Jurassic Seas essays

Jurassic Seas papers The ocean, being such a rich and huge condition, legitimately holds a plenty of creatures extending from warm blooded animals, reptiles, fish, etc. It despite everything stays a position of puzzle, risk, and marvel in the advanced present reality for each one of the individuals who have ever observed it, however it no longer harbors probably the best predator, the ichthyosaurs. In Rulers of the Jurassic Seas, Ryosuke Montani utilizes individual experience and demonstrated actuality to unwind a touch of the secret encompassing such an animal, clarifying its cloudy roots, its advancement, its swimming style, its tolerable into the profound, and its definitive elimination. Principally, Montani presents data clarifying that the ichthyosaurs advanced from not fish, yet land-abiding creatures. Their adjustment for water made them very fruitful, and ready to govern the ocean from 245 million to around 90 million years back roughly the whole time dinosaurs existed on earth. Generally spread out fossils around the globe show that they moved broadly, and in spite of their amphibian appearance, they were without a doubt air-breathing reptiles. Montani states that they didn't have gills, and their jaw had all the highlights and attributes of that of a reptile. Additionally, they acquired two sets of appendages, which indicated that maybe their predecessors once lived ashore. The entirety of the expressed ends were drawn uniquely by the investigation of one rather late, fish-molded ichthyosaurs. Their progenitor was assembled more for land, having heavy legs while the later forms got flippers, a boneless tail accident, and a dorsal blade. With the new adjustment s and loss of old highlights, it would have made it hard to perceive their cousins ashore. Because of this absence of proof, early researchers had no clue with respect to which vertebrate gathering they should put the ichthyosaurs. As time advanced, researchers grew new strategies on the best way to more readily unravel the connections among different species. A short time later, generally concurred... <!

'How has the Y Generation changed HRM practice Thesis Proposal

'How has the Y Generation changed HRM practice - Thesis Proposal Example It is therefore why, today, explicit work force are relegated with duties on representative maintenance. Vital to this drive is the human asset division on the grounds that the vast majority related exercises depend on its approaches and procedures. (Finnegan 2009, p43) In a hierarchical endeavor for worker maintenance and turnover, human asset directors need to look at, comprehend and deal with the issue and that a successful administration can decidedly affect the expense on enrollment, preparing, socialization and interruption, including various other circuitous expenses. (Phillips and Connell, p1) In this regard, a key worry in representative maintenance is the means by which the supposed Generation Y influences HR rehearses. This is issue developed out of the rule that ages of workers contrast in their qualities, and, henceforth, have various necessities, wants, conduct, desires and prerequisites should have been fulfilled. Foundation: The Generation Y Generation Y alludes to th ose individuals conceived from the 1980s to the 1990s. A few scholastics are progressively explicit, setting such births somewhere in the range of 1980 and 1995. (Tsui and Lai 2009, p39) They are otherwise called the â€Å"Echo Boomers† â€Å"Millenials,† â€Å"Netsters† among different names. They are, be that as it may, recognized from Generation X and, all the more as of late, the purported Generation Z. ... Age Y, in the mean time, are those individuals conceived between 1995-2009. (Vaiman and Vance 2008, p66) There are around sixty million Generation Y-ers and that these would have entered the workforce by this decade. (Stone 2005, p266) Vaiman and Vance expressed that Generation Y representatives are in extraordinary interest and that they comprise 20 percent of today’s workforce, and ready to arrive at 40 percent in only five years or less. (p66) The qualities and estimations of this gathering are very much archived. For example, Lamb, Hair and McDaniel (2008) laid out a thorough profile, clarifying that a Generation Y-er is: Impatient since they have experienced childhood in a world that is constantly been mechanized and that they approach PCs; Inquisitive in light of the fact that more than their folks about PCs and innovation and this is really a wellspring of pride; Family-arranged because of their steady youth because of guardians that are profoundly keen on family life; Opinionated as they have been urged to impart their insights at home, at school and the network; Diverse as this age saw the biggest number of races inside America and there are a decent number who guarantee to have originated from more than one race; and, Time Managers since their whole lives have been booked †from play area to soccer cam to Little League. (p76) Put another way, Generation Y is as far as anyone knows a result of homes with gushing guardians, epitomized as soccer mothers, guardians who prep their kids for the correct schools, and guardians who normally have a high level of association in their children’s close term and longer-term exercises, plans, and objectives. (Lloyd, p161) It isn't, subsequently, astounding

Understanding the Dimensions of Introversion & Shyness

Understanding the Dimensions of Introversion & Shyness Theories Personality Psychology Print Understanding the Dimensions of Introversion and Shyness By Arlin Cuncic Arlin Cuncic, MA, is the author of Therapy in Focus: What to Expect from CBT for Social Anxiety Disorder and 7 Weeks to Reduce Anxiety. Learn about our editorial policy Arlin Cuncic Updated on May 05, 2019 Outgoing introverts do not lack confidence. Getty Images / Thomas Barwick More in Theories Personality Psychology Myers-Briggs Type Indicator Behavioral Psychology Cognitive Psychology Developmental Psychology Social Psychology Biological Psychology Psychosocial Psychology Shyness and introversion are commonly mistaken as being the same thing. Shyness involves fear of negative evaluation (and is a milder form of social anxiety), whereas introversion refers to a tendency toward becoming over-stimulated and the need to be alone to gain energy. The opposite of shyness is being outgoing, while the opposite of introversion is extroversion. These concepts are similar but different. The outgoing person is not afraid of others and has a tendency to approachâ€"be it at a party, when meeting someone new, or when making plans with friends. The extrovert appears similar, often making friends easily. However, the core feature of the extrovert is a need for stimulation and time spent with others. This is reflected in brain neuroimaging studies that show different activation of areas of the brain in extroverts compared to introverts. To summarize, we can think of each of these concepts as follows: Shy: Fear of negative evaluation, a tendency toward avoidance. Outgoing: Tendency to approach others, no fear of being around other people. Introvert: Becomes easily overstimulated, needs time alone to regain energy after spending time with people. Extrovert: Need for stimulation, recharges by spending time with other people, feels depleted after spending too much time alone. Where do you think you fit in the introversion/extroversion and shy/outgoing dimensions? Obviously, we cant categorize people, but we can think of most individuals as leaning towards one of the following four groups: Outgoing Extrovert (no fear, need for stimulation)Shy Extrovert (fear, need for stimulation)Outgoing Introvert (no fear, easily overstimulated)Shy Introvert (fear, easily overstimulated) To help figure out which group you most closely match, Ive created a table that describes how a person leaning toward each category might respond to some typical social/interaction scenarios. Have a look below and see if any of the patterns sound right for you. Outgoing-Extrovert Shy-Extrovert Outgoing-Introvert Shy-Introvert At a party This is so much fun! I feel so energized. I can’t wait to talk to everyone. I love being around all these people, but I’m too scared to talk to them. I really enjoy talking and getting to know people one-on-one. The whole crowd scene is a bit overwhelming though. I wish I could just go home. It is exhausting being around all these people, and I am too nervous to talk to anyone. At the library I’m falling asleep. Who can I find to talk to? Maybe I should text someone. I wonder what Jenny/Tom is doing tonight. It’s pretty boring being at the library, but at least I can hide in a corner and not make a fool of myself. I love being at the library. I want to learn about so many topics. Maybe I should chat with the librarian, I bet she is a wealth of knowledge. I love being at the library. I can hide my nose in a book and read all day. I’m too scared to ask the librarian a question though. When the phone rings Oooh! I wonder who that could be. (Picks up after first ring). Hmmm. I wonder who that could be? I really want to find out, but I am afraid to answer the phone. (Picks up too late). Oh, I really hope that is Jane. I can’t wait to find out how her trip was. (Picks up after a few rings, lets Jane do most of the talking). Oh no. I can’t pick up the phone. What if I make a fool of myself. I don’t really want to talk to anyone anyway. (Lets it go to voicemail). Meeting someone for the first time (Walks over and introduces herself) “Hi, my name is Sarah, I grew up with Kate. What’s your name? (Waits nervously hoping to be introduced) “Nice to meet you.” (Waits for a quiet moment and introduces herself) “You have a lovely home. I noticed you have quite a collection of books, are you an avid reader? My name is Sarah by the way.” (Hides, hoping to avoid introductions) “Nice to meet you.” In a meeting at work I love meetings, it is great to be able to talk through ideas in a group. I like the give and take, and always do a fair share of the talking. I like getting together for meetings with everyone, but I’m too nervous to share my ideas. Meetings tire me out. I like to think ideas through before I share my thoughts, and it’s hard to do in a meeting. I always take notes, and then follow-up with people once I’ve had a chance to sort through everything. I am terrified of meetings. Not only is it too much listening to everyone banter about ideas, but I’m so nervous sitting there that I can’t even follow what is being said. I wish I could just hide at my desk.

