UR-FASCISM by Umberto Eco
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Chapter One: Introduction
CHANGING PERCEPTIONS OF IL DUCE TRACING POLITICAL TRENDS IN THE ITALIAN-AMERICAN MEDIA DURING THE EARLY YEARS OF FASCISM by Ryan J. Antonucci Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the History Program YOUNGSTOWN STATE UNIVERSITY August, 2013 Changing Perceptions of il Duce Tracing Political Trends in the Italian-American Media during the Early Years of Fascism Ryan J. Antonucci I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: Ryan J. Antonucci, Student Date Approvals: Dr. David Simonelli, Thesis Advisor Date Dr. Brian Bonhomme, Committee Member Date Dr. Martha Pallante, Committee Member Date Dr. Carla Simonini, Committee Member Date Dr. Salvatore A. Sanders, Associate Dean of Graduate Studies Date Ryan J. Antonucci © 2013 iii ABSTRACT Scholars of Italian-American history have traditionally asserted that the ethnic community’s media during the 1920s and 1930s was pro-Fascist leaning. This thesis challenges that narrative by proving that moderate, and often ambivalent, opinions existed at one time, and the shift to a philo-Fascist position was an active process. Using a survey of six Italian-language sources from diverse cities during the inauguration of Benito Mussolini’s regime, research shows that interpretations varied significantly. One of the newspapers, Il Cittadino Italo-Americano (Youngstown, Ohio) is then used as a case study to better understand why events in Italy were interpreted in certain ways. -
The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 Denali Elizabeth Kemper CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/661 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 By Denali Elizabeth Kemper Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis sponsor: January 5, 2021____ Emily Braun_________________________ Date Signature January 5, 2021____ Joachim Pissarro______________________ Date Signature Table of Contents Acronyms i List of Illustrations ii Introduction 1 Chapter 1: Points of Reckoning 14 Chapter 2: The Generational Shift 41 Chapter 3: The Return of the Repressed 63 Chapter 4: The Power of Nazi Images 74 Bibliography 93 Illustrations 101 i Acronyms CCP = Central Collecting Points FRG = Federal Republic of Germany, West Germany GDK = Grosse Deutsche Kunstaustellung (Great German Art Exhibitions) GDR = German Democratic Republic, East Germany HDK = Haus der Deutschen Kunst (House of German Art) MFAA = Monuments, Fine Arts, and Archives Program NSDAP = Nationalsozialistische Deutsche Arbeiterpartei (National Socialist German Worker’s or Nazi Party) SS = Schutzstaffel, a former paramilitary organization in Nazi Germany ii List of Illustrations Figure 1: Anonymous photographer. -
Italian Fascism Between Ideology and Spectacle
Fast Capitalism ISSN 1930-014X Volume 1 • Issue 2 • 2005 doi:10.32855/fcapital.200502.014 Italian Fascism between Ideology and Spectacle Federico Caprotti In April 1945, a disturbing scene was played out at a petrol station in Piazzale Loreto, in central Milan. Mussolini’s body was displayed for all to see, hanging upside down, together with those of other fascists and of Claretta Petacci, his mistress. Directly, the scene showed the triumph of the partisans, whose efforts against the Nazis had greatly accelerated the liberation of the North of Italy. The Piazzale Loreto scene was both a victory sign and a reprisal. Nazis and fascists had executed various partisans and displayed their bodies in the same place earlier in the war. Indirectly, the scene was a symbolic reversal of what had until then been branded as historical certainty. Piazzale Loreto was a public urban spectacle aimed at showing the Italian people that fascism had ended. The Duce was now displayed as a gruesome symbol of defeat in the city where fascism had first developed. More than two decades of fascism were symbolically overcome through a barbaric catharsis. The concept of spectacle has been applied to Italian fascism (Falasca-Zamponi 2000) in an attempt to conceptualize and understand the relationship between fascist ideology and its external manifestations in the public, symbolic, aesthetic, and urban spheres. This paper aims to further develop the concept of fascism as a society of spectacle by elaborating a geographical understanding of Italian fascism as a material phenomenon within modernity. Fascism is understood as an ideological construct (on which the political movement was based) which was expressed in the symbolic and aesthetic realm; its symbolism and art however are seen as having been rooted in material, historical specificity. -
World History Week 3 Take Home Packet
