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"Visualizing Fascism explores various ways of tracing, displaying, viewing, and interacting with fascism, examining fascism as both a global and aesthetic phenomenon during the twentieth century. It emphasizes transnational and visual qualities in order to refigure ways of establishing visual languages, articulate commentaries on the dynamic nature of national identity, and form both supportive and challenging attitudes about the global right. In particular, this volume seeks to challenge the notion that fascism is primarily a national product of Italy, Japan, and Germany; rather it seeks to locate the rise of fascism and the global right in transnational networks connected by capitalism and imperialism. The collection contains twelve essays. In the introduction, Thomas examines the rise of global and aesthetic forms of fascism, ending with the formulation of the 'portable concept of fascism'-wherein fascism is defined more by its 'energies' and 'ideologies' than by its local manifestations. In two of the volume's early essays, Maggie Clinton and Paul D. Barclay examine the use of public imagery-modernist visuals in interwar China, and chureito, or loyal-spirit towers, in Japan-to envision and shore up support for nationalist ideologies. In her essay, Ruth Ben-Ghiat challenges the fascist objective to erase the agency of the individual in favor of the undifferentiated mass by examining images of faces taken from everyday life under fascist regimes. In another essay, Lorena Rizzo investigates fascist and imperialist entanglement in Southern Africa by examining photographs of settler colonialism in Namibia. The later essays historicize the interconnected visual and historical lineages within the Netherlands, Japan, Indonesia, Slovakia, and Spain-contexts that combine to create a common vocabulary for national identity making. In these essays, Ethan Mark, Bertrand Metton, and Nadya Bair investigate the actors and methods integral to creating a joint foundation for fascist aesthetics. In the second to last essay, Claire Zimmerman addresses the ways in which national and regional narrative building contributes to establishing various futures, accounting for the importance of understanding the implications behind elements of style and image when examining the visual rhetoric of fascism. This collection will be particularly suited to students"--

Fascism and culture.

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Fascism and culture --- Fascism --- Congresses

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Focusing on Japan, scholars of history, literature, film, art history, and anthropology demonstrate the necessity of understanding fascism s cultural manifestations.

Fascism and culture --- History --- Japan --- Civilization

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Italian literature --- Italian periodicals --- Fascism --- Fascism and culture

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They envisioned a brave new world, and what they got was fascism. As vibrant as its counterparts in Paris, Munich, and Milan, the avant-garde of Florence rose on a wave of artistic, political, and social idealism that swept the world with the arrival of the twentieth century. How the movement flourished in its first heady years, only to flounder in the bloody wake of World War I, is a fascinating story, told here for the first time. It is the history of a whole generation's extraordinary promise--and equally extraordinary failure. The "decadentism" of D'Annunzio, the philosophical ideals of Croce and Gentile, the politics of Italian socialism: all these strains flowed together to buoy the emerging avant-garde in Florence. Walter Adamson shows us the young artists and writers caught up in the intellectual ferment of their time, among them the poet Giovanni Papini, the painter Ardengo Soffici, and the cultural critic Giuseppe Prezzolini. He depicts a generation rejecting provincialism, seeking spiritual freedom in Paris, and ultimately blending the modernist style found there with their own sense of toscanità or "being Tuscan." In their journals--Leonardo, La Voce, Lacerba, and l'Italia futurista--and in their cafe life at the Giubbe Rosse, we see the avant-garde of Florence as citizens of an intellectual world peopled by the likes of Picasso, Bergson, Sorel, Unamuno, Pareto, Weininger, and William James. We witness their mounting commitment to the ideals of regenerative violence and watch their existence become increasingly frenzied as war approaches. Finally, Adamson shows us the ultimate betrayal of the movement's aspirations as its cultural politics help catapult Italy into war and prepare the way for Mussolini's rise to power.

Modernism (Art) --- Fascism and culture --- Avant-garde (Aesthetics)