Sami El-Kamha Portfolio by PDF Uploads

Re-Mapping the Neo Avant Garde Anti-Memory.

ARC8060 - Sami El Kamha - Summer Portfolio 190535135

Contents 1 1 2-3 4-5

Id like to begin this portfolio with a special thank you to my design tutors Nathaniel Coleman and David Boyd, for their continued and extremely high level of support in what has been an undoubtedly challenging year. I count the two years working aside you both as a significant moment my education, unlocking new interests in architectural theory, history, representation and of all things I find myself tackling a thesis through epistemology. This has been an incredible journey and I consider myself lucky to have had the opportunity.

7 9-10 11-12

The Abuses of Memory Artificial Memory Eisenman & History

13-14 15-16 17-18

Manipulated Memory Neo-Fascist Timeline The Image of Rome

19-20 21-22 23-24 25-26

Blocked Memory Como A Fascist Playground L.Woods

27-28 29-30 31-32 33-34

Obligated Memory Terragni The Pan-Optic An Obligation to Remember

37-42

Development

43 44

Thesis Statement Presentation Video Link

45-60

Vigilance: The Sentinel

61 63-64 65-70 71-72 73-80 81-88 89-96 97-102

Introduction Time & Narrative Anti-Memory Scale

Vigilance: Thresholds The System and the Sentinel Viaducts Development #1 War Memorial #2 Casa del Fascio #3 Asilo San’Elia #4 La Terra

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Reflective Conclusion

106

Bibliography

Time & Narrative

Introduction Memory is complex, more often than not often, it is abridged to the remembering of a past event or the capacity for oneself to memorize a set of algorithms. In this project, memory is very much regarded as a tool for progression. Within the context of fascism, how was memory used to seduce a nation into its most highly politicized atmosphere of architectural production to date? Similarly for the people of the Italian State, how was memory used to cultivate the support for such a perilous ideology. ‘As asserted by Paul Ricouer, Memory serves as our only resource to the past. The abuse of memory, however, remains a relatively undiscussed practice and one which we might find is more prevalent than we may first realize – that is in our most very immediate history. The state of world politics (particularly the farright wing) as we know it, has somewhat rendered itself indifferent to the process of memory manipulation. The promise of better futures has often become the role of re-asserting and over-fetishizing visions of the past, or perhaps memory tainted ones.’ 1 The failure of the Neo-Avant-Garde underpins a crisis point in architectural production, Peter Eisenman is here is read as the posterboy for the movement - which this study keeps as a close reference and perhaps uses the traces he’s left behind to begin our Re-mapping of the Neo-Avant-Garde. Eisenman’s claims are somewhat desperate, the use of autonomy itself is a tool for disengaging with modernity are questionable. How can architecture be read as autonomous? Is autonomy an abuse of memory? My pertained interest in Lake Como rests within the genuine distance between the city as it emblematizes itself now and the history of fascism. As I’ve explored for nearly two years now, that history is repressed beneath the skin of the city which once the epicentre of the fascist movement and the playground for ‘rationalist’ architecture. Ricouer offers a critical reading of such traumatism in the form of blocked memory, amongst the extended abuses of memory as they were proposed in Memory, History, Forgetting (2004), which otherwise form the basis of a response to the question: Why should we want to re-map the Neo-Avant-Garde in the first place?

Cognitive Map, Lake Como (ARC8050)

1. Sami El-Kamha: Anti-Memory Epistemology, the Fascist State, the Neo-AvantGarde.[Thesis Research Document] (2021): i

Bennito Mussolini 1925 “Rome is our starting point and reference; it is our symbol, or, if you will, our myth. We dream about the Roman Italy, that is, the wise and strong, disciplined and imperial Italy. Much of what was the immortal spirit of Rome is reborn in fascism: the lictor is Roman, our organization of combat is Roman, our pride and our courage are Roman: ‘Civis romanus sum’. (Mussolini, 1956, v.XVIII, p.160).

