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„Sztuka pod dyktaturą” Jerzego Waldorff a – szkic o relacjach między faszyzmem a kulturą na przykładzie Włoch

100%
Meller A.
Historia i Polityka
|
2010
|
issue 2/3(9/10)
105-121
EN
Article in broad context shows Art under dictatorship - book by Jerzy Waldorff, famous theatre critic. In his book Waldorff describes relations between culture and power in authoritarian State of Italy under Benito Mussolini’s regime. In his text A. Meller presented Waldorff’s opinions on the development of art in non-democratic system. Author was under great impression of organizational efficiency of Italian fascism in the filed of culture, in details analyzed development of particular fields of art like literature, architecture, sculpture, theatre and musie.
2
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Non solo "Ladri di biciclette". L’Italia fascista nei primi film di Vittorio de Sica

63%
Bielańska A.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
|
2017
|
issue 9(1) "Gli orizzonti dell’italianistica: tradizione, attualita e sfide di ricerca"
206-214
IT
L’articolo prende in esame l’opera prima del regista Vittorio De Sica, in particolare i suoi primi quattro film: "Rose scarlatte" (1940), "Maddalena zero in condotta" (1941), "Teresa Venerdì" (1941) e "Un Garibaldino in convento" (1942). Oltre a collocare l’opera del regista italiano nel contesto politico, sociale e culturale dell’ultimo decennio del regime fascista, vengono analizzati i messaggi impliciti delle singole pellicole, abilmente nascosti sotto una maschera comica: p.es. l’emancipazione femminile, il carattere repressivo delle istituzioni e la problematica del "Strapaese e Straccittà".
PL
Artykuł analizuje cztery pierwsze filmy Vittoria De Siki: "Szkarłatne róże" (1940), "Magdaleno, dwója ze sprawowania" (1941), "Teresa Venerdì" (1941) oraz "Un Garibladino in convento" (1942), pod kątem ich kontekstu politycznego, społecznego i kulturowego. Analiza poszczególnych dzieł pozwala ukazać ich zawoalowane przesłanie (np. dotyczące emancypacji kobiet, represyjnej natury instytucji oraz problematyki "Strapaese i Straccittà"), ukryte pod maską komizmu.
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