Avant-garde modernism and Italian Fascism: cultural politics in the era of Mussolini

The article explores the efforts of Marinetti's futurists, Sarfatti's Novecento movement, and the Tuscan circle that propounded strapaese to shape a cultural basis for Italian Fascism. The first two movements sought to become an official art for Fascism, while the third sought to produce a culture that would remain true to Fascism's origins in 1919, but all were in different ways 'modernist' movements and they are therefore contextualized both in terms of the challenge presented by Fascism and those faced by their modernist counterparts elsewhere in Europe. It is argued that the three movements enjoyed some success in the 1920s but were effectively shut down by the rise of the intransigent Right in the 1930s. Yet it is also argued that they needed the regime because they were too weak by themselves to assert the principle of artistic autonomy in the face of an internationally ascendant commodity culture. L'articolo esplora i tentativi dei futuristi facenti capo a Marinetti, del movimento Novecento di Sarfatti, così come del circolo toscano detto di Strapaese, nel costruire e definire le basi culturali del fascismo italiano. I primi due movimenti cercarono di costituire un'arte ufficiale del fascismo, mentre la terza si protese a far nascere una cultura che rimanesse legata alle origini del movimento fascista del 1919; ma tutti erano, in maniera diversa, movimenti 'modernisti' e sono qui tra l'altro posti sia nel contesto del cambiamento, nel clima politico e culturale, rappresentato dal fascismo che in quello degli altri movimenti modernisti europei. Viene messo in evidenza che i tre movimenti ottennero un discreto successo negli anni venti, ma furono censurati da una destra intransigente che emergeva negli anni trenta. Tuttavia, è possibile affermare che tutti e tre i movimenti avevano bisogno del Regime perché troppo deboli ed incapaci di consolidare un principio di autonomia artistica nei confronti di una emergente cultura consumista nel contesto internazionale.     

Embracing diversity,correcting inequalities: towards a new global governance for the UNESCO World Heritage

This paper addresses imbalances affecting world heritage sites in terms of how well conserved they are and what resources are available for their valorisation. The authors propose a policy mechanism of global governance divided into three steps. The first is a tax mechanism based on collecting resources from tourist activities and redistributing these resources at a regional level. The second step is meant to ensure an objective approach to measuring the needs and risk value of world heritage sites. The third step consists in using valorisation strategies to generate new economic resources, in particular from cultural tourism. The authors proposal is a contribution to the growing literature on UNESCO world heritage sites which helps ground the approach to decision making adopted to raise funds for conservation.     

The Structure and Chemical Composition of Wall Paintings From Islamic and Christian Times in the Seville Alcazar

Wall paintings from the Islamic epoch (10th to 12th centuries) and the Christian monarchy (14th to 16th centuries) have been recovered in discarded materials and on walls after reconstruction works in the Seville Alcazar. These paintings have spent centuries underground or under a plaster coat. Portable X‐ray fluorescence (XRF) and combined XRF/X‐ray diffraction (XRD) were employed in situ, as well as scanning electron microscopy (SEM–EDX), grazing angle incidence XRD and micro‐Raman spectroscopy, on cross‐section samples to fully characterize the materials in the wall paintings. Using these methods, the fresco technique was demonstrated, and many kinds of pigments were identified in accordance with the various periods of the history of the Alcazar, thus assessing the authenticity of all the wall paintings studied here.     

Slingsby Bethel's Analysis of State Interests

Summary

Seventeenth-century thinking on the relationship between trade and state power was routinely conducted using the concept of state interests, which enabled users to conceive a Europe of competing states that managed the balance of power through trade and war. Poor interest management could arise from ignorance, error, or the divergence between the private interests of rulers and a state's true interests. The stakes of pursuing or neglecting true interest were high: the survival and prosperity of the state. The dominance of ‘mercantilism’ as a historiographical category has obscured the role of interest in early modern thought. This paper examines the work of one of England's most prolific interest writers, Slingsby Bethel, to demonstrate the importance of reading interest writings without recourse to mercantilism. The two focuses are, first, how the rhetoric of counsel was used to defend an ordinary subject's presumption to comment on state affairs and, second, the capacity for interest writers to construe the rise and fall of state power in terms of good laws and statesmanship.