Artigo integrado no número temático “The Sports Heroes in the Social Imaginary“, editado por Luca Bifulco e Mario Tirino.
On 4 May 1949, all the players of the top Italian team of the time, Il Grande Torino, died in an air crash. The tragedy of Superga seemed to be representative of Italy in the immediate post-war period and for this reason it managed to connect with almost the entire nation. The images of the carcass of the plane at the base of Turin’s basilica evoked the war images broadcast by the newsreels between 1940 and 1945. The Torino players were heroes and as heroes were celebrated at their funeral, which seemed to indirectly refer to the cult of the fallen in fascist culture. The funeral held in Turin was attended by 500,000 people and managed to unite a large part of the population in a public rite, during which not only did the deaths of the Grande Torino appear to be celebrated, but also those who had died in the Second World War. Public funerals such as those of the Grande Torino gave Italians the opportunity to openly vent intimate emotions linked to personal experience, helping to build the new nationalCatholicpost-war community.
Imagined Catholic community; History of football; post-war; Catholic Church; death
Tipologia do Evento:
Sessão de cinema
Detalhes do Evento
Conference that aims to promote discussion around the thematic, epistemological, and methodological intersections of history and history of art as disciplines. Crafting the Past: Materials, Materialities, Materialisms Gestures such as
Detalhes do Evento
Conference that aims to promote discussion around the thematic, epistemological, and methodological intersections of history and history of art as disciplines.
Crafting the Past: Materials, Materialities, Materialisms
Gestures such as the recent toppling of statues portraying slave owners or confederate soldiers in the UK and USA have ushered in public and historiographical debates about the legacies of colonialism as well the role of material culture and visuality in historical memory. Although the study of the past is always situated, not least disciplinarily, such situatedness should be open for productive intersections between history and history of art. For example, can we consider Cecil Rhodes’ statue an autonomous material manifestation without considering how its materiality is placed in history? Can we historicise artistic objects without engaging with the specific contexts of their material production or with the evolving ideological values that shaped the very conception of ‘art’? Can we talk about history as purely discursive when its material consequences are, at the same time, so palpable and so contested, particularly at a time when bodies and cultures are visibly threatened by global, social, economic, environmental, and health-related crises?
This conference aims to promote discussion around the thematic, epistemological, and methodological intersections of history and history of art as disciplines, focusing on their relationship to issues of materiality and ethics.
(Terça-feira) 10:00 am - 5:30 pm
Instituto de História Contemporânea — NOVA FCSH e Universidade de Évora, IN2PAST e University College London
Mai 18, 2022
Palavras do historiador Fernando Rosas no Campo de Concentração de Mauthausen.
Mai 12, 2022
Exposição com curadoria de Margarida de Magalhães Ramalho e Claude Marx.
Mai 6, 2022
O novo documentário de Ansgar Schaefer e Susana de Sousa Dias estreia hoje em Portugal.