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Статті в журналах з теми "Fascist propaganda art"
Alix-Nicolaï, Florian. "Exile Drama: The Translation of Ernst Toller's Pastor Hall (1939)." Translation and Literature 24, no. 2 (July 2015): 190–202. http://dx.doi.org/10.3366/tal.2015.0201.
Повний текст джерелаMYERS, 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 (July 2008): 1–15. http://dx.doi.org/10.3366/e1755619808000069.
Повний текст джерелаKozyryanov, A. V. "DEFENSE THEMES IN SOVIET FILMS AND ANIMATION OF THE 1930S." Vestnik Bryanskogo gosudarstvennogo universiteta 06, no. 02 (June 30, 2022): 72–82. http://dx.doi.org/10.22281/2413-9912-2022-06-02-72-82.
Повний текст джерелаRighettoni, Vanessa. "Photomontage in the Fascist Magazine La Difesa della razza." Cromohs - Cyber Review of Modern Historiography 25 (January 31, 2023): 43–67. http://dx.doi.org/10.36253/cromohs-13960.
Повний текст джерелаSikorski, Tomasz. "„Klatka Ezry”. Między poezją a polityką." Studia nad Autorytaryzmem i Totalitaryzmem 38, no. 3 (July 11, 2017): 53–73. http://dx.doi.org/10.19195/2300-7249.38.3.4.
Повний текст джерелаMarcello, Flavia, and Paul Gwynne. "Speaking from the Walls." Journal of the Society of Architectural Historians 74, no. 3 (September 1, 2015): 323–43. http://dx.doi.org/10.1525/jsah.2015.74.3.323.
Повний текст джерелаBuchloh, Benjamin H. D. "The Dialectics of Design and Destruction: The Degenerate Art Exhibition (1937) and the Exhibition internationale du Surréalisme (1938)." October 150 (October 2014): 49–62. http://dx.doi.org/10.1162/octo_a_00200.
Повний текст джерелаFritzsche, Sonja. "Fascist drag." Science Fiction Film & Television 15, no. 1 (February 1, 2022): 21–39. http://dx.doi.org/10.3828/sfftv.2022.3.
Повний текст джерелаMakarova, O. S. "Role and Importance of Propaganda Work of Theatrical Art Workers on Formation of Public Legal Consciousness During the Period Great Patriotic War of 1941–1945." Sociology and Law, no. 4 (January 18, 2020): 34–39. http://dx.doi.org/10.35854/2219-6242-2019-4-34-39.
Повний текст джерелаGarofalo, Piero, and Giorgio Farabegoli. "Churches without bells in Fascist Italy." Modern Italy 24, no. 3 (January 31, 2019): 245–64. http://dx.doi.org/10.1017/mit.2018.48.
Повний текст джерелаДисертації з теми "Fascist propaganda art"
Petcavage, Stephanie. "Fascist Art and the Nazi Regime: The Use of Art to Enflame War." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1463130930.
Повний текст джерелаGiorio, Maria Beatrice. "Gli scultori italiani e la Francia. Influenze e modelli francesi nella prima metà del Novecento." Doctoral thesis, Università degli studi di Trieste, 2012. http://hdl.handle.net/10077/7419.
Повний текст джерелаLo studio ha analizzato la presenza degli scultori italiani a Parigi dall'inizio del XX secolo alla fine degli anni Trenta, con l'obiettivo di ricostruire un capitolo importante della storia degli scambi artistici in Francia. Ci siamo serviti del metodo storico-filologico che è stato applicato agli scritti critici e alla stampa d'epoca. Per quel che riguarda l'inizio del secolo, abbiamo rilevato una partecipazione italiana considerevole ai principali eventi espositivi della capitale come i Salons ufficiali; il successo commerciale e di pubblico aveva consentito loro di ottenere un certo spazio tra gli artisti alla moda più conosciuti. Nel corso degli anni Venti abbiamo notato un numero meno significativo di scultori, interpretando questo fatto alla luce della situazione storica italiana, sottomessa a importanti cambiamenti, successivi all'ascesa del regime fascista. Gli italiani che si trovavano ancora in Francia in seguito alla Prima Guerra Mondiale non si inserivano pertanto all'interno delle ricerche artistiche italiane, dal momento che sostenevano degli indirizzi estetici ormai sorpassati. L'ultima parte del nostro studio si è concentrata sullo sviluppo del nuovo linguaggio artistico della penisola italiana, diffuso ormai anche all'estero. Gli scultori italiani potevano partecipare di conseguenza all'attività espositiva di Parigi, e mostrare il volto di una plastica finalmente cosciente delle proprie potenzialità. La Francia da parte sua acccoglieva di buon grado questo tipo di sperimentazioni al fine di creare un rapporto di amicizia duraturo con la nazione confinante.