Paul Ricouer 2004

Anti-Memory

Epistemology, the Fascist State, the Neo-Avant-Garde.

‘The heart of the problem is the mobilization of memory in the service of quest, the appeal, the demand for identity. In what follows from this, we recognize some disturbing symptoms: too much memory, in a certain region of the world, hence an abuse of memory; not enough memory elsewhere, hence an abuse of forgetting’ (Ricouer, 2004, pg.81)

The written ARC8065 explored the abuses of memory as proposed by Ricouer against the failed progressive ideologies of the Neo-Avant-Garde and Mussolini’s Fascist party.

Memory, History, Fascism.

Artificial Excavation In the forward exploration, marking the land considers itself a primary agent in the work, which was previously occupied with excavation. Como as a city is defined by it’s landscape. Situated in the southern Alps of north Italy, the site provides a number of opportunities to reflect on the hierarchical status of Como itself as a city. But also, at the very fringe of the border, there is an opportunity reflect the existing North-South divide in Italy that has endured since the fall of Fascism.

The Abuses of Memory

Artificial Memory

Recollection: Memory, History, Forgetting. Ricouer Depicts the idea of artificial memory as memory drawn from habits, i.e. as involuntary repetition of automized situations and actions, memory not necessarily drawn from any specific moment in time, but rather concerns knowledge that is fixed but remain open for easy actualization. Here autonomy is read as analogous to artificial memory. Ricouer establishes a twofold denial by which he claims artificial memory’ to be out of touch with the capacity of memory; the denial of forgetting and the denial of being affected, and in tradition with the ars memoraie, ‘the problem is that the imagination is ‘freed from its service to the past’. (Ricouer, 2004, pg.81)

Peter Eisenman: IBA Social Housing Project Eisenman depicts anti-memory as if it were an object. This work does not recognize the term in such a way, instead the title forms the basis of a critique of the Neo-Avant-Garde against itself. “The act of memory obscures the reality of the present in order to restore something of the past. Antimemory makes a place that derives its order by obscuring its past. Memory and anti-memory work oppositely but in collusion to produce a suspended object, a frozen fragment of no past and no future, a place.” (Eisenman, 1985) Peter Eisenman, IBA Social Housing Project, 1985

Manipulated Memory

Ricouer depicts the idea of Manipulated Memory as the dialectical relationship between the frailties in one’s own identity and the critical reconciliation of memory. The cognitive frailties are proposed as a kind of triad which consist in one’s own: relation to time, confrontation to others and the heritage of founding violence. ‘In each of these cases, ideological manipulation is intended as a way to overcome the problem.’ (Lythgoe, 2014, p.39)

The Abuses of Memory: Manipulated Memory, The Practical Level

1920

1930

1940

1950

1970

1980

European (Post) Modernism

1960

1990 Neo-Fascism 2000

-A

n t-

Gar de

2010

2020

app M e R

h gt

The above timeline represents a split crisis since Mussolini’s coming to power. The above timeline represents a split crisis since Mussolini’s coming to power. Nationalistic values have endured throughout the 20th century, even giving rise to NeoNationalistic values have endured throughout 20th century, even giving rise to NeoFascism post WWII. An architectural crisis wasthe reached, whereby the succeeding styles Fascism post WWII.could An architectural crisis was reached, whereby the succeeding styles not escape the crippling effects of modernism.

could not escape the crippling effects of modernism.

Manipulated, Erased, Forgotten. During the 1930’s, the fascist state embarked on a series of urban projects which would create settings for the realization of its vision. The key mission was to liberate the ancient monuments from the years of ‘decadence’ which was characterised as the built realm between the fall of roman empire and the risorgemento. These projects largely (comprised of demolition) confront the surgical removal of collective memory which is by part imbedded in the built landscape; a form of Manipulated Memory, an abuse of forgetting. ‘What was demonstrated by the Fascist state ‘was a show of absolute and abstract will on the part of the regime demonstrated by its ability to subjugate history, memory and time to its immediate desire.’ (Coleman,1999, pg.391)

Verdiani, G. Demolitions In Via Dei Fori Imperiali, Rome (1932). [Photograph].