Local District South Students: We hope that you are adjusting to the difficult situation we all find ourselves in and that you are taking time to rest, care for yourself and those you love, and do something everyday to lift your spirits. We want you to know that you are missed and that we have been working hard to develop ways to support you. We want to stay connected with you and provide you with opportunities to learn while you are at home. We hope that you find these activities interesting and that they provide you with something to look forward to over the course of the next week. Stay home; stay healthy; stay safe. We cannot wait until we see you again. Sincerely, The Local District South Instructional Team and your school family World History Week 3 Take Home Packet Student Name_________________________________________________________________________ School________________________________________ Teacher_______________________________ Students: Each of the Social Science Learning Opportunities Packet was developed based on a portion of the standards framework. The mini-unit you will be working on this week, is based on these questions from the framework: ● What was totalitarianism, and how was it implemented in similar and different ways in Japan, Germany, Italy, and the Soviet Union? We encourage you to engage in the Extended Learning Opportunity if you are able. Over the course of the next week, please do the activities listed for each day. Week 3, Day 1 1. Read, “Life in a Totalitarian Country” and annotate using the annotation bookmark. 2. Answer the quiz questions. 3. Write a response to this prompt:Observe: How does the text describe the relationship between fear and totalitarian governments? Week 3, Day 2 1. -
Europe in Crisis: Class 5 – the Rise of Fascism
Lecture Notes Europe in Crisis: Class 5 – The Rise of Fascism Slide 2 Postwar European Economies: • After the war, Europe suffered great economic problems. These problems varied from country to country. All countries had taken out loans to fight the war, and were trying to figure out how to pay those back. o England: Used to be a manufacturing powerhouse. Now, had lost many of its markets to foreign competitors like Japan and the US. Also, in 1914, England had risked falling behind Germany and the US technologically. This problem was exacerbated by a war that left Britain poor and the US rich. Economy falters, during the interwar period, Britain has a steady unemployment rate of about 10%. o France: Had taken out more loans than anyone else. Also, had to rebuild about a quarter of their country. Relied on German reparation payments for all this. Most people have work, though, because of jobs created by rebuilding. In 1923, when Germany defaults on reparations, France invades the Ruhr, and collects the profits from the coal mines here. An agreement is reached in 1924 with the Dawes Plan – American bankers promise to invest in Germany, thus boosting its economy, if France leaves the Ruhr, reduces reparations and agrees to a two-year moratorium. o Germany: Was reeling after the war, and had trouble getting its economy back on track. Problems were exacerbated when France invaded the Ruhr in 1923. Germany responded by encouraging workers to strike. Meanwhile, they kept printing money, trying to come up with a way to pay the French. -
The Corporatism of Fascist Italy Between Words and Reality
CORPORATIVISMO HISTÓRICO NO BRASIL E NA EUROPA http://dx.doi.org/10.15448/1980-864X.2016.2.22336 The corporatism of Fascist Italy between words and reality O corporativismo da Itália fascista entre palavras e realidade El corporativismo de la Italia fascista entre las palabras y la realidad Alessio Gagliardi* Translated by Sergio Knipe Abstract: It is common knowledge that State intervention in Italy in the Twenties and the Thirties developed outside of corporative institutions. The history of Fascist corporatism, however, is not only an unsuccessful story. Despite the failure of the “corporatist revolution” and “Fascist third way”, Fascist corporatism since the mid- Twenties helped the progressive development of a new political system to regulate relationship between State and private interests. The paper examines not only the institutional framework (the systems of formal laws, regulations, and procedures, and informal norms) but also their acts and real activities. It dwells upon internal debates, political and institutional importance acquired by corporative institutions in Fascist regime and behaviours of entrepreneurial organizations and labour unions. In this way, the paper aims to point out the “real” consequences of Fascist corporatism, different from the ideological ones. Keywords: corporatism; Fascism; Italy Resumo: É de conhecimento geral que intervenções estatais na Itália nas décadas de 1920 e 1930 se desenvolveram fora de instituições corporativas. A história do corporativismo fascista, no entanto, não é totalmente sem sucessos. Apesar da falha da “revolução corporativista” e da “terceira via fascista”, o corporativismo fascista, desde meados dos anos 1920, ajudou no desenvolvimento progressivo de um novo sistema político para regular a relação entre o Estado e interesses privados. -
QUALESTORIA. Rivista Di Storia Contemporanea. L'italia E La