Case Study Apple Inc. - 1324 Words

Apple Inc. is one of the leading publically traded companies in the world. Products from Apple become not only a household item but a daily necessity for majority of it consumers. Apple’s stock has obscured over $700 billion dollars in market capitalization in the year 2014 which provides a 7-for-1 split where accounting is concerned, which is about a 60% increase in the last year. Apple’s vast selection of products keeps the company fresh and moving in the direction where investors are feeling nothing short of satisfaction. Choosing to invest in Apple is a brilliant decision because even when circumstances are bleak Apple fights its way back to the top. In 2013 that was as substantial drop in stock; a major reason for that was the†¦show more content†¦Ã¢â‚¬Å"Apple receives the majority of its revenue from the iPhone. In the most recent quarter, iPhone sales have peaked and hit a record breaking $51.2 billion dollars, which is a 57% increase that is based year- over-year and more than half of Apple’s earth-shattering $74.6 billion haul in the quarter. The iPad and Mac product lines gross approximately nine-billion and $ seven-billion dollars, respectively.† The constant success of the product lines is what makes Apple the top technical institutes of the era! â€Å"Reviewing the complete work up of Apple’s cash and cash equivalents intakes, short-term and long-term marketable securities, Apple’s cash situation nurtured to $178 billion by the completion of December 2014. Although, Apple has an upwards of $32.5 billion in long-term debt by the end of 2015 they will reimburse over $130 billion back to the investors and shareholders by dividends and buybacks. The debt will assist in accomplishing the reimbursement and will eventually help Apple reduce its taxes. Apple is hoping to announce the expansion of its capital return program in late April 2015. Leadership is another extremely important factor that must be dis cussed when looking to invest in a company. A company’s leadership is crucial to n ot only their success but the success of your business as well. The present leader of Apple is a gentleman who goes by the name of Tim

The Plague Essay - 1241 Words

The Plague nbsp;nbsp;nbsp;nbsp;nbsp;The rats did it! Rats, almost single handedly, killed off about a third of the European population throughout the 14th and 15th centuries. Its effects on western civilization still lasts today, but for the people who lived during the plagues wish indeed that they did not. Society was depressed, the economy was struggling, food was scarce, and all of Europe was in battle. Who would want to live in these dramatic conditions? No one, and not for centuries to come. nbsp;nbsp;nbsp;nbsp;nbsp; The Plague, also known as the Black Death, or the Bubonic Plague, which struck in 1346, and again in 1361-62, ravaged all of Europe to the extent of bringing gruesome death to millions people of the†¦show more content†¦One thing about coughing up blood that made the plague even worse, was that when you coughed up blood, everyone in the room was susceptible to the disease. This allowed the plague to spread even more quickly and easily. nbsp;nbsp;nbsp;nbsp;nbsp;The Black Death had more than just physical effects; it effected every part of life. It also had more extensive effects over the course of many years to come in western civilization. This complex disease effected society, religion, the economy, agriculture, art and architecture and most of all, the future. nbsp;nbsp;nbsp;nbsp;nbsp;For two generations after the plague there was almost no increase in the population of Europe, while the rest of the world’s population continued to grow. After the plague had passed, Europe seemed to suffer from a case of collective shell shock. This made it look like all of Europe was hit by a deadly stun gun, but the stun never wore off. What scared the people was that the Black Death took more lives than an army, and gave its victims no chance to fight back. The Black Death had many different social and religious effects on the common people of Europe. Some people dreaded the time when the plague would come, and some people just understood what was happening and let the plague take its course. Although all the people suffered, the peasants suffered the most. This is because they lived in such unsanitary conditions and had the least care. In many places wholeShow MoreRelatedThe Plague Essay768 Words   |  3 PagesIn The Plague by Albert Camus a town called Oran became suddenly taken over by an epidemic â€Å"the plague†, killing off thousands of people. One character greatly affected by the plague goes by the name Rambert (A journalist from Paris just doing some research). The plague dramatically changed the way Rambert thought because three types of environmental characteristics that surrounded him: Death, despair and isolation. Therefore, these three characteristics showed the dramatic effects an epidemic canRead MoreBlack Plag ue And The Plague1367 Words   |  6 PagesBy the 14th century, the plague had wiped out sixty percent of Europe’s population. Because of its devastating fatality rate, The Black Plague was one of the most devastating pandemics in history. The disease was made famous by the outbreak in Europe, however it did not originate there. The origination of the Plague, History of the Plague, Strains and Symptoms, as well as effects of the Plague are essential ideas, important to understand the Black Plague. The Black Plague is said to have originatedRead MoreThe Plague Of The Black Plague1624 Words   |  7 Pages25 million people, the Black Plague is considered the greatest catastrophe ever.†¯ †¯Ã¢â‚¬ ¯Ã¢â‚¬ ¯Ã¢â‚¬ ¯Ã¢â‚¬ ¯ The Black Plague started in Italy. The plague traveled from Italy to Europe. Jim Ollhoff, author of the The Black Death, described the outbreak of the plague as a â€Å"deadly hitchhiker† (6). He illustrated how quickly the Black Plague spread to other cities. Many doctors of this era thought the disease had come from â€Å"an earthquake that released putrid underground air† (20). The plague was â€Å"a painful, horrible diseaseRead MoreThe Plague Of The Bubonic Plague1426 Words   |  6 PagesThe plague was a catastrophic time in history, and happened more than once. It took millions and millions of people’s lives. It destroyed cities and countries, and many people suffered from it. What is the plague? The plague or referred to as the Black Death, according to the CDC (2015), â€Å"is a disease that affects humans and other mammals and caused by the Yersinia pestis bacteria. Humans usually get plague after being bitten by a rodent flea that is carrying the plague bacterium or by handlingRead MoreThe Plague Of The Bubonic Plague896 Words   |  4 PagesBlack Death The Bubonic Plague was likely the first semi-global pandemic that rightfully merits the name which means affecting all people. The period of time in which the disease wreaked havoc was also known as the â€Å"Black Death. Alexandere Yersin was a French bacteriologist and discovered the bacteria in Hong Kong This diabolical disease is characterized by both positive and negative outcomes for the few people that managed to survive the plague. The total number of people who died subsequentlyRead MoreThe Plague Of The Black Plague1261 Words   |  6 PagesThe Black Plague is a disease that spread around the world and killed many people. There are three different types of the plague; Bubonic, Septicemic, and Pneumonic (Dugdale). The Black Plague effected Europe greatly and effected there way of life. It came to Europe around the 1300s and had a great impact on society in the 1500s (History). Important parts of the black plague are the different types of the plague, how they spread, treatments for them, and effects the plague had on Europe in the 1500sRead MoreThe Plague Of Bubonic Plague1675 Words   |  7 PagesBubonic Plague Ellery Perez Health Science Technology  Made of a canvas outer garment coated in wax, as well as waxed leather pants, gloves, boots and hat. A dark leather hood and mask with a very grotesque curved beak (Jackie Rosenhek, 2011). A serial killer, Halloween costume perhaps or a cosplay outfit for a horror movie? No, a doctor actually is what this outfit was meant for. Doctors wore this attire in the medieval times in order to protect themselves from the bubonic plague. We ve all heardRead MoreThe Plague Of The Bubonic Plague1848 Words   |  8 Pages The Bubonic Plague killed over twenty-five million people during the Elizabethan Era (David Perlin, PhD and Ann Cohen). â€Å"The origins of the Black Death can be traced back to the Gobi Desert of Mongolia in the 1320’s (Ed. Geoffrey J. et al).† The Bubonic Plague has picked up many nicknames. For example, it has been called â€Å"The Black Death,† and â€Å"one of the four horsemen of the apocalypse† (Ed. Geoffrey J. et al). The Bubonic Plague was very prominent during its time with many people’s lives beingRead MoreThe Plague By Albert Camus1511 Words   |  7 PagesThe Plague It is always awful when an epidemic starts to spread out. Regardless of have severe it is, it always has bad consequences. These hard times often bring the citizen closer to each other and make them appreciate life more. 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Fascism in Venice Free Essays