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.
Cet 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.
XXIV Ciclo
1982
Dauphin, Sandrine. "Art et totalitarisme : l'esthétique comme instrument de propagande." Paris 2, 1997. http://www.theses.fr/1997PA020070.
Повний текст джерелаIn the first part of the twentieth century, the antagonism between communism and facism was not limited only to ideological and military levels but was also present at cultural levels. Indeed mussolini's italy, hitler's germany and staline's ussr created a common aesthetic in spite of political opposition. Thus, these totalitarian states exploited art for the purpose of propaganda. If art is an active agent of communication between men, then art can also be the manner for ideological expression. How then did art change, orientate and modify an individual's perception of the world in general? architecture reflected pomp and luxury while its large scale works expressed authority crousing fear and admiration at the same time. As for support of the "plastic arts", they allowed, deification of the supreme chief and permitted the announcement of the new man. Art was giving rise form to the totalitarian utopia which existed to transform human nature. Art was not simply the society's reflection but the reflection of the idea the power made of its people. Its allowed the people to believe in spiritual union with the state and its chief
Bolz, Daphné. "Les arènes totalitaires : fascisme, nazisme et propagande sportive /." Paris : CNRS éd, 2007. http://catalogue.bnf.fr/ark:/12148/cb41184151k.
Повний текст джерелаLa couv. porte comme sous-titre : "Hitler, Mussolini et les jeux du stade" Thèse soutenue en co-tutelle dans le cadre du Collège doctoral européen des Universités de Strasbourg. Bibliogr. p. 309-335. Notes bibliogr.
Del, Gaudio Immacolata. "Il cinema arma di propaganda nel primo franchismo (1936-1945). Un confronto con il "modello" italiano." Doctoral thesis, Universita degli studi di Salerno, 2019. http://elea.unisa.it:8080/xmlui/handle/10556/4250.
Повний текст джерелаWith reference to the studies concerning the relationship between Cinema and History, the research focuses on the development of Spanish Cinematography during the first Francoism, in the period from the beginning of the Civil War to the end of the Second World War. The main purpose is to evaluate if the regime generated by the military coup of 1936 exploited the cinema as a propagandistic instrument to influence public opinion, legitimate its authority, re-define national identity and reclaim an important international rule, as the other authoritarian states of the time. The different forms of the State intervention are analyzed moving from bureaucracy built by the new government through a legal system based on protectionist rules, financial incentives and repressive procedures. Their characteristics and implications are related to the ideology and national/international political context. More specifically, film policy was articulated in an autarchic economic structure, a widespread censure, the violent persecution of dissidents and the diffusion of an idealized representation of Francoism and its origin. The eighteen numbers of the Noticiario español, a newsreel produced between the 1938 and 1941 with foreign support, is the first attempt to justify the Alzamiento and promote nationalist ideas through the cinema abroad. We can see the State intervention also in the cinematographic industry, in the narrative films and in the most popular genres. After the end of Civil War the production is generally heterogeneous, distant from the official rhetoric and realized to entertain, but in the historical films and in the “cine de cruzada” there are all main topoi of nationalist propaganda, at the first influenced above all by Falange Española. The most significant movie of this kind of cinema is Raza, made with an important economic state effort in the 1941 and based on the homonymous literary text written by Francisco Franco. The comparison between the two works shows how they are similar and how strong the mark of the dictator is. Its distribution in the countries of Rome-Berlin Axis and in Latin America, the presentation to Venice Film Festival and the existence of a second version prove the connection between Cinema and diplomatic relationships. Indeed in 1950 the film was modified, the title was changed in Espíritu de una raza, the copies of first movie were destroyed: only after the fall of the Berlin Wall it has been possible to understand the differences between the two works thanks to the discovery of the previous film strip. It is evident that Francoist regime gave a special attention to its international image. The foundation of NO-DO, an official and exclusive newsreel necessarily shown on the Spanish screens from January 1943 to 1975, and voluntarily till 1981, completes a complex and articulated framework. So the Spanish regime can be considered one of the political subject that used cinema as a propagandistic weapon in the twentieth century, in spite of difficulties, delay and failings. In this transnational perspective, the last chapter of this thesis compare the Francoist cinematographic system to the Italian organization. Even if there were different contexts and results, the similar strategies and tools pointed out confirm that the fascist film policy represented a “model” that inspired Spanish government. [edited by Author]
XIV n.s.
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.
Повний текст джерелаAeronautics 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
Henry, Yann. "Une Espagne borgne : la vision des photographes espagnols et étrangers durant la période médiane du franquisme (1945‐1959)." Thesis, Rennes 2, 2011. http://www.theses.fr/2011REN20059.