Blocked Memory ‘Blocked memory refers laterally to the psychic expression of a drive elicited by the imagination in terms of sublimation in the work of mourning.’ (Lythgoe, 2014, pg.38) In proposing blocked memory, Ricouer draws on essays by Freud, notably repressed memory theory, by which memory may still affect the subject through subconscious influences on behaviour and emotional response. For Ricouer, wounds, scars, scabs, and trauma all attest to this.

The Abuses of Memory: Blocked Memory, The Pathological-Therapeutic Level

Como - Brunate A description of Como is inseparable from the landscape in which it sits, there is a somewhat pressing but relatively undiscussed relationship between the physical topography and the affluent human personality which the city attracts – the scars of fascism remain partially oppressed by their new title of Rationalism. The specific site to be explored in this iteration has intentionally distanced itself from the previous location of the casa del fascio; new relationships will be explored between the topography, water, and a key agent in marking the land -where excavation was once the primary tool. Arial View of Como, Brunate & Alpe del Vicere

Futur(ism)

Como: A Fascist Playground

1939; Casa Giuliani-Frigerio Guiseppe Terragni

1936: Casa del Fascio Guiseppe Terragni

1933; War Memorial Guiseppe Terragni - Antonio Sant’Elia (Italian Artist; Futurism)

1929; Novocomun Guiseppe Terragni

1927; Stadio Giuseppe Sinigaglia Giovanni Greppi

After the Fascist rise to dictatorial power in the early 1920’s, ‘the rise of modern movement in Italy was inseparable from the modernizing architectural and urbanistic aspirations of the fascist state’. (Frampton, 1980, pg.566) Como can be identified as the ‘playground’, in which early modernist architects (notably Giuseppe Terragni) were able to explore a new variation of the style which attempts to speak the virtues of Fascism itself.

Ancient Rome

Scarred by Rationalism

Rationalism “sought to achieve a new synthesis between a new and more rational synthesis between the nationalistic values of Italian classicism and the structural logic of the machine age.” (Frampton, 1980, pg.232).

War and Architecture It is here where the work draws reference through Lebbeus Woods’ writings on War and Architecture. A Neo-Avant-Gardist who conceptualises his own work as the healing process – itself described through scabs and scars. ‘...their form must be respected as an integrity, embodying a history that must not be denied... The new spaces of habitation constructed on the existing remnants of war do not celebrate the destruction of an established order, nor do they commemorate it. Rather they accept with a certain pride what has been suffered and lost , but also what has been gained… There is an ethical and moral commitment in such an existence, and therefore a basis for a community.’ (L. Woods, 1993, pg.14)

Lebbeus Woods Study Drawing, Stage 5 ARC8050

Obligated Memory The ethical and political dimensions of memory concern the relationship between the future and the meaning of the debt we have to the past. “The duty to remember consists not only in having a deep concern for the past, but in transmitting the meaning of the past to the next generation.” This duty obligates us not to repeat the mistakes that our forebears have made, and to see ourselves as heirs to a tradition and their promises.’ (Lichter, 2011, pg.279)

The Abuses of Memory: Obligated Memory, The Ethico-Political Level

Obligated to Remember: Historical Progression Terragni deployed a kind of Obligated Memory in his design for the Casa del Fascio. Keeping with the Fascist promise that progress was to be found within the roots of ‘Romanity’, influence from Michelangelo’s Renaissance Palazzo was drawn and set as reassuring a standard from whichthe new could be formed. Although Terragni, engaged enough in his own relationship with art and politics that the point of reference could not be perceived as a nostalgic attachment to the final work.

