Urban Rhetoric and Embodied Identities: City, Nation, and Empire at the Vittorio Emanuele II Monument in Rome, 1870–1945
Urban Rhetoric and Embodied Identities: City, Nation, and Empire at the Vittorio Emanuele II Monument in Rome, 1870–1945
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城市修辞与具体身份：罗马维托里奥·埃马努埃莱二世纪念碑上的城市、民族和帝国，1870-1945 年
DOI：
10.1111/1467-8306.00083
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发表时间：
1998
期刊：
影响因子：
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通讯作者：
D. Cosgrove
中科院分区：
文献类型：
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作者：
David Atkinson;D. Cosgrove
本文考察了意大利在罗马市中心为纪念统一意大利的第一任国王维托里奥-埃马努埃莱二世而修建的纪念碑。它于1911年开业，采用当时流行的布杂艺术建筑风格建造，在整个西方，这种建筑风格被认为是城市纪念碑的“帝国”风格，维托里亚诺的象征主义和肖像画产生了一个“记忆剧院”通过它，统一和帝国意大利的官方言论被传达给全国。然而，尽管继任政府试图将其提升为一个有尊严的和神圣的中心，作为一个城市、一个国家和一个短命的意大利帝国，这座纪念碑在其历史上一直受到嘲笑。集中在“官方文化”，我们分析了纪念碑的形式和图像，追溯了自由党和法西斯政府在两次战争之间所做的各种规划干预，强调了Vittoriano在城市空间和意大利领土内的中心地位，并评论了意大利政府对它的使用。
This essay examines the monument constructed by the Italian state in the center of Rome to commemorate Vittorio-Emanuele II, first king of united Italy. Opened in 1911 and constructed in the Beaux-Arts architectural style popular at that time as appropriately “imperial” for urban monuments throughout the West, the Vittoriano's symbolism and iconography produce a “memory theater” through which the official rhetoric of a united and imperial Italy was intended to be conveyed to the nation.Yet despite attempts by succeeding governments to promote it as a dignified and sacred center of the city, the nation, and the short-lived Italian empire, the monument has been derided throughout its history. Concentrating on “official culture,” we analyze the form and iconography of the monument, trace the various planning interventions made by both Liberal and Fascist governments between the wars that emphasized the Vittoriano's centrality within urban space and Italian territory, and comment on its use by the Italian dic...