Simona Storchi
University of Leicester, Modern Languages, Department Member
- Modern Languages, Art History, Art Theory, Ideology, 20th century Avant-Garde, Avant-Garde, and 49 moreFuturism, 20th Century Italian Literature, 20th century Italian art, Architecture, Urban Studies, Urbanism, Fascism, European literature, 18th-20th century Modern/Comtemporary Art, Modernist Literature (Literary Modernism), Modernism, Modernist Architecture (Architectural Modernism), Italian Studies, Italian Literature, Modern Italian History, Letteratura italiana moderna e contemporanea, Fascist Architecture & Art, Fascist Architecture Rome, Fascist Aesthetics, Fascist propaganda, Fascist Monuments, Fascist Culture, War art, Futurismo, Modernist Magazines, Conservation of modernist architecture and townscapes, Fascism and Modernism, Fascism and Classical Antiquity, Modernism and Modernity, Classical Reception Studies, Classicism and Modernity, Cultural Heritage, Cultural Theory, Cultural Studies, Cultural Studies and Literatures, Cultural History, Visual and Cultural Studies, Italian Cultural Studies, Cultural Tourism, Identity (Culture), Museum Studies and Cultural management, Modernism (Art History), Modernism (Literature), Totalitarianism, Cultural Memory, Classical Tradition in Modern Culture, Colonialism, modernity as a project(s) and archaeology, Italian colonialism, and Venice Biennaleedit
Research Interests: Art History, Italian (European History), Modern Italian History, Italian Studies, War Studies, and 12 moreFascism, Italian art, Italian Cultural Studies, Futurism, Modernism (Art History), 20th century Italian art, Contemporary Italian History and Politics, 19th-Century Art, Seconda Guerra Mondiale, Arte Contemporanea Italiana, Arte Italiana Novecento, and Arte italiana dell'Ottocento
Research Interests: Cultural Studies, Italian (European History), Italian Studies, Modernist poetry, Italian Cultural Studies, and 21 moreItalian Literature, Modernist Magazines, Modernist Literature (Literary Modernism), The Avant-Garde and Politics, World War I Writing, World War I, First World War, Fascism and Modernism, Modernism, 20th Century Italian Literature, Russian avant-garde art, 20th century Avant-Garde, Italian (Languages And Linguistics), War art, Modernist Studies, War Poetry, Letteratura italiana moderna e contemporanea, European Avant Garde, Cultural History of the First World War, Letteratura italiana, and First World War Literature
Research Interests: Cultural History, English Literature, Italian Studies, Cultural Theory, Italian art, and 15 moreItalian Cultural Studies, Italian Literature, Filippo Tommaso Marinetti, Futurism, Modernist Literature (Literary Modernism), Modernism, 20th Century Italian Literature, 20th century Avant-Garde, 20th century Italian art, European literature, European Avant Garde, Modernist art and poetry, Futurismo, 20th Century Art, and Central European Modernism
The volume is a collection of essays focussing on the cultural construction, perception and representation of public and private spaces in 20th and 21st century Italian culture. Through the study of a variety of spaces, this book provides... more
The volume is a collection of essays focussing on the cultural construction, perception and representation of public and private spaces in 20th and 21st century Italian culture. Through the study of a variety of spaces, this book provides an exploration of the notions of private self and public sphere and considers their interaction. It focuses on areas where the spheres of public and private merge, meet or clash, and assesses the role played by spatial practices and representations in the complex coexistence, mutual definition and constant negotiation of public and private. It offers a variety of approaches, ranging from literature to history, art history, film and cultural studies. It brings to the fore issues relating to the production of space, such as perceptions and definitions of the self and privacy, the politics of the private and public, gender representations, the construction of collective and cultural memory, and the relationship between the individual and the urban environmnent.
Research Interests:
Research Interests: Art History, Italian (European History), Fascism, Modernist Architecture (Architectural Modernism), Modernism (Art History), and 11 moreDecorative Arts, Italian women writers, 20th century Avant-Garde, 20th century Italian art, Fascist Italy, 20th Century Architecture, Margherita Sarfatti, Classicism, Fascist Architecture & Art, Italian Art History, and Italian Fascist Architecture
Research Interests:
Research Interests: European History, Modern Italian History, Italian Studies, Italian Cultural Studies, Great War, and 12 moreExperience of WW1 for artists and intellectuals, World War I, Modernism (Art History), First World War, Modernism, 20th century Avant-Garde, 20th century Italian art, Letteratura italiana moderna e contemporanea, Cultural History of the First World War, Contemporary Italian History and Politics, Carlo Carrà, and ARDENGO SOFFICI
Research Interests:
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... more
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. The recent plans put forward by the town administration to restore the building and turn it into a museum of
Fascism have reopened the debate on the heritage of Fascism and the ex-Casa del Fascio has now become one of the most conspicuous emblems of Italy’s uneasy relationship with its Fascist past and of the problems of dealing with the material legacy of the Fascist regime.
Fascism have reopened the debate on the heritage of Fascism and the ex-Casa del Fascio has now become one of the most conspicuous emblems of Italy’s uneasy relationship with its Fascist past and of the problems of dealing with the material legacy of the Fascist regime.
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Il saggio analizza alcuni esempi delle forme assunte dal dibattito sul rapporto fascismo-latinità nei dibattiti artistici degli anni Venti, con particolare riferimento alle interpretazioni del rapporto classicità-modernità in ambito... more
Il saggio analizza alcuni esempi delle forme assunte dal dibattito sul rapporto fascismo-latinità nei dibattiti artistici degli anni Venti, con particolare riferimento alle interpretazioni del rapporto classicità-modernità in ambito post-avanguardistico e in relazione alla creazione di una cultura di regime. Riconducendo le radici del richiamo al classico ai dibattiti artistici degli inizi del Novecento e analizzando gli scritti critici di artisti e intellettuali, quali Ardengo Soffici e Margherita Sarfatti, nonché i contributi al dibattito sull’arte fascista promosso da Bottai sulle pagine di Critica fascista fra il 1926 e il 1927, ci si propone di analizzare il percorso ideologico dei concetti di « classicismo », « classicità », « latinità », « mediterraneità » e la loro politicizzazione all’interno della cultura fascista, fra identità, nazione e ideologia. Il dibattito su latinità e fascismo nelle arti fugurative in ambito post-avanguardistico e modernista viene interpretato come portavoce di un senso del classico che va al di là delle definizioni formali del termine: la latinità viene usata come categoria identitaria nella ricerca di un’essenza artistica nazionale capace di creare un collegamento ideale fra tradizione e modernità. In tale senso, il concetto di classicità, riproposto come latinità e mediterraneità, viene utilizzato per creare un legame inscindibile fra tradizione artistica e nazione, ponendo le basi ideologiche del rapporto fra arte e regime.
https://journals.openedition.org/cdlm/8908
https://journals.openedition.org/cdlm/8908