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This 5 page paper discusses Mussolini's relationship with Margherita Sarfatti-Grassini and their thinking about the role of the state in art, and how Remarque and Kollwitz defied them. Bibliography lists 6 sources.
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5 pages (~225 words per page)
File: D0_HVMusSar.rtf
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Italy with Nazi Germany in the hope of restoring the glory of the ancient Roman Empire; his pathetic dream ended in disgrace and cost countless lives. This paper discusses his
relationship with Margherita Sarfatti-Grassini and their thinking about the role of the state in art, and how Remarque and Kollwitz defied them. Discussion When we think of fascism we tend
to think of the anti-Semitic and racist policies of Nazi Germany. But a large part of the fascist regimes of both Mussolini and Hitler were economic, what can be called
"corporatism" (DiLorenzo, 1994). The "corporatism" practiced by Mussolini included the maxim that "the state comes before the individual" (DiLorenzo, 1994). This is in direct contrast to the people have rights
and freedoms over which the state has no control; it also goes against the idea that the state derives its power to govern from the people it governs; and "that
the principal function of government is to protect the lives, liberties, and properties of its citizens, not to aggrandize the state" (DiLorenzo, 1994). Mussolini would not have agreed with any
of this; in fact, he wrote "The Fascist conception of life ... stresses the importance of the State and accepts the individual only in so far as his interests coincide
with the State ...Fascism reasserts the rights of the State as expressing the real essence of the individual" (DiLorenzo, 1994). Mussolini believed that "it was unnatural for a government to
protect individual rights" (DiLorenzo, 1994). Margherita Sarfatti-Grassini comes into the picture as Mussolinis mistress; she was an activist in the Italian Socialist Party as well as fighting for womens rights
(Sarfatti, 1995). She became Mussolinis friend during the struggle for power, and she "exercised an increasing influence on him" (Sarfatti, 1995). She was "dubbed the dictator of the figurative arts
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