«Qualestoria» n.1, giugno 2021, pp. 163-186 DOI: 10.13137/0393-6082/32191 https://www.openstarts.units.it/handle/10077/21200 163 Culture, arts, politics. Italy in Ivan Meštrović’s and Bogdan Radica’s discourses between the two World Wars di Maciej Czerwiński In this article the activity and discourses of two Dalmatian public figures are taken into consideration: the sculptor Ivan Meštrović and the journalist Bogdan Radica. They both had an enormous influence on how the image of Italy was created and disseminated in Yugoslavia, in particular in the 1920s and 1930s. The analysis of their discourses is interpreted in terms of the concept of Dalmatia within a wider Mediterranean basin which also refers to two diverse conceptualizations of Yugoslavism, cultural and politi- cal. Meštrović’s vision of Dalmatia/Croatia/Yugoslavia was based on his rural hinterland idiom enabling him to embrace racial and cultural Yugoslavism. In contrast, Radica, in spite of having a pro-Yugoslav orientation during the same period, did not believe in race, so for him the idea of Croat-Serb unity was more a political issue (to a lesser extent a cultural one). Keywords: Dalmatia, Yugoslav-Italian relationships, Croatianness, Yugoslavism, Bor- derlands Parole chiave: Dalmazia, Relazioni Jugoslavia-Italia, Croaticità, Jugoslavismo, Aree di confine Introduction This article takes into consideration the activity and discourses of the sculptor Ivan Meštrović and the journalist Bogdan Radica1. The choice of these two figures from Dalmatia, though very different in terms of their profession and political status in the interwar Yugoslav state (1918-41), has an important justification. Not only they both were influenced by Italian culture and heritage (displaying the typical Dalmatian ambivalence towards politics), but they also evaluated Italian heritage and politics in the Croatian/Yugoslav public sphere. -
Fascist Italy's Illiberal Cultural Networks Culture, Corporatism And
Genealogie e geografie dell’anti-democrazia nella crisi europea degli anni Trenta Fascismi, corporativismi, laburismi a cura di Laura Cerasi Fascist Italy’s Illiberal Cultural Networks Culture, Corporatism and International Relations Benjamin G. Martin Uppsala University, Sweden Abstract Italian fascists presented corporatism, a system of sector-wide unions bring- ing together workers and employers under firm state control, as a new way to resolve tensions between labour and capital, and to reincorporate the working classes in na- tional life. ‘Cultural corporatism’ – the fascist labour model applied to the realm of the arts – was likewise presented as a historic resolution of the problem of the artist’s role in modern society. Focusing on two art conferences in Venice in 1932 and 1934, this article explores how Italian leaders promoted cultural corporatism internationally, creating illiberal international networks designed to help promote fascist ideology and Italian soft power. Keywords Fascism. Corporatism. State control. Labour. Capital. Summary 1 Introduction. – 2 Broadcasting Cultural Corporatism. – 3 Venice 1932: Better Art Through Organisation. – 4 Italy’s International Cultural Outreach: Strategies and Themes. – 5 Venice 1934: Art and the State, Italy and the League. – 6 Conclusion. 1 Introduction The great ideological conflict of the interwar decades was a clash of world- views and visions of society, but it also had a quite practical component: which ideology could best respond to the concrete problems of the age? Problems like economic breakdown, mass unemployment, and labour unrest were not only practical, of course: they seemed linked to a broader breakdown of so- Studi di storia 8 e-ISSN 2610-9107 | ISSN 2610-9883 ISBN [ebook] 978-88-6969-317-5 | ISBN [print] 978-88-6969-318-2 Open access 137 Published 2019-05-31 © 2019 | cb Creative Commons Attribution 4.0 International Public License DOI 10.30687/978-88-6969-317-5/007 Martin Fascist Italy’s Illiberal Cultural Networks. -
Preparing for a Level History – Transition Tasks
Preparing for A Level History – Transition tasks https://qualifications.pearson.com/content/dam/pdf/A%20Level/History/2015/Specification%20and%20sample%20ass essments/9781446914366_GCE_2015_A_HIST.pdf Unit Content and Mode of Assessment Weighting Paper 1 1G: Germany and West Germany, 1918 - 89 30% Paper 2 2G.1: The rise and fall of fascism in Italy, c1911-46 20% Paper 3 35.1. Britain: losing and gaining and Empire, 1763-1914 30% Coursework An independently researched enquiry The topic is to be decided 20% Key questions (answer these in as much detail as you can): 1. What were the consequences of World War One for Germany? (include in your answer- Treaty of Versailles, political upheaval, Weimar Constitution). 2. Why did the Weimar Republic collapse in 1933? (include in your answer- the rise of the Nazis, the economic and social problems caused by the Wall Street Crash, weaknesses with the Weimar Constitution, the role of Papen and Hindenburg) 3. How did the Nazis create a dictatorship? 4. What was the FRG and how did it's constitution (The Basic Law) differ from that of the Weimar constitution? 5. Produce a fact-file on each of the FRG chancellors. (include key information like when they were chancellor what party they belonged to what policies they had, what problems they faced) 6. Write an account of the opposition groups that the Weimar Republic faced. (for example the Spartacists and Nazis) 7. What opposition did the Nazi regime face? Why was this unsuccessful? 8. What opposition did the FRG face? 9. How did the role and status of women change from 1918-1989 in Germany and West Germany? 10. -
WP022 Alain De Benoist's Anti-Political Philosophy Beyond
