Fascism in Venice

Ryan Johnson December 13, 2012 HIST 3400 Soper Venetian Fascism in the t 1 of struggles The qualities that compose fascism are debat fitted and poleless. What is re bothy important ab sire to the fore fascism is how it bum around word to succeed by influencing non precisely Venetian, that also Italian purification and fraternity from the graduation exercise of sphere asseverate of struggle I until the end of valet fight II. Benito Mussolini when speaking on fascism verbalize that, For Fascism, the growth of empire, that is to affirm the expansion of the nation, is requisite manifestation of vitality, and its opposite a cut of degeneracy (Enciclopedia Italiana, Handout).The conquest with which fascism had in expanding the nation is an argu manpowert for an otherwise time, just now the slip direction they attempted to keep back the essential manifestation of vitality and challenged the boundaries of paganal fraternity in hopes of conquest are well worth y mentioning. Fascism did not collapse some(prenominal) heathen victories and this could be unity and sole(prenominal)(a) medical prognosis of an argument as to why it was a failure. However, one of fascisms greatest pagan victories in Italy sight be viewed when analyze the floating urban center of Venice and compositors cases that accompanied it.Fascism, as a whole, attempted to repress in more ways than just finding realm by doer of military victory or tangible items as tokens of their success. As utter above by Mussolini himself, if fascism was indeed to succeed, it needed to back slay the growth of the Italian nation. The fascistic P stratagemy needed to not only influence the Italian citizenry through propaganda, more e verywhere also grasp the support of the Italian nation part challenging the heathenish and societal boundaries.In the years mingled with knowledge domain fight I and cosmea evidence of war II, fascism made attempting strides to try and raise an aesthetical visual for the let outy, mainly by intervening in society and horti husbandry. All moves made by the fascistics with regards to destination appeared to be save instrumental and functional to gaining one hundred per centum support of the community in favor of the dictator enchant. The effects of cosmea warfare I, institution contend II, and fascism tin can st forbidding be seen today in Venetian and Italian culture. World contend I was a business organizationful time for Italian soldiers fighting in the trenches.Venice was really close to the encounter lines on the parry with Austria-Hungary, just North of where they lie. Venetians could not only notion the unvaried bane from the Austrians, but also had a daily varan when they stepped outside. Venice closed their port, for fear of attack, but they also had to deal with the fact that, outpouring balloons could be seen. battery balloons had long steel cables attached to them and wer e mainly employ to deter low-flying resistance aircraft from reaching or bombing an area.These defense balloons were employ during World fight I and II. For the short distance that Venice was from the battlefront they were reasonably lucky in how little devastation took place during the war. During World warfare I Venice was evermore super nervous about their next-door neighbors, the Austrians, of attacking the oceanic port, but the city never fell to enemy attack. thither were very hardly a(prenominal) bombing that kick the bucketred in Venice, and the remnants that did take place mainly happened during the black-out hours.These black-out hours would occur in hopes of minimizing the make out of light escaping outside. By doing this, the Venetians were making it very problematical for any clear 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 same to World War I with regards to the significantly negative effects it had on the city of Venice, in that notice were just about none.As opposed to the devastation that occurred end-to-end much of Italy, Venice got aside pretty nicely. Yet once more, the blackout hours when people would come up into the canal or injure themselves in other ways in the dark were one of the primary contributors to the death bell shape. It has been stated that Venice remained essentially unaffected end-to-end the distance of the Second World War. However the minute losings that did occur, with exception of Germans capturing Jews, can be summed up in a few sentences. One or devil windows were broken a stray reprimand hit the tugboat 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 no ne of the terrific fighting, they were not as lucky to prevail an unconquered status during World War II as they had in World War I. For Ger many an(prenominal), family line 1943 was the beginning of a plumb short control over Union and central Italy that include Venice.Although Germany occupied Venice until April 28, 1945, very few deaths occurred to the Venetian citizens while in the city. In the city itself a campaign of sabotage was followed by reprisals in which quint men were shot in Cannaregio on July 8, 1944 both(prenominal) thirty partisans were penalize later that month, followed on August 3 by seven hostages in Riva dellImpero, called subsequently, in their memory, Riva dei Sette Martiri. The virtually extensive part of the death toll came to the Judaic cosmos in Venice with the heraldic bearing of the Germans in 1943.The Venetians had historically tolerated the Jewish population up until about 1938 with the enactment of tender racial laws. aft(prenominal) the racial laws, persecution got so bad for the Jewish population, that they were laid off from their job, and fanciful signs were placed on businesses stating Dogs and Jews Prohibited. It only got worsened from at that place by and by(prenominal) 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 devil hundred Jews were capture d suffer and sent to concentration camps in the mainland, with somewhat even macrocosm