string(94) " and sent to concentration camps in the mainland, with some even being deported to Auschwitz\." Ryan Johnson December 13, 2012 HIST 3400 Soper Venetian Fascism in the Shadow of Wars The qualities that compose fascism are debatable and endless. What is really important about fascism is how it attempted to succeed by influencing not only Venetian, but also Italian culture and society from the beginning of World War I until the end of World War II. Benito Mussolini when speaking on fascism stated that, â€Å"†¦For Fascism, the growth of empire, that is to say the expansion of the nation, is essential manifestation of vitality, and its opposite a sign of decadence†¦Ã¢â‚¬  (Enciclopedia Italiana, Handout). We will write a custom essay sample on Fascism in Venice or any similar topic only for you Order Now The success with which fascism had in expanding the nation is an argument for another time, but the ways they attempted to maintain the â€Å"essential manifestation of vitality† and challenged the boundaries of cultural society in hopes of success are well worth mentioning. Fascism did not have many cultural victories and this could be one aspect of an argument as to why it was a failure. However, one of fascisms greatest â€Å"cultural victories† in Italy can be viewed when studying the floating city of Venice and events that accompanied it. Fascism, as a whole, attempted to conquer in more ways than just obtaining land by means of military victory or tangible items as tokens of their success. As stated above by Mussolini himself, if fascism was indeed to succeed, it needed to support the growth of the Italian nation. The Fascist Party needed to not only influence the Italian people through propaganda, but also gain the support of the Italian nation while challenging the cultural and societal boundaries. In the years between World War I and World War II, fascism made attempting strides to try and create an aesthetic visual for the party, mainly by intervening in society and culture. All moves made by the fascists with regards to culture appeared to be solely instrumental and functional to gaining one hundred percent support of the population in favor of the dictatorship. The effects of World War I, World War II, and fascism can still be seen today in Venetian and Italian culture. World War I was a horrendous time for Italian soldiers fighting in the trenches. Venice was very close to the battle lines on the border with Austria-Hungary, just North of where they lie. Venetians could not only feel the constant threat from the Austrians, but also had a daily reminder when they stepped outside. Venice closed their port, for fear of attack, but they also had to deal with the fact that, â€Å"†¦barrage balloons could be seen†¦Ã¢â‚¬ . Barrage balloons had long steel cables attached to them and were mainly used to deter low-flying enemy aircraft from reaching or bombing an area. These defense balloons were used during World War I and II. For the short distance that Venice was from the battlefront they were fairly lucky in how little devastation took place during the war. During World War I Venice was always extremely nervous about their next-door neighbors, the Austrians, of attacking the maritime port, but the city never fell to enemy attack. There were very few bombing that occurred in Venice, and the deaths that did take place mainly happened during the â€Å"black-out† hours. These â€Å"black-out† hours would occur in hopes of minimizing the amount of light escaping outside. By doing this, the Venetians were making it very difficult for any sort of aerial attack to bomb their city, port, or boats off of visibility alone. These were the only significant negative effects even worth mentioning that occurred for the city of Venice during World War I. World War II was similar to World War I with regards to the significantly negative effects it had on the city of Venice, there were just about none. As opposed to the devastation that occurred throughout much of Italy, Venice got away pretty nicely. Yet again, the â€Å"blackout† hours when people would fall into the canal or injure themselves in other ways in the dark were one of the primary contributors to the death toll. It has been stated that Venice remained essentially untouched throughout the duration of the Second World War. However the minute losses that did occur, with exception of Germans capturing Jews, can be summed up in a few sentences. One or two windows were broken; a stray shell hit the tower of San Nicolo del Mendicoli as the Germans were retrateing; and the Tiepolo friezes in the Palazzo Labia were damaged when an ammunition ship exploded in the harbour. † Although the people of Venice saw little to none of the intense fighting, they were not as lucky to maintain an unconquered status during World War II as they had in World War I. For Germany, September 1943 was the beginning of a fairly short co ntrol over northern and central Italy that included Venice. Although Germany occupied Venice until April 28, 1945, very few deaths occurred to the Venetian citizens while in the city. â€Å"In the city itself a campaign of sabotage was followed by reprisals in which five men were shot in Cannaregio on July 8, 1944; some thirty partisans were executed later that month, followed on August 3 by seven hostages in Riva dell’Impero, called subsequently, in their memory, Riva dei Sette Martiri. † The most extensive part of the death toll came to the Jewish population in Venice with the presence of the Germans in 1943. The Venetians had historically tolerated the Jewish population up until about 1938 with the enactment of new racial laws. After the racial laws, persecution got so bad for the Jewish population, that they were laid off from their job, and grotesque signs were placed on businesses stating â€Å"Dogs and Jews Prohibited†. It only got worse from there after the Germans arrived in 1943, and the open persecution, capture, and killing of Jews from 1943 to 1945 took place. It has been estimated that approximately two hundred Jews were hunted down and sent to concentration camps in the mainland, with some even being deported to Auschwitz. You read "Fascism in Venice" in category "Essay examples" The Germans were so thorough in their cause to vaporize the Jewish population from the earth, they would even go to hospitals to retrieve mentally ill Jewish patients and send them to an early grave. It has been recorded that only eight of the two hundred Venetian Jews captured by the Germans were ever returned home again. The German’s vicious attempts to eliminate the Jewish population and the atrocities that ensued will never be forgotten. With that being said, Venice got out of not only World War I, but also World War II with an extremely minimal death count compared to the millions of lives that were lost as a consequence of the two wars. World War I and II both impacted Venice, but in a fairly nominal way when viewing the status of many other parts of Italy and the world. However, there were two very influential fascist characters that emerge as a product of World War I and are present throughout World War II. These two men are noteworthy fascist figures with one that called Venice a home for a period of his life and another that was a true Venetian. The first man, Gabriele D’Annunzio, assumed a position, as a fascist political figure in Venice, and he was well known even before fascism was created. D’Annunzio was not a native-born Venetian, but was fairly well known in Italy as a â€Å"poet, novelist, playwright, politician (right- and left-wing in rapid succession), and daring First World War pilot who led sorties against Vienna itself†. It was during World War I when D’Annunzio decided to establish his residence in Venice. When he was not contributing to the fighting he could be found at his home, that was located off of the Grand Canal, called Casetta delle Rose. D’Annunzio continues to have a presence in the fascist politics all the way until its eventual demise, but was most famous for his irredentist taking of Fiume, which is now present-day Rijeka in Croatia. He was angry that Fiume was not ceded to Italy by the Austrians at the end of World War I with the signing of the peace Treaty of Saint-Germain. D’Annunzio ruled over Fiume as a dictator until December of 1921, and it has been said that Benito Mussolini even â€Å"viewed D’Annunzio with a mixture of admiration and envy†¦Ã¢â‚¬  D’Annunzio was a fascist political figure that did not necessarily contribute much to the city