The pedagogical function of totalitarian aesthetics: the fascist school and the celebration of the First World War in Italy. The case of Turin

ABSTRACT The school, also from the architectural and the furniture point of view, is undoubtedly a cultural product typical of every historical period. During Fascism, the school carried out the task of training the citizen-soldier, lover of the country and obedient to the wishes of the “duce”. Using massively the art and the beauty, the school has assumed a central role in the fascist State, being charged with the transmission of a national identity based on the cult of those who had died for the construction of the united Italy. Art, in all its forms, but especially the architectural and plastic ones, has been cleverly used in the twenty years of fascism as a tool for the transmission of a pedagogy of death and war, considered essential for the “new Italian”. The essay investigates the mechanisms with which the totalitarian fascist aesthetic has been applied in the schools of Turin in the years of the first post-war period, covering an unavoidable part - albeit unsuspected for many - in building the consensus.摘要 无论从建筑还是陈设维度来看，学校无疑都是每个历史时期极具代表性的文化产物。在法西斯主义（Fascism）统治时期，学校承担起训练公民士兵、培育爱国情怀并服从“领袖（duce）”意志的使命。通过大量运用艺术与美学手段，学校在法西斯国家中占据核心地位，肩负起传播基于对为统一意大利建国而牺牲者崇奉的民族认同的重任。在法西斯统治的二十年间，各类艺术形式——尤其是建筑与造型艺术——被巧妙地用作传播死亡与战争教化理念的工具，而这类理念被视为塑造“新意大利人”的必备要素。本文探讨了战后初期都灵各校应用极权主义法西斯美学的具体运作机制，尽管多数人对此未曾察觉，但这类美学实践在构建社会共识的进程中占据了无可替代的重要地位。