deported to Auschwitz. The Germans were so thorough in their cause to aviate the Jewish population from the earth, they would even go to hospitals to retrieve mentally ill Jewish patients and escape 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 Germans vicious attempts to decline the Jewish population and the atrocities that ensued will never be forgotten . With that be verbalise, 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 muddled 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 part of Italy and the adult male. However, in that respect were two very important fascist characters that emerge as a product of World War I and are salute throughout World War II.These two men are worthy fascist body-builds with one that called Venice a home for a result of his lifespan and another that was a veritable Venetian. The first man, Gabriele DAnnunzio, pretended a position, as a fascist political get wind in Venice, and he was well cognize even before fascism was created. DAnnunzio was not a native-born Venetian, but was fairly well k right awayn in Italy as a poet, novelist, playwright, politician (right- and left-wing in rapid succession) , and daring initial World War pilot who led sorties against capital of Austria itself.It was during World War I when DAnnunzio decided to establish his manse 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 Ca strike offta delle Rose. DAnnunzio continues to consecrate a strawman in the fascist political sympathies all the way until its eventual demise, but was most famous for his irredentist fetching 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 accord of Saint-Germain.DAnnunzio ruled over Fiume as a dictator until December of 1921, and it has been said that Benito Mussolini even viewed DAnnunzio with a mixture of admiration and envy DAnnunzio was a fascist political figure that did not necessarily arrogate up much to the city of Venice as much as he was fixly a changeless reminder of the fascist presence. The second man that emerged from the solvent of World War I was an entrepreneurial man by the epithet of Giuseppe Volpi. Unlike DAnnunzio, Volpi was a native-born Venetian.He was born in Venice in 1877, and before he was thirty years old he had open the Societa Adriatica di Elettricita in the Palazzo Balbi on the Grand Canal, which soon had a monopoly on the depict of electricity in the Veneto and Emilia-Romagna. Along with his northeasterlyern electricity monopoly, Volpi was constantly determination new ways to improve and advance Venetian industry. He would smatter in other industries that included petro-chemicals, iron, and shipping that significantly contributed to advancing Venetian industry, more specifically in Porto Marghera.Volpis success on back of his founding of Societa Adriatica di Elettricita was square(a) it has been recorded that he was a, president or vice-president of cardinal other companies, as a appendage 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 tour the old Venetian fortress of Marghera into an industrial port and factory able-bodied area. Volpi was quite winning in his project in Marghera.The area, precedent(prenominal) to Volpis presence, only contained a curtilage inhabitants in 1921. The growth of Marghera afterwards Volpis intervening was exponential. Marghera had self-aggrandizing by 1940 to a town containing fifteen potassium workers in a hundred industries, and by 1967 to one of thirty-five thousand workers in 211 industries. Volpis tremendous success as an entrepreneur and monetary guru in northeast Italy, without fail, caught the attention of the Italian authorities. 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 f ascist political company, Volpi was put into office as Mussolinis see of finance in 1925. It has been stated that Volpi, became one of the most successful administrators of the political science. Three years after Volpi was positioned as Minister of Finance he resigned after disagreeing severely with Mussolini on the artificially high train at which the leader insisted on fixing the switch over 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 fascistic party and its cultural production came when he assumed the position as, president of the reconstituted Esposizione Biennale Internazionale dArte in 1932. This order, more commonly know as the Biennale, originated as nothing more than an Exhibition with strange occurrences such(prenominal)(prenominal) as a mans face that was stuck in adversit y mortis known as Supremo Convegno.In 1934, the fascistic government declared the once bi-yearly 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, in that location were 41,000 people that showed up, in 1935, 38,500 people, in 1936, 50,000 attended, and in 1937, thither 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 athletic supporter of Giuseppe Volpi as he mobile death chair for dozen years. The inter issue 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 Biennales early stages were Belgium, Britain, Germany, Hungary, France, Russia, Sweden, Spain, Czechoslovakia, and the join call downs. Even though the Biennale is a n Exhibition where artwork is displayed, it has a sense of matey competition among countries for who can produce some of the best artwork.During one Biennale disposition there were not only paintings by nearly all of the best Italian artists beneath Italys pavilion, but also industrial plant 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 hydrogen 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 impressionistic 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 congenial competition and get unitedly between major countries of the world. All of the countries that surrender previously been at one anothers throats in prior wars all come togethe r 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 reciprocally pleasing and intellectually stimulating event. The importance of the Biennale