Michealangelo. Palazzo Farnese, Ground Floor Plan (1515). [Photograph].

G. Terragni. Casa Del Fascio, Ground Floor Plan (1932). [Photograph].

The higher concern, however, is the Neo-Avant-Gardists (Eisenman) that engaged Autonomy as a legitimate method of historical progression. As previously noted, autonomy confronts memory only on an artificial level.

The Pan-Optic

Bentham & Foucault: Part 1 Jeremy Bentham, an English philosopher and social theorist in the mid-1700s, invented a social control mechanism that would become a comprehensive symbol for modern authority and discipline in the western world: a prison system called the Panopticon. The basic principle for the design, which Bentham first completed in 1785, was to monitor the maximum number of prisoners with the fewest possible guards and other security costs. The layout consists of a central tower for the guards, surrounded by a ring-shaped building of prison cells.

ARC8050 Conceptual Model

An Obligation to Remember

Bentham & Foucault : Part 2 The sociological effect is that the prisoners are aware of the presence of authority at all times, even though they never know exactly when they are being observed. Michel Foucault, a French intellectual and critic, expanded the idea of the panopticon into a symbol of social control that extends into everyday life for all citizens, not just those in the prison system. He argues that social citizens always internalize authority, which is one source of power for prevailing norms and institutions. This project recognises a symbolic approach which can be extracted into its own methodology, in the sense of a system of epistemological control. (Internalized Authority and the Prison of the Mind: Bentham and Foucault’s Panopticon, 2021) “The duty to remember consists not only in having a deep concern for the past, but in transmitting the meaning of the past to the next generation.” (Ricouer, 2004, pg.81)

Panopticon View to the City, Process Work - Lake Como, Scale 1:20000

Development

Methodology I initially began to think about the site as if it was a quarry, which plays well into the hands of topographical nature of the site itself, less so concerned with the material but rather the artificial excavation of the city’s history. This was conceptualised by drawing then translated into a scale maquette of the site which allowed me to read and respond to each of the thresholds within their own tectonic conditions.

Stage 1

Stage 2

Stage 3

Aperture The adjacent photopgraphy collection shows the progression of a 1:5000 scale model of the site which explores the translation of the initial conceptual drawing into a maquette. Early models began with a layered conception of the sentinel which later trancended into a single dominant figure of the city.

Stage 4

Optics Optics have pertained as a part of my language which I discovered last year, hence the various references as I’ve tried to rework some studies back into the work here for this ongoing two-year project. Deconstructed lenses offered a way in to explore the themes of false hierarchy and broken perception acted out by the fascist state, the regime was obsessed with hiding its true agendas behind the image that it created of itself.

Thesis Statement ‘Memory is a complex dimension linked not only to the experience of either the individual or the collective, but also to the way in which that very history is read and interpreted in time.’ (Clorinda, 2019, pg.87) The twentieth century witnessed its share of ‘revolutionary’ ideologies and the promise of better futures, in doing so identity was transacted through the cross -section of memory and fiction. The investigation led us towards a definition of Antimemory; that which obscures our duty to the past, a critical analogy to use within the context of progression. Fascism begun a new order under the illusion of an ancient one and the Neo-Avant-Garde fails to confront memory altogether. Anti-memory here serves as the framing device for the two preconditions to this re-mapping project. First, the fascist state is held accountable for manipulating memory in order to progress its own ideology; the recourse to ancient Rome was a seductive guise which shaped identity on a mass level across the Italian state. Secondly, the Neo-Avant-Garde is critiqued for failing to confront memory in its attempt to disengage with modernity; historical progression is proclaimed without any account for memory or history, as in memory that only transacts on the artificial plane, ‘the problem is that the imagination is ‘freed from its service to the past’. (Ricouer, 2004, pg.87) The abuse of memory is an abuse of power; the emergence of the Trump Administration and its symptomatic fascist qualities underpin why such a history needs to be remembered. And thus, the third condition is here set as a correction to memory abused. Ricouer makes a plea for ‘memory as the womb of history, in as much as memory remains the guardian of the entire problem of the representative relation of the present to the past.’ (Ricouer, 2004, pg.80) Beginning with the small, affluent town of Como and reunifying the memory of fascism to the architecture of the city. That guardian is called upon through the figure of the sentinel, which is here proposed as the means of a perception to the city through the history of fascism.