of Venice as much as he was solely a constant reminder of the fascist presence. The second man that emerged from the outcome of World War I was an entrepreneurial man by the name of Giuseppe Volpi. Unlike D’Annunzio, Volpi was a native-born Venetian. He was born in Venice in 1877, and before he was thirty years old he had established the Societa Adriatica di Elettricita in the Palazzo Balbi on the Grand Canal, â€Å"which soon had a monopoly on the supply of electricity in the Veneto and Emilia-Romagna. † Along with his northeastern electricity monopoly, Volpi was constantly finding new ways to improve and advance Venetian industry. He would dabble in other industries that included petro-chemicals, iron, and shipping that significantly contributed to advancing Venetian industry, more specifically in Porto Marghera. Volpi’s success on top of his founding of Societa Adriatica di Elettricita was substantial; it has been recorded that he was a, â€Å"president or vice-president of twenty other companies, as a member of the boards of forty-six more, and as a major shareholder in over fifty. † During World War I Volpi was the head of a Committee for Industrial Mobilization where his project of turning the old Venetian fortress of Marghera into an industrial port and factory capable area. Volpi was quite successful in his project in Marghera. The area, prior to Volpi’s presence, only contained a thousand inhabitants in 1921. The growth of Marghera after Volpi’s intervening was exponential. â€Å"†¦Marghera had grown by 1940 to a town containing fifteen thousand workers in a hundred industries, and by 1967 to one of thirty-five thousand workers in 211 industries. † Volpi’s tremendous success as an entrepreneur and financial guru in northeast Italy, without fail, caught the attention of the Italian government. Volpi was awarded for his successes with the title and position as Governor of Tripoli. Soon after being deemed Governor, and already a standing member of the Fascist party, Volpi was put into office as Mussolini’s Minister of Finance in 1925. It has been stated that Volpi, â€Å"became one of the most successful administrators of the regime. † Three years after Volpi was positioned as Minister of Finance he resigned after disagreeing heavily with Mussolini on the â€Å"artificially high level at which the leader insisted on fixing the exchange rates, and never having become one of his close circle, he concentrated again on Venice and industry. Volpi was always a very influential fascist figure in Venice, but his greatest contribution to the success of the influence of the Fascist party and its cultural production came when he assumed the position as, â€Å"President of the reconstituted Esposizione Biennale Internazionale d’Arte in 1932. † This Exhibition, more commonly known as the Biennale, originated as nothing more than an Exhibition wi th strange occurrences such as a man’s face that was stuck in rigor mortis known as Supremo Convegno. In 1934, the Fascist government declared the once bi-annual event was to start taking place annually. The success of the Biennale was consistently growing after it was introduced as an annual event. In 1934, there were 41,000 people that showed up, in 1935, 38,500 people, in 1936, 50,000 attended, and in 1937, there was a staggering 60,000 participants. The Biennale by the year 1948 was considered to be one of the most important events in the entire world of art, and the Exhibition got to that point with the help of Giuseppe Volpi as he active President for twelve years. The international respect and publicity the Biennale gained each year was consistently growing. Countries would set up pavilions at the Biennale and present among them even during the Biennale’s early stages were Belgium, Britain, Germany, Hungary, France, Russia, Sweden, Spain, Czechoslovakia, and the United States. Even though the Biennale is an Exhibition where artwork is displayed, it has a sense of friend ly competition between countries for who can produce some of the best artwork. During one Biennale exhibition there were not only paintings by nearly all of the best Italian artists under Italy’s pavilion, but also works â€Å"by Picasso and Klee, by Chagall and Kokoschka. The French staged exhibitions by Braque, Rouault, and Maillol, the Belgians by Delvaux and Ensor, the British by Henry Moore. † The participation of artists as prestigious as these helped in securing the validity and existence of the Biennale as a true appreciation for art. There was even an exhibition for Impressionist artist and that same year there were ninety-eight Impressionist pieces of art. The Biennale was an exhibition that appears to be more of a friendly competition and get together between major countries of the world. All of the countries that have previously been at one another’s throats in prior wars all come together to participate in the Biennale that takes places in Venice, Italy. The Biennale brings together a magnitude of countries, despite their differences, and allows them to partake in a mutually pleasing and intellectually stimulating event. The importance of the Biennale is much greater than the sole criticizing of artistic works and abilities. The event brings together a variety of countries with extremely varying viewpoints and opinions to meet communally and peacefully. The Biennale during the presence of fascism and in attempting to be a useful tool of fascism held a much more substantial meaning than multiple countries coming together peacefully. It allowed for Italy to feel unified even if it was on the smallest cultural level of coming together for an art festival, and it also gave the Fascist party yet another opportunity to use propaganda towards the masses to their advantage. In 1932, Giuseppe Volpi was deemed the President of the Biennale and Mussolini was in his tenth year of his regime when, â€Å"a good number of prizes went to pictures of marching Blackshirts, dynamic cranes and planes, idealized Italian landscapes, and women and children saluting Il Duce. † Just prior to this particular Biennale of 1932, Volpi was an active member of the Fascist party, and was most recently the Minister of Finance for Mussolini and the Fascist party. Then again, in 1935 during the film festival aspect of the Biennale, prizes were awarded to Nazi, Soviet, and Palestinian-Zionist films. Volpi’s ability and willingness to give awards to fascist based artwork, regardless of actual artistic value, was no coincidence. Marla Stone describes Fascist Italy as presenting a paradox with regards to the cultural politics of the authoritarian and totalitarian regimes that reigned in Europe in the time period between World War I and World War II. She states that since, â€Å"No one style, school, or monument summarizes the patronage practices of the Fascist state. Rather, the official culture of Italian Fascism is best defined by its diversities, contradictions, and ambiguities. The culture that was present during fascism closely mirrors the culture of the United States, but with different ingredients. The United States is considered a melting pot with all of the diversities that are represented in the country. Fascist Italy creates its own form of a melting pot, but not with an abundance of ethnic diversity. The â€Å"official culture†, if there was a true  "official culture†, of Fascist Italy was composed of the differences between the Italian people geographically, politically, hierarchically, socially, and of course culturally. Therefore terms that have become popular when speaking of Fascist culture such as â€Å"Fascist realism† and â€Å"Mussolini modern† are irrelevant and inconceivable. Since the beginning of Mussolini’s regime he had always strived to obtain and maintain a mutually beneficial relationship with those who encompass the art world. Under Mussolini’s dictatorship artist were free from censorship as long as they were not openly and actively anti-Fascist, and in return, as a sign of their gratitude, many artists and architects would accept the Fascist regime’s patronage. Certain artists who defied Mussolini’s regime would end up with repercussions. Such is the case with a Venetian abstract painter, Armando Pizzinato, who was an avid member of the Italian Communist Party, and from September 1943 until the end of the war he fought with the partisans and did jail time for certain anti-Fascist activities. However, Pizzinato represents a small portion of the artistic community that was anti-Fascist. The majority of artists cooperated with the Fascist regime, and â€Å"the association between aret and the state was one of mutual recognition and legitimation. Mussolini and his mutually beneficial policies with the art world began to create a more central form of cultural production. Marla Stone refers to the outcome of the newly centralized form of cultural production as a cultural policy of â€Å"aesthetic pluralism – the