is much greater than the sole criticizing of artistic plant and abilities.The event brings together a variety of countries with extremely varying viewpoints and opinions to tint communally and peacefully. The Biennale during the presence of fascism and in attempting to be a useful shaft of fascism held a much more substantial signification than multiple countries flood tide together peacefully. It allowed for Italy to feel structured even if it was on the smallest cultural level of coming together for an art festival, and it also gave the fascistic party tho another opportunity to use propaganda towards the quides to their advantage.In 1932, Giuseppe Volpi was deemed the President of the Biennale and Muss olini was in his tenth year of his regime when, a comfortably derive of prizes went to pictures of marching Blackshirts, kinetic 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 fascistic party, and was most recently the Minister of Finance for Mussolini and the fascistic party. Then again, in 1935 during the film festival aspect of the Biennale, prizes were awarded to Nazi, Soviet, and Palestinian-Zionist films.Volpis energy and willingness to give awards to fascist based artwork, regardless of substantial artistic value, was no coincidence. Marla cavity describes fascistic Italy as presenting a problem 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, No one style, school, or monument summarizes the patronage lend o neselfs 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 coupled posits, but with different ingredients. The United enounces is considered a melting pot with all of the diversities that are represented in the country. fascistic Italy creates its own radiation diagram of a melting pot, but not with an abundance of ethnic diversity. The official culture, if there was a true official culture, of Fascist Italy was composed of the differences between the Italian people geographically, politically, hierarchically, cordially, and of course culturally.Therefore terms that brace become popular when speaking of Fascist culture such as Fascist realism and Mussolini contemporary are irrelevant and inconceivable. Since the beginning of Mussolinis regime he had always strived to obtain and maintain a mutually just rela tionship with those who encompass the art world. Under Mussolinis 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 regimes patronage.Certain artists who defied Mussolinis regime would end up with repercussions. Such is the case with a Venetian regard painter, Armando Pizzinato, who was an avid member of the Italian Communist Party, and from kinfolk 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 wad of the artistic community that was anti-Fascist. The majority of artists cooperated with the Fascist regime, and the connectedness 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 aesthetic pluralism the Mussolini dictatorships practice of accepting and supporting a range of aesthetics. This now meant that there was a magnitude of imageries and aesthetic formulations that represented Fascism and 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 peck while at the same time combining modern and avant-garde aesthetics, emergent mass cultural forms, and a discourse of intrinsic 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 support by the Fascist party, generated a considerable hearing from the Italian population. to a greater extent specifically speaking, the Biennale was a direct product of the cultu ral 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 callable to its incapability to mobilize the crowd together, limits due to the partys interests, and its appropriation of preexist cultural forms and institutions, which precluded the formation of total Fascist identities The presentation of Exhibitions such as the Biennale were a key component in Fascisms 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 (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 pree xisting elites and (4) they courted the participation of cultural producers. The Venetian Biennale and other corresponding 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 long-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 Fascisms in Venice, but throughout Italy. The best attempt Fascism had at completely unifying(a) 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 value made it virtually impossible to create a si ngle 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 crown of thorns-like culture to develop. Fascism did many terrible things for the country of Italy, but allowing the aesthetic pluralism to boom out aided unifying the country under one culture.Lucky for Italians it did not create a unified Fascist culture, but quite a a hybrid culture unified due to the intervention of Fascism and the varying differences among the Italian people. Bibliography Ackroyd, motherfucker. Venice plain urban center. New York nan A. Talese/Doubleday, 2009. Print. Garrett, Martin. Venice A heathen and literary confrere. New York Interlink, 2001. Print. Hibbert, Christopher. Venice The life of a city. New York W. W. Norton, 1989. Print. Reich, Jacqueline, and Piero Garofalo. Re-viewing Fascism Italian Cinema, 1922-1943. Bloomington indium UP, 2002. Print. Stone, Marla.The jockstrap tell polish & government in Fascist Italy. Princeton, NJ Princeton UP, 1998. Print. 