Fascists In Exile

"Fascists in Exile tells the extraordinary story of the war criminals, collaborators and fascist ultranationalists who were resettled in Australia by the International Refugee Organisation between 1947 and 1952. It explores the far-right backgrounds and continuing political activism of these displaced persons in Australia, adding to our knowledge of the development of Australian anti-communism in the 1950s. These individuals argued that they had been caught between National Socialism and Soviet communism. What might that have meant for their migration and resettlement trajectories? Beyond 'Nazi-hunting', what can this tell us about the challenge they posed to international and national forms, both in Europe and in Australia? This book demonstrates that fascist ideation could not only survive the war's end but that it continued to be transnational and transcultural. At the same time, anti-fascist protests and then the war crimes investigations of the late 1980s exposed problematic pasts, a legacy with which Australia is still reckoning. The text will appeal to those with an interest in the far right, Australian migration and refugee issues"--

BETWEEN 1933 AND 1945 MEMBERS OF THREE GROUPS—THE Nazi fascists, Inner Emigration, and Exiles—fought with equal fervor over who could definitively claim to represent the authentically “great German culture,” as it was culture that imparted real value to both the state and the individual. But when authorities made pronouncements about “culture” were they really talking about high art? This book analyzes the highly complex interconnections among the cultural-political concepts of these various ideological groups and asks why the most artistically ambitious art forms were viewed as politically important by all cultured (or even semi-cultured) Germans in the period from 1933 to 1945, with their ownership the object of a bitter struggle between key figures in the Nazi fascist regime, representatives of Inner Emigration, and Germans driven out of the Third Reich.

Beskrivelse af fascistiske bevægelser blandt russiske emigranter, som efter revolutionen i 1917 i deres eksil søgte at kompensere for deres magtesløshed ved at hengive sig til desperate fantasier.

Fascists in Exile tells the extraordinary story of the war criminals, collaborators and fascist ultranationalists who were resettled in Australia by the International Refugee Organisation between 1947 and 1952. It explores the far-right backgrounds and continuing political activism of these displaced persons in Australia, adding to our knowledge of the development of Australian anti-communism in the 1950s. These individuals argued that they had been caught between National Socialism and Soviet communism. What might that have meant for their migration and resettlement trajectories? Beyond ‘Nazi-hunting,’ what can this tell us about the challenge they posed to international and national forms, both in Europe and in Australia? This book demonstrates that fascist ideation could not only survive the war’s end but that it continued to be transnational and transcultural. At the same time, anti-fascist protests and then the war crimes investigations of the late 1980s exposed problematic pasts, a legacy with which Australia is still reckoning. The text will appeal to those with an interest in the far right, Australian migration and refugee issues.

This book is an accessible history of internal exile's origins and practices under Fascism and of its representation in film, literature and memoir.

This book initiates a critical discussion on the varieties of global anti-fascism and explores the cultural, political and practical articulations of anti-fascism around the world. This volume brings together a group of leading scholars on the history of anti-fascism to provide a comprehensive analysis of anti-fascism from a transnational and global perspective and to reveal the abundance and complexity of anti-fascist ideas, movements and practices. Through a number of interlinked case studies, they examine how different forms of global anti-fascisms were embedded in various national and local contexts during the interwar period and investigate the interrelations between local articulations and the global movement. Contributions also explore the actions and impact of African, Asian, Latin American, Caribbean, and Middle Eastern anti-fascist voices that have often been ignored or rendered peripheral in international histories of anti-fascism. Aimed at a postgraduate student audience, this book will be useful for modules on the extreme right, political history, political thought, political ideologies, political parties, social movements, political regimes, global politics, world history and sociology. Chapters 5 and 10 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Beskrivelse af fascistiske bevægelser blandt russiske emigranter, som efter revolutionen i 1917 i deres eksil søgte at kompensere for deres magtesløshed ved at hengive sig til desperate fantasier.

In contrast to the sometimes overly generous treatment of German writers forced into exile by Hitler's fascist regime, Anti-Nazi Writers in Exile applies the strict aesthetic and historical standards of literary criticism, putting aside any special pleading for their anti-Nazi political views. This critical approach leads to two important conclusions: that the emigrant writers' sacrifices and opposition to Hitler's Germany, however courageous, were ultimately futile and that the literature they produced was largely an aesthetic failure, due in part to the very nature of the exile experience. Anti-Nazi Writers in Exile includes a brief description of literary life in the Third Reich, but then concentrates on the United States as the scene of the exile's greatest activity after the outbreak of World War II. Krispyn concludes that the exiles' failure to achieve their political and artistic aims constitutes an important political case history within the larger history of Nazi Germany. Artistic and intellectual activities seem powerless to oppose terror, and the turn of the creative mind to political ends seemingly undermines the aesthetic force of creation.