Mussolini dictatorship’s practice of accepting and supporting a range of aesthetics†. This now meant that t here was a magnitude of â€Å"imageries and aesthetic formulations† that represented Fascism and â€Å"were a part of its cultural system, it imaginary and its aesthetic universe. The Fascist party was in a constant search to uncover a single Fascist rhetorical-aesthetic vision while at the same time combining â€Å"modern and avant-garde aesthetics, emerging mass cultural forms, and a discourse of natural culture to produce, during the 1930s, many dynamic and vibrant products. † The products such as exhibitions, fairs, and expositions, that the government produced and were heavily supported by the Fascist party, generated a considerable audience from the Italian population. More specifically speaking, the Biennale was a direct product of the cultural productivity that was being pursued by the Fascist party. Victoria De Grazia argues that the Fascist party was never able to obtain a singular aesthetic vision and identity due to its incapability to mobilize the masses, limits due to the party’s interests, and â€Å"†¦its appropriation of preexisting cultural forms and institutions, which precluded the formation of â€Å"total† Fascist identities†¦Ã¢â‚¬Å" The introduction of Exhibitions such as the Biennale were a key component in Fascism’s political aesthetic vision considering the primary goal was to encompass the cultural sphere of Fascist Italy. In doing so, the Fascist party was hoping to unify Italy under a national culture. Exhibitions had multiple purposes to them while aiming to obtain a unified national culture: â€Å"(1) they were primary sites of state patronage; (2) they opened the social boundaries of culture to the mobilized masses; (3) they offered a location for the appropriation of the cultural identities and cultural capital of preexisting elites; and (4) they courted the participation of cultural producers. † The Venetian Biennale and other similar Exhibitions were, for the most part, good for everyone that attended regardless of party affiliation, social status, or job title. World War I, World War II, and the fascism that accompanies them individually had a lasting impact on the country of Italy. Venice, in particular, was not prone to mass amounts of devastation as a consequence of the World Wars. The Fascist presence in Venice was very strong even though the actions of the majority of its supporters were minimal. This problem of mobilizing the masses was not just a problem of Fascism’s in Venice, but throughout Italy. The best attempt Fascism had at completely unifying a Fascist Italian culture was through its support of state patronage in the Exhibitions such as the Biennale in Venice. The political differences, ambiguities, and varying class rank made it virtually impossible to create a single Italian culture under Fascism. However, the ability of the Fascist party to participate in state patronage and allow aesthetic pluralism allowed artists to maintain their careers and not have to alter their stylistic ways. The Fascist party did not succeed in creating their own cultural identity under Fascism, but they did allow for a hybrid-like culture to develop. Fascism did many terrible things for the country of Italy, but allowing the aesthetic pluralism to flourish aided unifying the country under one culture. Lucky for Italians it did not create a unified Fascist culture, but rather a hybrid culture unified due to the intervention of Fascism and the varying differences among the Italian people. Bibliography Ackroyd, Peter. Venice: Pure City. New York: Nan A. Talese/Doubleday, 2009. Print. Garrett, Martin. Venice: A Cultural and Literary Companion. New York: Interlink, 2001. Print. Hibbert, Christopher. Venice: The Biography of a City. New York: W. W. Norton, 1989. Print. Reich, Jacqueline, and Piero Garofalo. Re-viewing Fascism: Italian Cinema, 1922-1943. Bloomington: Indiana UP, 2002. Print. Stone, Marla. The Patron State: Culture Politics in Fascist Italy. Princeton, NJ: Princeton UP, 1998. Print. ——————————————– [ 1 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 2 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 320 [ 3 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 48 [ 4 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 48 [ 5 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 144 [ 6 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 7 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 8 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 9 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 144 [ 10 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 11 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 12 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 13 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 14 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 15 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 316 [ 16 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 17 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 18 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 316-317 [ 19 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 20 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 21 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 22 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 23 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 24 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 25 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 26 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 27 ]. Jacqueline Reich and Piero Garofalo, Re-viewing Fascism: Italian Cinema, 1922-1943 (Bloomington: Indiana UP, 2002), 294 [ 28 ]. Jacqueline Reich and Piero Garofalo, Re-viewing Fascism: Italian Cinema, 1922-1943 (Bloomington: Indiana UP, 2002), 294 [ 29 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 318 [ 30 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 318 [ 31 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 319 [ 32 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 319 [ 33 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 47 [ 34 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 5 [ 35 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 36 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 37 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 38 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 39 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 5 [ 40 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 41 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 5 [ 42 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 6 [ 43 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 6 [ 44 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 14 [ 45 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 18 How to cite Fascism in Venice, Essay examples Fascism in Venice Free Essays string(94) " and sent to concentration camps in the mainland, with some even being deported to Auschwitz\." Ryan Johnson December 13, 2012 HIST 3400 Soper Venetian Fascism in the Shadow of Wars The qualities that compose fascism are debatable and endless. What is really important about fascism is how it attempted to succeed by influencing not only Venetian, but also Italian culture and society from the beginning of World War I until the end of World War II. Benito Mussolini when speaking on fascism stated that, â€Å"†¦For Fascism, the growth of empire, that is to say the expansion of the nation, is essential manifestation of vitality, and its opposite a sign of decadence†¦Ã¢â‚¬  (Enciclopedia Italiana, Handout). We will write a custom essay sample on Fascism in Venice or any similar topic only for you Order Now The success with which fascism had in expanding the nation is an argument for another time, but the ways they attempted to maintain the â€Å"essential manifestation of vitality† and challenged the boundaries of cultural society in hopes of success are well worth mentioning. Fascism did not have many cultural victories and this could be one aspect of an argument as to why it was a failure. However, one of fascisms greatest â€Å"cultural victories† in Italy can be viewed when studying the floating city of Venice and events that accompanied it. Fascism, as a whole, attempted to conquer in more ways than just obtaining land by means of military victory or tangible items as tokens of their success. As stated above by Mussolini himself, if fascism was indeed to succeed, it needed to support the growth of the Italian nation. The Fascist Party needed to not only influence the Italian people through propaganda, but also gain the support of the Italian nation while challenging the cultural and societal boundaries. In the years between World War I and World War II, fascism made attempting strides to try and create an aesthetic visual for the party, mainly by