The adjacent QR code is embodied with a hyperlink to an alternative video presentation of the remaining document.

https://youtu.be/X5dQ57o4nQg

Vigilance: The Sentinel

West Elevation Scale 1:2000 , View from San Bartolomeo

Fig 1.a

Fig 1.b

Fig 1.c

Site Section Scale 1:2000 , Cross Section Through Lake Como

...history must be confronted

Solar Energy service shaft

Power to the city

13 , 000 sqm Photovoltaic Facade 480,000 Kwh per year

Engineering Similarly to the last instalment of this project, the wider engineering projects better inform the assembly of this work. Particularly, cable stayed bridges offer the beginnings of the project’s construction, using suspension cables as a way of balancing the sentinel. A photovoltaic façade is otherwise proposed as a secondary function of the Sentinel, a guardian for the city which it powers.

Above: Isometric Section of the Sentinel Adjacent: Figure 1a: Steel Frame-Facade Detail Scale 1:50

Power

Access

Key.

The abuse of memory is an abuse of power, the project does not find itself driven by the climate emergency, however this work does recognize the imminent disciplinary change that all works must embody. In response, a photovoltaic façade (13000sqm) is proposed, providing electrical power (approximately 480 000 kwh per year) to the city. An access tunnel (1a) is provided for the service and management to the system which would become the city’s largest source of power.

Access for materials to the site are provided by via. boat, using lake Como to its advantage rather an obstacle in its construction, temporary cranes would be installed within close proximity to the waterfront to manoeuvre materials from the transport to the site itself.

1. The Sentinel (Entrance Level) 2. Access Tunnel for Systems Management 3. City Cable Cars 4. Site Management Crane 5. Material Delivery via. Boats 6. Casa del Fascio Urban Project 7. War Memorial Intervention 8. Lake Como Port

3. 2.

5. 7.

Top: Figure 1b: Tension Cable - Footing Detail Scale 1:50 Bottom: Figure 1c: Steel Footing Detail Scale 1:50

Site Plan Scale 1:2000

Vigilance: Thresholds

The System and the Sentinel

Thresholds The remaining section of this document illustrates the development of those thresholds which symbolise the cities lost histories, the critical reconciliation of the memory of fascism. Each of the thresholds has their own specific relationship with memory; The school is a setting in which memory is transacted, the memorial believes it is dedicated to ‘remembreing’ and the political building is symbolic of the abuse of power – the abuse of memory.

Panoptic View to the City, Lake Como, Scale 1:20000

Viaducts

Demoltion & Erasure The project takes lessons from the aforementioned abuses of cultural memory as demonstrated by the fascist state. Demolition and erasure of buildings would contradict the lessons oF the thesis, as a means for connecting points in the city, viaducts are investigated as for lightly touching on the city as opposed to a destructive approach which was once opted for in the earlier iterations of the project.

Development

1:200 Site Plan

Deconstruction - Destruction The interventions each begin with disassembling small parts of the existing structure, this is not to be likened with the destructive the works undertaken by the fascist state. The memory is only partly dismantled on the basis of forming a critique of the regime.

Threshold #1: Monumento Ai Caduti

Lakeside District The lakeside district is home to a cluster of fascist constructions, including the first ‘rationalist’ building in Como. The area is mostly emblematized by the War Memorial, a design by Terragni based of a sketch from Italian futurist Antonio Saint Elia.