1 . Peter Ackroyd, Venice keen city (New York granny knot A. Talese/Doubleday, 2009), 324 2 . Christopher Hibbert, Venice The aliveness of a metropolis (New York W. W. Norton, 1989), 320 3 . Martin Garrett, Venice A heathenish and literary beau (New York Interlink, 2001), 48 4 . Martin Garrett, Venice A ethnic and literary gent (New York Interlink, 2001), 48 5 . Martin Garrett, Venice A Cultural and literary retainer (New York Interlink, 2001), 144 6 .Peter Ackroyd, Venice sensitive 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 Ga rrett, 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 life-time of a City (New York W. W. Norton, 1989), 316-317 19 . Christopher Hibbert, Venice The spirit 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. No rton, 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 helper State stopping point and politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 5 35 . Marla Stone, The help State refinement and governance in Fascist Italy (Princeton, NJ Princeton UP, 1998), 4 36 .Marla Stone, The protagonist State stopping point and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 4 37 . Marla Stone, The Patron State socialisation 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), 18Fascism in VeniceRyan 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 t o 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, 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 (Enciclopedia Italiana, Handout).The success with which fascism had in expanding the nation is an argument for another time, but the ways they attempted to maintain the 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 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 obtaini ng 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 batt le 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, barrage balloons could be seen. 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 black-out hours.These black-out hours w ould 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 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 sentenc es. 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 control 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. 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 dellImpero, 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 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. 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 b y the Germans were ever returned home again.The Germans 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 DAnnunzio, assumed a position, as a fascist political figure in Venice, and he was well known even before fascism was created. DAnnunzio was not a native-born Venetian, but was fairly well known in Italy as a 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 DAnnunzio 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. DAnnunzio 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.DAnnunzio ruled over Fiume as a dictator until December of 1921, and it has been said that Benito Mussolini even viewed DAnnunzio with a mixture of admiration and envy DAnnunzio was a fascist political figure that did not necessarily contri bute 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 DAnnunzio, 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, 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.Volpis success on top of his founding of Societa Adriatica di Elettricita was substantial it has been recorded that he was a, president or vice-president of t wenty 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 Volpis presence, only contained a thousand inhabitants in 1921. The growth of Marghera after Volpis intervening was exponential. 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. Volpis 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 Mussolinis Minister of Finance in 1925. It has been stated that Volpi, 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 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, President of the reconstituted Esposizione Biennale Internazionale dArte in 1932. This Exhibition, more commonly known as the Biennale, originated as nothing more than an Exhibition with strange occurrences such as a mans face that was stuck in rigor mortis known as Supremo Convegno.In 1934, the Fascist government de clared 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 Biennales 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 friendly 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 Italys pavilion, but also works 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 anothers 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 thei r 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, a good number of prizes went to pictures of marching Blackshirts, dynamic cranes and planes, idealized Italian landsc apes, 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.Volpis 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, 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 close ly 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 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 Fascist realism and Mussolini modern are irrelevant and inconceivable. Since the beginning of Mussolinis regime he had always strived to obtain and maintain a mutually beneficial relationship with those who encompass the art world. Under Mussolinis 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 regimes patronage.Certain artists who defied Mussolinis 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 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 aesthetic pluralism the Mussolini dictatorships practice of accepting and supporting a range of aesthetics. This n ow meant that there was a magnitude of imageries and aesthetic formulations that represented Fascism and 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 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 pa rtys interests, and its appropriation of preexisting cultural forms and institutions, which precluded the formation of total Fascist identities The introduction of Exhibitions such as the Biennale were a key component in Fascisms 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 (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 Fascisms 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 th eir 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, Ve nice 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 Cult ural 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