Working Paper Series Papers available in the Working Paper Series are works in progress. Please do not cite without permission. Any comments should be addressed directly to the author Reference WP022 Title Alain de Benoist’s anti-political philosophy beyond Left and Right: Non-emancipatory responses to globalisation and crisis Author Raphael Schlembach Email: [email protected] 2 Raphael Schlembach (Liverpool Hope University) Alain de Benoist’s anti-political philosophy beyond Left and Right: Non-emancipatory responses to globalisation and crisis Key Words – anti-politics, economic crisis, globalisation, populism, neo-fascism Abstract The purpose of this paper is to analyse and critique non-emancipatory and anti-political forms of opposition to globalisation and to the current Eurozone management of the global financial crisis. It will question, amongst other themes, critiques of globalisation that present themselves as mere critiques of capitalist excess or capital’s ‘transnational’ form. This opens up the problem of the national/global antinomy as well as of responses that contain a nationalist or traditionalist element. The paper draws primarily on a critical discussion of the work of ‘European New Right’ philosopher Alain de Benoist. In de Benoist’s writings it detects an anti-political rejection of the political divide between left and right, which aligns it with contemporary neo-fascist opposition to the Eurozone crisis. The paper will reflect upon this alignment through a discussion of Marxist critical theory, putting forward the argument that capitalist processes must be understood as non-personal domination rather than as a system of individual greed or wilful exploitation. This should also open up the possibility to re-evaluate some of the recent progressive, yet largely populist, movement mobilisations directed at the crisis. -
Prospero's Monsters: Authenticity, Identity, and Hybridity in the Post-Colonial Age
Bowling Green State University ScholarWorks@BGSU 18th Annual Africana Studies Student Research Africana Studies Student Research Conference Conference and Luncheon Feb 12th, 10:30 AM - 11:50 AM Prospero's Monsters: Authenticity, Identity, and Hybridity in the Post-Colonial Age Dominique Pen Follow this and additional works at: https://scholarworks.bgsu.edu/africana_studies_conf Part of the African Languages and Societies Commons Pen, Dominique, "Prospero's Monsters: Authenticity, Identity, and Hybridity in the Post-Colonial Age" (2016). Africana Studies Student Research Conference. 3. https://scholarworks.bgsu.edu/africana_studies_conf/2016/002/3 This Event is brought to you for free and open access by the Conferences and Events at ScholarWorks@BGSU. It has been accepted for inclusion in Africana Studies Student Research Conference by an authorized administrator of ScholarWorks@BGSU. Pen1 Prospero’s Monsters: Authenticity, Identity, and Hybridity in the Post-Colonial Age Dominique Pen M.A. Candidate, Art History, School of Art 18th Annual Africana Studies Student Research Conference Pen2 In 2005, Yinka Shonibare was offered the prestigious distinction of becoming recognized as a Member of the Most Excellent Order of the British Empire (MBE). As an artist whose work is characterized by his direct engagement with and critiques of power, the establishment, colonialism and imperialism, in many cases specifically relating to Britain’s past and present, some questioned whether he was going to refuse the honor. This inquiry was perhaps encouraged -
1 Introduction the Empire at the End of Decadence the Social, Scientific
1 Introduction The Empire at the End of Decadence The social, scientific and industrial revolutions of the later nineteenth century brought with them a ferment of new artistic visions. An emphasis on scientific determinism and the depiction of reality led to the aesthetic movement known as Naturalism, which allowed the human condition to be presented in detached, objective terms, often with a minimum of moral judgment. This in turn was counterbalanced by more metaphorical modes of expression such as Symbolism, Decadence, and Aestheticism, which flourished in both literature and the visual arts, and tended to exalt subjective individual experience at the expense of straightforward depictions of nature and reality. Dismay at the fast pace of social and technological innovation led many adherents of these less realistic movements to reject faith in the new beginnings proclaimed by the voices of progress, and instead focus in an almost perverse way on the imagery of degeneration, artificiality, and ruin. By the 1890s, the provocative, anti-traditionalist attitudes of those writers and artists who had come to be called Decadents, combined with their often bizarre personal habits, had inspired the name for an age that was fascinated by the contemplation of both sumptuousness and demise: the fin de siècle. These artistic and social visions of degeneration and death derived from a variety of inspirations. The pessimistic philosophy of Arthur Schopenhauer (1788-1860), who had envisioned human existence as a miserable round of unsatisfied needs and desires that might only be alleviated by the contemplation of works of art or the annihilation of the self, contributed much to fin-de-siècle consciousness.1 Another significant influence may be found in the numerous writers and artists whose works served to link the themes and imagery of Romanticism 2 with those of Symbolism and the fin-de-siècle evocations of Decadence, such as William Blake, Edgar Allen Poe, Eugène Delacroix, the Pre-Raphaelite Brotherhood, Charles Baudelaire, and Gustave Flaubert.