War Memorial (Lakeside District)

Remembering, Repeating, Working Through. Mounemento ai Caduiti, a memorial commissioned by the fascist state to commemorate the lives lost in the first world war, such a history begs a critical reflection, yet the construction is more so a tool for imposing the new state. Section C-C

Threshold #1 War Memorial (Architect: Guiseppe Terragni)

Threshold #1 War Memorial Proposal (Architect: Guiseppe Terragni)

Threshold #2: Casa del Fascio

ARC8052 Dante’s Inferno

For the last time Arguably the most prolific construction left by the fascist state, Mussolini’s Fascist headquarters again delivered by Terragni. The building is embodied with lies, notably that which claims fascism to be a ‘glass house’, without obstacle between the people and the state. This memory serves a special place in my heart as my first remapping project, and is here revisited within the new layer of the cities history.

A Personal Memory Memory cannot be denied. In such cases the work carried out in 2020 which delivered Mussolini’s Casa del Fascio as an allegory for Dante’s Inferno is brought into the new retrospective lens of the city.

Section A-A

Mussolini’s Casa del Fascio

Threshold #2: Mussolini’s Casa del Fascio (Architect: Guiseppe Terragni)

Threshold #2: Mussolini’s Casa del Fascio Proposal (Architect: Guiseppe Terragni)

Threshold #3: Asilo Saint Elia

A Fascist School Terragni’s last contribution to this project is in the form of a rationalist primary school, a setting which transacts with memory as its primary output. Interestingly, the building is still operational as a nursery.

A setting in which memories are transacted The decision to intervene with the school, is due to the nature of the setting itself, which in the lightest translation a place in which memory is shared. History as well as our entire understanding of all things are memories passed through generations. Memory makes history possible. Section B-B

The very notion of a school born through a political regime is a compromise to the stories of our time which it shares. Therein exists the frailty of memory. 92

Asilo Saint Elia

Threshold #3: Asilo Saint Elia (Architect: Guiseppe Terragni)

Threshold #4: La Terra (The Land)

La Terra (The Anomoly)

The bystander Section D-D

The most important asset to the city itself, the landscape serves as the cities most prized artefact before any of its constructions. The relation between memory and architecture is well established, yet what role does the natural landscape play in this investigation?

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Threshold #4: The Landscape

Reflective Conclusion A common misinterpretation of this project would be that it should rest as the answer to the declared problem of anti-memory. This project has no means to resolve memory abused, it accepts that as a cyclical condition of everyday life. I cannot declare this project as the answer but rather it opens an inquiry, a method of analysing architecture. For instance, is the sentinel complicit in anti-memory? How about the state of architectural production? This project is a collection of thought experiments, each of which interact within different contexts of memory and architectural relationships of power. None of which are an answer. When submitting this work in January, I was under the impression that much of the generative power was to be found through Ricouer’s Blocked Memory, I was heavily mistaken. In fact, it was Obligated memory where the project found traction, ‘the duty to remember consists not only in having a deep concern for the past, but in transmitting the meaning of the past to the next generation.’ Como and the history of Fascism work incredibly well within this re-mapping project. Como is a city that attempts to repress that history and to reveal the city as a kind of quarry for excavating that history further aligns with the topographical nature of site, as well as the historiccritical engagement of the brief itself. To narrativize this work through memory almost feels like an accident, I genuinely had no idea the journey the thesis would take me on when I first intended to probe Eisenman’s use of antimemory. It is incredibly satisfying to see that journey had allowed me to frame both of the preconditions to this design project so well, and even more so to use Eisenman against himself. At the time memory felt like a risk, but that’s something I’ve become more attuned to taking with every stage of this project becoming more and more exciting. Over the two years, I have been genuinely lucky enough to have worked in a studio which has allowed my ideas to be developed at their most full capacity. During stage 5, my work took the form of major excavation works, retrospectively depicting the Casa del Fascio as an allegory for Dante’s Inferno. In stage 6, I attacked the same brief but with very different tools, here armed with a reading of the city as a whole, a megastructure has been explored as a response to the cities ‘artificial excavation’, with the thresholds each representing a unique urban-tectonic condition. The range of projects I have left this studio with is I feel incredibly notable, and that is a compliment to my tutors rather than myself. I feel remarkably comfortable having already tackled such a diverse range, to be faced with any project in the ‘real-world’ – regardless of its scale, context -, although I do realise that the learning never stops.

