Análisis de la influencia de los Pactos de Letrán de 1929 sobre las relaciones bilaterales entre El Vaticano e Italia, entre 1929 y 1945

Los Pactos de Letrán implicaron como consecuencia el restablecimiento de relaciones bilaterales oficiales entre El Vaticano e Italia, llevando a que éstas se dieran bajo condiciones de cooperación, reflejadas en los cambios en los resultados obtenidos y la obtención de ganancias razonables.

Na 1 Nachlass Max Horkheimer, 686 - Rosenzweig-Test, "Art Project on Fascist Agitator" (p. IX 148.1-2 - IX 149.1-7)

Zum Rosenzweig-Test, 1945; Brown, J.F.: "Memorandum on the Modification of the Rosenzweig Picture Frustration Test". Typoskript, 3 Blatt; Rosenzweig, Saul. "The Picture-Association Method and Its Application in a Study of Reactions to Frustration.", Sonderdruck aus: Journal of Personality, September 1945, S. 3-23; Materialien zum "Art Project on Fascist Agitator" (1945):; 1. "What is a Fascist Agitator?", a) Typoskript, 1 Blatt, b) Typoskript mit handschriftlichen Korrekturen, 2 Blatt; 2. "Some Traits of the Fascist Agitator". Typoskript, 5 Blatt; 3. "Pamphlet", a) Typoskript, 1 Blatt, b) Typoskript, 1 Blatt, c) Typoskript mit dem Titel 'Devices of the Agitator', 1 Blatt; 4. Max Horkheimer: eigenhändige Notizen über den Agitator, 1 Blatt; 5. "Quotes from the Agitator (pages refer to Leo Löwenthals manuscript vol. III)". Typoskript, 7 Blatt; 6. Adressenlisten, 3 Blatt; 7. Materialien zum 'Agitator-Projekt': Photos, Reproduktionen von Zeichnungen und Zeitungsausschnitten;

The idea of Rome in Fascist art and architecture : the decorative program of the Palazzo dei Congressi in EUR, Rome

This paper engages with the notion of interspace by examining an understudied and unpublished cycle of mosaics and frescoes destined for the main hall of the Palazzo dei Congressi in Rome’s south-western suburb of EUR, a major building project by Roman architect Adalberto Libera. It first provides a socio-historical and aesthetic background to the building of EUR as Rome’s international exposition of 1942, which aimed to celebrate the achievements of Italian (and fascist) civilisation. It then focuses on the concept of Romanità (or Roman-ness) as a mythical and idealised past that was engaged on a number of levels as a teleological foundation for the advent (and eternity) of fascist rule. This past was adopted, interpreted and made manifest at the urban scale in the master plan of EUR, at the architectural scale in the buildings and at the interior scale in the decorative programs incorporated in each. It argues that the Palazzo dei Congressi allows us to gain further insight into the notion of interspace as it exemplifies this on a number of physical, symbolic and temporal levels. Physically, in the urban space, architectural form and interiors; symbolically, in the content and compositional layout of the mosaics; and temporally, in the use of historical elision and conflation between mythical pasts and idealised present.