intervening in society and culture. All moves made by the fascists with regards to culture appeared to be solely instrumental and functional to gaining one hundred percent support of the population in favor of the dictatorship. The effects of World War I, World War II, and fascism can still be seen today in Venetian and Italian culture. World War I was a horrendous time for Italian soldiers fighting in the trenches. Venice was very close to the battle lines on the border with Austria-Hungary, just North of where they lie. Venetians could not only feel the constant threat from the Austrians, but also had a daily reminder when they stepped outside. Venice closed their port, for fear of attack, but they also had to deal with the fact that, â€Å"†¦barrage balloons could be seen†¦Ã¢â‚¬ . Barrage balloons had long steel cables attached to them and were mainly used to deter low-flying enemy aircraft from reaching or bombing an area. These defense balloons were used during World War I and II. For the short distance that Venice was from the battlefront they were fairly lucky in how little devastation took place during the war. During World War I Venice was always extremely nervous about their next-door neighbors, the Austrians, of attacking the maritime port, but the city never fell to enemy attack. There were very few bombing that occurred in Venice, and the deaths that did take place mainly happened during the â€Å"black-out† hours. These â€Å"black-out† hours would occur in hopes of minimizing the amount of light escaping outside. By doing this, the Venetians were making it very difficult for any sort of aerial attack to bomb their city, port, or boats off of visibility alone. These were the only significant negative effects even worth mentioning that occurred for the city of Venice during World War I. World War II was similar to World War I with regards to the significantly negative effects it had on the city of Venice, there were just about none. As opposed to the devastation that occurred throughout much of Italy, Venice got away pretty nicely. Yet again, the â€Å"blackout† hours when people would fall into the canal or injure themselves in other ways in the dark were one of the primary contributors to the death toll. It has been stated that Venice remained essentially untouched throughout the duration of the Second World War. However the minute losses that did occur, with exception of Germans capturing Jews, can be summed up in a few sentences. One or two windows were broken; a stray shell hit the tower of San Nicolo del Mendicoli as the Germans were retrateing; and the Tiepolo friezes in the Palazzo Labia were damaged when an ammunition ship exploded in the harbour. † Although the people of Venice saw little to none of the intense fighting, they were not as lucky to maintain an unconquered status during World War II as they had in World War I. For Germany, September 1943 was the beginning of a fairly short co ntrol over northern and central Italy that included Venice. Although Germany occupied Venice until April 28, 1945, very few deaths occurred to the Venetian citizens while in the city. â€Å"In the city itself a campaign of sabotage was followed by reprisals in which five men were shot in Cannaregio on July 8, 1944; some thirty partisans were executed later that month, followed on August 3 by seven hostages in Riva dell’Impero, called subsequently, in their memory, Riva dei Sette Martiri. † The most extensive part of the death toll came to the Jewish population in Venice with the presence of the Germans in 1943. The Venetians had historically tolerated the Jewish population up until about 1938 with the enactment of new racial laws. After the racial laws, persecution got so bad for the Jewish population, that they were laid off from their job, and grotesque signs were placed on businesses stating â€Å"Dogs and Jews Prohibited†. It only got worse from there after the Germans arrived in 1943, and the open persecution, capture, and killing of Jews from 1943 to 1945 took place. It has been estimated that approximately two hundred Jews were hunted down and sent to concentration camps in the mainland, with some even being deported to Auschwitz. You read "Fascism in Venice" in category "Papers" The Germans were so thorough in their cause to vaporize the Jewish population from the earth, they would even go to hospitals to retrieve mentally ill Jewish patients and send them to an early grave. It has been recorded that only eight of the two hundred Venetian Jews captured by the Germans were ever returned home again. The German’s vicious attempts to eliminate the Jewish population and the atrocities that ensued will never be forgotten. With that being said, Venice got out of not only World War I, but also World War II with an extremely minimal death count compared to the millions of lives that were lost as a consequence of the two wars. World War I and II both impacted Venice, but in a fairly nominal way when viewing the status of many other parts of Italy and the world. However, there were two very influential fascist characters that emerge as a product of World War I and are present throughout World War II. These two men are noteworthy fascist figures with one that called Venice a home for a period of his life and another that was a true Venetian. The first man, Gabriele D’Annunzio, assumed a position, as a fascist political figure in Venice, and he was well known even before fascism was created. D’Annunzio was not a native-born Venetian, but was fairly well known in Italy as a â€Å"poet, novelist, playwright, politician (right- and left-wing in rapid succession), and daring First World War pilot who led sorties against Vienna itself†. It was during World War I when D’Annunzio decided to establish his residence in Venice. When he was not contributing to the fighting he could be found at his home, that was located off of the Grand Canal, called Casetta delle Rose. D’Annunzio continues to have a presence in the fascist politics all the way until its eventual demise, but was most famous for his irredentist taking of Fiume, which is now present-day Rijeka in Croatia. He was angry that Fiume was not ceded to Italy by the Austrians at the end of World War I with the signing of the peace Treaty of Saint-Germain. D’Annunzio ruled over Fiume as a dictator until December of 1921, and it has been said that Benito Mussolini even â€Å"viewed D’Annunzio with a mixture of admiration and envy†¦Ã¢â‚¬  D’Annunzio was a fascist political figure that did not necessarily contribute much to the city of Venice as much as he was solely a constant reminder of the fascist presence. The second man that emerged from the outcome of World War I was an entrepreneurial man by the name of Giuseppe Volpi. Unlike D’Annunzio, Volpi was a native-born Venetian. He was born in Venice in 1877, and before he was thirty years old he had established the Societa Adriatica di Elettricita in the Palazzo Balbi on the Grand Canal, â€Å"which soon had a monopoly on the supply of electricity in the Veneto and Emilia-Romagna. † Along with his northeastern electricity monopoly, Volpi was constantly finding new ways to improve and advance Venetian industry. He would dabble in other industries that included petro-chemicals, iron, and shipping that significantly contributed to advancing Venetian industry, more specifically in Porto Marghera. Volpi’s success on top of his founding of Societa Adriatica di Elettricita was substantial; it has been recorded that he was a, â€Å"president or vice-president of twenty other companies, as a member of the boards of forty-six more, and as a major shareholder in over fifty. † During World War I Volpi was the head of a Committee for Industrial Mobilization where his project of turning the old Venetian fortress of Marghera into an industrial port and factory capable area. Volpi was quite successful in his project in Marghera. The area, prior to Volpi’s presence, only contained a thousand inhabitants in 1921. The growth of Marghera after Volpi’s intervening was exponential. â€Å"†¦Marghera had grown by 1940 to a town containing fifteen thousand workers in a hundred industries, and by 1967 to one of thirty-five thousand workers in 211 industries. † Volpi’s tremendous success as an entrepreneur and financial guru in northeast Italy, without fail, caught the attention of the Italian government. Volpi was awarded for his successes with the title and position as Governor of Tripoli. Soon after being deemed Governor, and already a standing member of the Fascist party, Volpi was put into office as Mussolini’s Minister of Finance in 1925. It has been stated that Volpi, â€Å"became one of the most successful administrators of the regime. † Three years after Volpi was positioned as Minister of Finance he resigned after disagreeing heavily with Mussolini on the â€Å"artificially high level at which the leader insisted on fixing the exchange rates, and never