilmente in prospettiva diacronica, ma soprattutto evidenziando le diverse finalità o istanze di cui essi si fanno carico: dai documentari educativo-informativi delle cinemateche a quelli più dichiaratamente propagandistici e di argomento bellico prodotti dal Luce e, a partire dal 1938, dalla Incom. Un capitolo della tesi è stato dedicato anche alle manifestazioni del documentario d’autore, in particolare di quello della Cines sotto la direzione di Emilio Cecchi (si sono analizzati film di Blasetti, Bragaglia, Poggioli, Vergano, Barbaro, Perilli, Gabriellino D’Annunzio che vanno alla scoperta, tra le altre realtà, di località d’archeologia e d’arte): si è tentata di dimostrare l’eccezionalità, di questi e di pochi altri materiali, come I cantieri dell’Adriatico di Umberto Barbaro o Il pianto delle zitelle di Giacomo Pozzi Bellini, ad una produzione per il resto prevalentemente propagandistica o nella quale il Luce, sebbene attivo, non impegna le grandi firme di cui pure dispone. Il secondo nucleo di questo capitolo dedicato al documentario di qualità è quello legato alla produzione della cosiddetta “sinistra” fascista (composta da giovani intellettuali, alcuni dei quali già segretamente antifascisti), la cui battaglia, soprattutto durante i primi anni del secondo conflitto mondiale, è finalizzata all’affermazione di una linea realistica che, uscendo dalle convenzioni e dalle falsità del vecchio modo di fare spettacolo, spalanchi le porte al mondo popolare, alla società italiana così come è e non come, nei coevi documentari di propaganda, la rappresentano i miti e gli slogan del regime. Con un’attenzione particolare ai documentari realizzati nel Nord Italia, da Gente di Chioggia di Basilio Franchina a Comacchio di Fernando Cerchio, passando soprattutto per la figura autoriale cui è stata dedicata maggiore attenzione in questo lavoro di ricerca: quella di Francesco Pasinetti, in particolare nelle sue relazioni con la cultura fascista e la città di Venezia, di cui risulta essere il più attento e ispirato cantore. La parte quantitativamente più consistente dei materiali esaminati è, però, quella relativa ai cinegiornali e documentari dell’Istituto Luce di ambientazione veneta per delineare non più, o non tanto, il rapporto tra pellicola e propaganda o pellicola ed istanze poetiche di un determinato regista, quanto piuttosto le modalità con cui la cineinformazione ha saputo leggere il territorio italiano, e questa regione in particolare. Qualche numero indicativo: 250 record (termine che indica le singole rispondenze dell’Archivio, quindi utilizzabile tanto per cinegiornali che per documentari o materiali di repertorio) per Belluno (inteso come capoluogo e provincia), 370 per Padova, 50 per Rovigo, 100 per Treviso, 960 per Venezia, 290 per Verona, 120 per Vicenza. L’analisi di un così significativo corpus di materiali ha consentito di identificare una serie di ricorrenze (rilevabili anche numericamente) negli oggetti e nelle modalità della comunicazione cinegiornalistica e ha permesso di raffrontarle con quelle di altre realtà regionali o di altre forme comunicative. Raffronto, questo, che si è rivelato particolarmente interessante nel caso di Venezia, città sospesa tra l’ufficialità e la mondanità dei cinegiornali Luce, la carica storica delle immagini della seconda guerra mondiale e della Resistenza e il volto silenzioso e nascosto svelato da molti documentari, in primis quelli di Francesco Pasinetti.

AbstractThis paper examines the expansion of imperial Japan in Rehe/Jehol in the wake of the founding of Manchukuo in the early 1930s, and it presents an array of texts and strategies used by Japanese propaganda to transform perceptions of Asian spaces and solidify Japanese empire-building by redefining the human geography and history of parts of China. The production of knowledge geared towards political goals is an important aspect of ethnographic and geographic writings produced in a military context. Utilizing travel logs, operational reports, liaison records, and soldiers’ diaries of the Japanese army in Rehe as a lens, this chapter demonstrates the relevance of travel writings as sources not only for medieval and early modern history but also for the study of intra-Asian modern imperial gazes.