Full Axonometric View of the City-wide Explorations

On a personal level, the re-mapping studio was initially a place in which I’d found myself a little lost. I often talk about historical progression within the project, but I feel like this is the right place to reflect on my own personal development. The teaching and the range of source material offered here in this brief has opened up my understanding of the discipline, I can truly cement my own critical position on the state of architectural production itself, politics, art, theory, history and so on. These are lessons I will carry with me for a lifetime and have truly shaped my character as an architect. Although sadly this does feel like the end of the two-year journey, I am thoroughly excited to see how I can apply such an understanding of the world into the next chapter of my life, wherever that may be. Thank you.

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References 1. Leichter, D., 2011. The Poetics Of Remembrance: Communal Memory And Identity In Heidegger And Ricoeur. Ph.D. Marquette University. 2. Woods, L., 1993. War And Architecture. 1st ed. New York: Princeton Architectural Press. 3. Eisenman, P. & Tafuri, M. (1998) Giuseppe Terragni : transformations, decompositions, critiques. New York: Monacelli Press. 4. Pellauer, D., 2020. Paul Ricoeur (Stanford Encyclopedia Of Philosophy). [online] Plato.stanford. edu. Available at: <https://plato.stanford.edu/entries/ricoeur/> [Accessed 2 January 2021]. 5. F. Delzell, C., 2015. Italy - Economic And Political Crisis: The “Two Red Years”. [online] Encyclopedia Britannica. Available at: <https://www.britannica.com/place/Italy/Economicand-political-crisis-the-two-red-years#ref929661> [Accessed 4 January 2021]. 6. Ricœur, P., Blamey, K., Pellauer, D. & American Council of Learned Societies (2006) Includes bibliographical references (p. 506-626) and index. Memory, history, forgetting. Pbk. ed.. Chicago: University of Chicago Press. 7. Tanović, S. (2019) Designing memory: the architecture of commemoration in Europe, 1914 to the present. 8. Coleman, N. (2020) Materials and meaning in architecture: essays on the bodily experience of buildings. 9. Renton, D. & Academic Library (1999) Fascism: theory and practice. London: Pluto Press. 10. Coleman, N., 1999. Demolition, Archeology, and Building: Mussolini and the Rhetoric of Destruction. In: ACSA International Conference. Pennsylvania: ACSA International Conference. 11. Ricouer, P., 2004. Memory, History, Forgetting. 1st ed. Chicago: The University of Chicago Press. 12. Lythgoe, E., 2014. Social Imagination, Abused Memory, And The Political Place Of History In Memory, History, Forgetting. Researcher. CONICET. 13. Coleman, N., 2021. The Myth Of Autonomy. Researcher. Newcastle University. 14. Van Todler, H., 2021. Engaging Paul Ricoeur’S Work On Memory, History, And Forgetting: In Search Of An Adequate Methodology For Church And Theological Historiography. Master Thesis. Stellenbosch University. 15. Internalized Authority and the Prison of the Mind: Bentham and Foucault’s Panopticon (2021) [Online]. 2021. Available at: https://www.brown.edu/Departments/Joukowsky_Institute/ courses/13things/7121.html. (Accessed: 27 May 2021). 16. El-Kamha, S., 2021. Anti-Memory, Epistemology, the Fascist State, the Neo-Avant-Garde. Thesis Research Document. Newcastle University.

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