having become one of his close circle, he concentrated again on Venice and industry. Volpi was always a very influential fascist figure in Venice, but his greatest contribution to the success of the influence of the Fascist party and its cultural production came when he assumed the position as, â€Å"President of the reconstituted Esposizione Biennale Internazionale d’Arte in 1932. † This Exhibition, more commonly known as the Biennale, originated as nothing more than an Exhibition wi th strange occurrences such as a man’s face that was stuck in rigor mortis known as Supremo Convegno. In 1934, the Fascist government declared the once bi-annual event was to start taking place annually. The success of the Biennale was consistently growing after it was introduced as an annual event. In 1934, there were 41,000 people that showed up, in 1935, 38,500 people, in 1936, 50,000 attended, and in 1937, there was a staggering 60,000 participants. The Biennale by the year 1948 was considered to be one of the most important events in the entire world of art, and the Exhibition got to that point with the help of Giuseppe Volpi as he active President for twelve years. The international respect and publicity the Biennale gained each year was consistently growing. Countries would set up pavilions at the Biennale and present among them even during the Biennale’s early stages were Belgium, Britain, Germany, Hungary, France, Russia, Sweden, Spain, Czechoslovakia, and the United States. Even though the Biennale is an Exhibition where artwork is displayed, it has a sense of friend ly competition between countries for who can produce some of the best artwork. During one Biennale exhibition there were not only paintings by nearly all of the best Italian artists under Italy’s pavilion, but also works â€Å"by Picasso and Klee, by Chagall and Kokoschka. The French staged exhibitions by Braque, Rouault, and Maillol, the Belgians by Delvaux and Ensor, the British by Henry Moore. † The participation of artists as prestigious as these helped in securing the validity and existence of the Biennale as a true appreciation for art. There was even an exhibition for Impressionist artist and that same year there were ninety-eight Impressionist pieces of art. The Biennale was an exhibition that appears to be more of a friendly competition and get together between major countries of the world. All of the countries that have previously been at one another’s throats in prior wars all come together to participate in the Biennale that takes places in Venice, Italy. The Biennale brings together a magnitude of countries, despite their differences, and allows them to partake in a mutually pleasing and intellectually stimulating event. The importance of the Biennale is much greater than the sole criticizing of artistic works and abilities. The event brings together a variety of countries with extremely varying viewpoints and opinions to meet communally and peacefully. The Biennale during the presence of fascism and in attempting to be a useful tool of fascism held a much more substantial meaning than multiple countries coming together peacefully. It allowed for Italy to feel unified even if it was on the smallest cultural level of coming together for an art festival, and it also gave the Fascist party yet another opportunity to use propaganda towards the masses to their advantage. In 1932, Giuseppe Volpi was deemed the President of the Biennale and Mussolini was in his tenth year of his regime when, â€Å"a good number of prizes went to pictures of marching Blackshirts, dynamic cranes and planes, idealized Italian landscapes, and women and children saluting Il Duce. † Just prior to this particular Biennale of 1932, Volpi was an active member of the Fascist party, and was most recently the Minister of Finance for Mussolini and the Fascist party. Then again, in 1935 during the film festival aspect of the Biennale, prizes were awarded to Nazi, Soviet, and Palestinian-Zionist films. Volpi’s ability and willingness to give awards to fascist based artwork, regardless of actual artistic value, was no coincidence. Marla Stone describes Fascist Italy as presenting a paradox with regards to the cultural politics of the authoritarian and totalitarian regimes that reigned in Europe in the time period between World War I and World War II. She states that since, â€Å"No one style, school, or monument summarizes the patronage practices of the Fascist state. Rather, the official culture of Italian Fascism is best defined by its diversities, contradictions, and ambiguities. The culture that was present during fascism closely mirrors the culture of the United States, but with different ingredients. The United States is considered a melting pot with all of the diversities that are represented in the country. Fascist Italy creates its own form of a melting pot, but not with an abundance of ethnic diversity. The â€Å"official culture†, if there was a true  "official culture†, of Fascist Italy was composed of the differences between the Italian people geographically, politically, hierarchically, socially, and of course culturally. Therefore terms that have become popular when speaking of Fascist culture such as â€Å"Fascist realism† and â€Å"Mussolini modern† are irrelevant and inconceivable. Since the beginning of Mussolini’s regime he had always strived to obtain and maintain a mutually beneficial relationship with those who encompass the art world. Under Mussolini’s dictatorship artist were free from censorship as long as they were not openly and actively anti-Fascist, and in return, as a sign of their gratitude, many artists and architects would accept the Fascist regime’s patronage. Certain artists who defied Mussolini’s regime would end up with repercussions. Such is the case with a Venetian abstract painter, Armando Pizzinato, who was an avid member of the Italian Communist Party, and from September 1943 until the end of the war he fought with the partisans and did jail time for certain anti-Fascist activities. However, Pizzinato represents a small portion of the artistic community that was anti-Fascist. The majority of artists cooperated with the Fascist regime, and â€Å"the association between aret and the state was one of mutual recognition and legitimation. Mussolini and his mutually beneficial policies with the art world began to create a more central form of cultural production. Marla Stone refers to the outcome of the newly centralized form of cultural production as a cultural policy of â€Å"aesthetic pluralism – the Mussolini dictatorship’s practice of accepting and supporting a range of aesthetics†. This now meant that t here was a magnitude of â€Å"imageries and aesthetic formulations† that represented Fascism and â€Å"were a part of its cultural system, it imaginary and its aesthetic universe. The Fascist party was in a constant search to uncover a single Fascist rhetorical-aesthetic vision while at the same time combining â€Å"modern and avant-garde aesthetics, emerging mass cultural forms, and a discourse of natural culture to produce, during the 1930s, many dynamic and vibrant products. † The products such as exhibitions, fairs, and expositions, that the government produced and were heavily supported by the Fascist party, generated a considerable audience from the Italian population. More specifically speaking, the Biennale was a direct product of the cultural productivity that was being pursued by the Fascist party. Victoria De Grazia argues that the Fascist party was never able to obtain a singular aesthetic vision and identity due to its incapability to mobilize the masses, limits due to the party’s interests, and â€Å"†¦its appropriation of preexisting cultural forms and institutions, which precluded the formation of â€Å"total† Fascist identities†¦Ã¢â‚¬Å" The introduction of Exhibitions such as the Biennale were a key component in Fascism’s political aesthetic vision considering the primary goal was to encompass the cultural sphere of Fascist Italy. In doing so, the Fascist party was hoping to unify Italy under a national culture. Exhibitions had multiple purposes to them while aiming to obtain a unified national culture: â€Å"(1) they were primary sites of state patronage; (2) they opened the social boundaries of culture to the mobilized masses; (3) they offered a location for the appropriation of the cultural identities and cultural capital of preexisting elites; and (4) they courted the participation of cultural producers. † The Venetian Biennale and other similar Exhibitions were, for the most part, good for everyone that attended regardless of party affiliation, social status, or job title. World War I, World War II, and the fascism that accompanies them individually had a lasting impact on the country of Italy. Venice, in particular, was not prone to mass amounts of devastation as a consequence of the World Wars. The Fascist presence in Venice was very