Hostname: page-component-76fb5796d-25wd4 Total loading time: 0 Render date: 2024-04-28T11:48:37.763Z Has data issue: false hasContentIssue false
  • English
  • Français

Masculine Semiotics: the Music of Goffredo Petrassi and the Figurative Arts in Italy during the 1930s

Published online by Cambridge University Press:  27 March 2013

DAVID OSMOND-SMITH  and
BEN EARLE
Get access Rights & Permissions [Opens in a new window]

Abstract

During the 1930s a particular emphasis was placed within fascist Italy upon cultural evolution towards the ‘new man’. Although this was in part articulated verbally by a fascist philosopher such as Giovanni Gentile, this new masculine sensibility received much of its most persuasive embodiment through the visual arts and music. Unsurprisingly, major musical figures of the era such as Alfredo Casella and the youthful Goffredo Petrassi were strongly aware of sympathies and complementarities between the two media – and the same is true of painters such as Enrico Prampolini and Fortunato Depero, or a sculptor such as Ernesto Thayaht, all of whose work is called upon in this study. (DO-S).

Type
Articles
Information
Twentieth-Century Music , Volume 9 , Special Issue 1-2: Music – Politics – Semiotics: Aspects of the Legacy of David Osmond-Smith (1946–2007) , March 2012 , pp. 11 - 37
Copyright
Copyright © Cambridge University Press 2013

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adamson, Walter. Avant-Garde Florence. Cambridge, MA: Harvard University Press, 1993.CrossRefGoogle Scholar
Casella, Alfredo. ‘Dissonanze’. Arte Nova 3/3 (1919), 1–2.Google Scholar
Eco, Umberto. A Theory of Semiotics. Bloomington: Indiana University Press, 1976.CrossRefGoogle Scholar
Hines, Melissa. Brain Gender. Oxford: Oxford University Press, 2004.Google Scholar
Lombardi, Luca. Conversazioni con Goffredo Petrassi. Milan: Suvini Zerboni, 1980.Google Scholar
Mazarotto, Bianca Tomassia. Le arti figurative nell'arte di Gabriele D'Annunzio. Milan: Fratelli Bocca, 1949.Google Scholar
Nicolodi, Fiamma. Musica e musicisti nel ventennio fascista. Fiesole: Discanto, 1984.Google Scholar
Palla, Marco. Mussolini e il Fascismo. Florence: Giunti, 1993.Google Scholar
Papini, Giovanni. Opere, dal ‘Leonardo’ al Futurismo, ed. Baldacci, Luigi, with Nicoletti, Giuseppe. Milan: Mondadori, 1977.Google Scholar
Salaris, Claudia. Artecrazia: l'avanguardia futurista negli anni del fascismo. Florence: La Nuova Italia, 1992.Google Scholar
Tempesti, Fernando. Arte dell'Italia fascista. Milan: Feltrinelli, 1976.Google Scholar
Vinay, Gianfranco. ‘Costruzione–espressione: tangenze fra musica e arti visive nel ventesimo secolo’, in L'orrizonte filosofico del comporre nel ventesimo secolo, ed. Borio, Gianmario. Bologna: Il Mulino, 2003. 397–405.Google Scholar
Walsh, Stephen. Stravinsky: Oedipus Rex. Cambridge: Cambridge University Press, 1993.Google Scholar