Повний текст джерелаAfter General Franco’s victory on April 1st, 1939, a military and ecclesiastical dictatorship takes hold of Spain. A “time of silence” sets in for the vanquished of the war. After 1945, however, the dictatorship survives the demise of the political regimes it had modelled itself on and goes through several stages. Under the median period of Franquism (1945–1959), the regime, in a phase of consolidation, sets itself up as National-Catholic. In the realm of photography, both professional and amateur practices are up against harsh, manifold prohibitions, and the national imagery displays introversion and respect for conventions. Spanish photography proves the follower or mandatory vassal of Franquism; its avant-gardesare annihilated, its reports muzzled, while retrograde movements, such as late Pictorialism, are glorified. It conveys only a one-eyed vision of reality in that its subjects respond to a conventional nostalgia reflecting a bygone past in affected, academic fashion.However, a surge of modernity, as well as thin trickles of fresh air, emerges from the provinces –where amateur associations come into light– and from the vision of some foreign photographers then touring Spain. We will question common practices and scrutinize the esthetics of these images in order to find out how, to what extent and in what way theseSpanish and foreign photographers have managed to picture Spanish society between 1945 and 1959: some with a view to legitimizing the authorities in control, others in a modernist, humanist frame of mind
Книги з теми "Fascist propaganda art"
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.
Знайти повний текст джерелаVedere il fascismo: Arte e politica nelle esposizioni del regime (1928-1942). Roma: Carocci editore, 2020.
Знайти повний текст джерелаRaffaello on the road: Rinascimento e propaganda fascista in America (1938-40). Roma: Carocci editore, 2016.
Знайти повний текст джерелаItaly), Palazzo ducale (Genoa, ed. L'Italia farà da sé: Propaganda, moda e società negli anni dell'autarchia. Genova: Il canneto editore, 2015.
Знайти повний текст джерелаAcquarelli, Luca. Il fascismo e l'immagine dell'Impero: Retoriche e culture visuali. Roma: Donzelli editore, 2022.
Знайти повний текст джерелаAttilio, Brilli, Chieli Francesca, and Museo civico di Sansepolcro, eds. Immagini e retorica di regime: Bozzetti originali di propaganda fascista : 1935-1942. Milano: Federico Motta, 2001.
Знайти повний текст джерелаAttilio, Brilli, and Chieli Francesca, eds. Immagini e retorica di regime: Bozzetti originali di propaganda fascista, 1935- 1942. Milano: F. Motta, 2001.
Знайти повний текст джерелаSteven, Heller. Iron fists: Branding the 20th-century totalitarian state. London: Phaidon, 2008.
Знайти повний текст джерелаAnna, Villari, and Musei San Domenico (Forlì, Italy), eds. L'arte della pubblicità: Il manifesto italiano e le avanguardie, 1920-1940. Cinisello Balsamo, Milano: Silvana, 2008.
Знайти повний текст джерелаRighettoni, Vanessa. Bianco su nero: Iconografia della razza e guerra d'Etiopia. Milano: Fondazione Passaré, 2018.
Знайти повний текст джерелаЧастини книг з теми "Fascist propaganda art"
Paul, Catherine E. "Propaganda Art: Can a Poet be a Traitor?" In Fascist Directive, 237–68. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781942954057.003.0007.
Повний текст джерелаFortuna, James J. "Designing the Ocean Liners of Fascist Italy and Nazi Germany." In Art and the Sea, 157–78. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781802070200.003.0008.
Повний текст джерелаFeu, Montse. "Damned Cartoons! Workers’ Identity and Resistance." In Fighting Fascist Spain, 159–70. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043246.003.0010.
Повний текст джерелаBernstein, J. M. "Fight Club." In Metacinema, 191–218. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.003.0010.
Повний текст джерелаSzynka, Peter. "Alinsky revisited: ‘rubbing raw the resentments of the people’." In Populism, Democracy and Community Development, 109–24. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781447353836.003.0007.
Повний текст джерелаStone, Marla. "Italian Fascism’s Wartime Enemy and the Politics of Fear." In Facing Fear. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691153599.003.0007.
Повний текст джерелаHaslanger, Sally. "Going On, Not in the Same Way." In Conceptual Engineering and Conceptual Ethics, 230–60. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198801856.003.0012.
Повний текст джерелаGrosvenor, Ian, and Siân Roberts. "Art, Anti-fascism, and the Evolution of a “Propaganda of the Imagination”: The Artists International Association 1933–1945." In Exhibiting the Past, 217–38. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110719871-011.
Повний текст джерелаHaslanger, Sally. "How Not to Change the Subject." In Shifting Concepts, 235–59. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198803331.003.0013.
Повний текст джерелаOrsini, Alessandro. "The War against the Far-Left Extremists." In Sacrifice, translated by Sarah Jane Nodes. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501709838.003.0004.
Повний текст джерела