strong even though the actions of the majority of its supporters were minimal. This problem of mobilizing the masses was not just a problem of Fascism’s in Venice, but throughout Italy. The best attempt Fascism had at completely unifying a Fascist Italian culture was through its support of state patronage in the Exhibitions such as the Biennale in Venice. The political differences, ambiguities, and varying class rank made it virtually impossible to create a single Italian culture under Fascism. However, the ability of the Fascist party to participate in state patronage and allow aesthetic pluralism allowed artists to maintain their careers and not have to alter their stylistic ways. The Fascist party did not succeed in creating their own cultural identity under Fascism, but they did allow for a hybrid-like culture to develop. Fascism did many terrible things for the country of Italy, but allowing the aesthetic pluralism to flourish aided unifying the country under one culture. Lucky for Italians it did not create a unified Fascist culture, but rather a hybrid culture unified due to the intervention of Fascism and the varying differences among the Italian people. Bibliography Ackroyd, Peter. Venice: Pure City. New York: Nan A. Talese/Doubleday, 2009. Print. Garrett, Martin. Venice: A Cultural and Literary Companion. New York: Interlink, 2001. Print. Hibbert, Christopher. Venice: The Biography of a City. New York: W. W. Norton, 1989. Print. Reich, Jacqueline, and Piero Garofalo. Re-viewing Fascism: Italian Cinema, 1922-1943. Bloomington: Indiana UP, 2002. Print. Stone, Marla. The Patron State: Culture Politics in Fascist Italy. Princeton, NJ: Princeton UP, 1998. Print. ——————————————– [ 1 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 2 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 320 [ 3 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 48 [ 4 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 48 [ 5 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 144 [ 6 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 7 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 8 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 9 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 144 [ 10 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 11 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 12 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 13 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 14 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 15 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 316 [ 16 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 17 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 18 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 316-317 [ 19 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 20 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 21 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 22 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 23 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 24 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 25 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 26 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 27 ]. Jacqueline Reich and Piero Garofalo, Re-viewing Fascism: Italian Cinema, 1922-1943 (Bloomington: Indiana UP, 2002), 294 [ 28 ]. Jacqueline Reich and Piero Garofalo, Re-viewing Fascism: Italian Cinema, 1922-1943 (Bloomington: Indiana UP, 2002), 294 [ 29 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 318 [ 30 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 318 [ 31 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 319 [ 32 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 319 [ 33 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 47 [ 34 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 5 [ 35 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 36 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 37 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 38 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 39 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 5 [ 40 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 41 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 5 [ 42 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 6 [ 43 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 6 [ 44 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 14 [ 45 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 18 How to cite Fascism in Venice, Papers

Sound And The Fury Essays - Modernist Literature,

Sound And The Fury William Faulkner's background influenced him to write the unconventional novel The Sound and the Fury. One important influence on the story is that Faulkner grew up in the South. The Economist magazine states that the main source of his inspiration was the passionate history of the American South, centered for him in the town of Oxford, Mississippi, where he lived most of his life. Similarly, Faulkner turns Oxford and its environs, "my own little postage stamp of native soil," into Yoknapatawpha County, the mythical region in which he sets the novel (76). In addition to setting, another influence on the story is Faulkner's own family. He had three brothers, black servants, a mother whose family was not as distinguished as her husband's, a father who drank a lot, and a grandmother called Damuddy who died while he was young. In comparison, the novel is told from the point of view of the three Compson brothers, shows the black servant Dilsey as a main character, has Mrs.! Compson complain about how her family is beneath her husband's, portrays Mr. Compson as a alcoholic, and names the children's grandmother Damuddy who also dies while they are young. Perhaps the most important influence on the story is Faulkner's education, or lack thereof. He never graduated from high school, let alone college, and in later life wryly described himself as "the world's oldest sixth grader." He took insistent pride in the pre-intellectual character of his creativity, and once declined to meet a delegation of distinguished foreign authors because "they'd want to talk about ideas. I'm a writer, not a literary man" (76). In writing The Sound and the Fury, Faulkner pays no attention to normal literary work. He often uses incoherent and irrational phrases to bring the reader into the minds of the characters. This background, together with a believable plot, convincing characterization and important literary devices enables William Faulkner in The Sound and the! Fury to develop the theme of the regression of the family. The structure of The Sound and the Fury leaves much to be desired. First of all, the time sequence is chaotic and only leads to confusion. The first section is told from the point of view of a thirty three year old idiot, Benjy Compson, who can tell no difference between the past or present. The Benjy section is very difficult to understand because the slightest incident can trigger a memory from him and completely replace what is happening in the immediate time frame. For instance, the first jump in time occurs on just the second page of the book when Luster says, "Cant you never crawl through here without snagging on that nail." Benjy automatically thinks back to when he went with Caddy to deliver a letter to Mrs. Patterson and got stuck on the fence near Christmas. When Caddy says in the same memory, "You don't want your hands froze on Christmas, do you," Benjy thinks of an earlier incident when Caddy tried to convince Mrs. Compson to let him come outside with her (F! aulkner 4). The next section, told from Quentin Compson's perspective, is as equally puzzling. Since Quentin has decided to end his life, he reminisces about his past and the reason he chose to die. The reason is his sister's act of adultery. Whenever he is reminded of events that have to do with his sister's sin, he also goes back in time. When Quentin is thinking about how good the weather will be for the Harvard boat race in June, the month of brides, he thinks of Caddy's wedding day. He then thinks of the roses at her wedding and of trying to convince his father that he committed incest with his sister (77). Another uncertainty in this novel is the lack of rising action or climax. The book is told on Easter weekend, 1928, and gives the whole history of the family by retelling the events that occurred in the minds of the characters. To begin, the first section tells what will happen in the rest of the novel in the form of Benjy's memories. It informs the reader th! at Mr. Compson and Damuddy dies, Uncle Maury is having an affair with a married woman, Benjy gets castrated, and that Caddy gets pregnant, married, and then denounced by her family when she is left by her husband. Since the first part already tells what happens to the family, there is no suspense. The rest of the novel is just the same events retold