Staging The Fascist War

Historians regard the Italian home front during the Second World War as an observation post from which to study the relationship between Fascism and society during the years of the collapse of the Mussolini regime. Yet the role of propaganda in influencing that relationship has received little attention. The media played a crucial role in setting the stage for the regime's image under the intense pressures of wartime. The Ministry of Popular Culture, under Mussolini's supervision, maintained control not only over the press, but also over radio, cinema, theatre, the arts and all forms of popular culture. When this Fascist media narrative was confronted by the sense of vulnerability among civilians following the first enemy air raids in June 1940, it fell apart like a house of cards. Drawing on largely unexplored sources such as government papers, personal memoirs, censored letters and confidential reports, Staging the Fascist War analyses the crisis of the regime in the years from 1938 to 1943 through the perspective of a propaganda programme that failed to bolster Fascist myths at a time of total war.

From the invasion of Ethiopia in 1935 through to the waning months of the World War II in 1945, Fascist Italy was at war. This Fascist decade of war comprised an uninterrupted stretch of military and political engagements in which Italian military forces were involved in Abyssinia, Spain, Albania, France, Greece, the Soviet Union, North Africa and the Middle East. As a junior partner to Nazi Germany, only entering the war in June 1940, Italy is often seen as a relatively minor player in World War II. However, this book challenges much of the existing scholarship by arguing that Fascist Italy played a significant and distinct role in shaping international relations between 1935 and 1945, creating a Fascist decade of war.

On an April evening in Florence in 1934, before twenty thousand spectators, the mass spectacle 18BL was presented, involving two thousand amateur actors, an air squadron, one infantry and cavalry brigade, fifty trucks, four field and machine gun batteries, ten field-radio stations, and six photoelectric units. However titantic its scale, 18BL's ambitions were even greater: to institute a revolutionary fascist theater of the future, a modern theatre of and for the masses that would end the crisis of the bourgeois theatre. This is the complete story of the event, a colossal failure to critics and spectators alike, which the fascist government took pains to expunge from the annals of the regime. The detailed reconstruction of these various aspects of 18BL serves as a springboard for a larger inquiry into the place of media, technology, and machinery in the fascist imagination, particularly in its links to fascist models of narrative, historiography, spectacle, and subjectivity.

These essays grapple with the class appeal of fascism, its continuities and breaks with the “regular” far-right and also even with the Left. Written from the perspective of revolutionaries active in the struggle against the far right.

Despite their undeniable importance, the leaders of the Fascist and Nazi youth organizations have received little attention from historians. In Shaping the New Man, Alessio Ponzio uncovers the largely untold story of the training and education of these crucial protagonists of the Fascist and Nazi regimes, and he examines more broadly the structures, ideologies, rhetoric, and aspirations of youth organizations in Fascist Italy and Nazi Germany. Ponzio shows how the Italian Fascists’ pedagogical practices influenced the origin and evolution of the Hitler Youth. He dissects similarities and differences in the training processes of the youth leaders of the Opera Nazionale Balilla, Gioventù Italiana del Littorio, and Hitlerjugend. And, he explores the transnational institutional interactions and mutual cooperation that flourished between Mussolini’s and Hitler’s youth organizations in the 1930s and 1940s.

NATIONAL BESTSELLER The extraordinary story of four courageous women who helped form the Italian Resistance against the Nazis and the Fascists during the Second World War. In the late summer of 1943, when Italy changed sides in WWII and the Germans, now their enemies, occupied the north of the country, an Italian Resistance was born. Ada, Frida, Silvia and Bianca were four young Piedmontese women who joined the Resistance, living secretively in the mountains surrounding Turin. They were not alone. Between 1943 and 1945, as the Allies battled their way north, thousands of men and women throughout occupied Italy rose up and fought to liberate their country from the German invaders and their Fascist collaborators. What made the partisan war all the more extraordinary was the number of women in its ranks. The bloody civil war that ensued across the country pitted neighbour against neighbour, and brought out the best and worst in Italian society. The courage shown by the partisans was exemplary, and eventually bound them together as a coherent fighting force. And the women's contribution was invaluable—they fought, carried messages and weapons, provided safe houses, laid mines and took prisoners. Ada's house deep in the mountains became a meeting place and refuge for many of them. The death rattle of Mussolini's two decades of Fascist rule—with its corruption, greed and anti-Semitism—was unrelentingly violent and brutal, but for the partisan women it was also a time of camaraderie and equality, pride and optimism. They would prove, to themselves and to the world, what resolve, tenacity and above all exceptional courage could achieve.

What is fascism? By focusing on the concrete: what the fascists did, rather than what they said, the esteemed historian Robert O. Paxton answers this question. From the first violent uniformed bands beating up “enemies of the state,” through Mussolini’s rise to power, to Germany’s fascist radicalization in World War II, Paxton shows clearly why fascists came to power in some countries and not others, and explores whether fascism could exist outside the early-twentieth-century European setting in which it emerged. "A deeply intelligent and very readable book. . . . Historical analysis at its best." –The Economist The Anatomy of Fascism will have a lasting impact on our understanding of modern European history, just as Paxton’s classic Vichy France redefined our vision of World War II. Based on a lifetime of research, this compelling and important book transforms our knowledge of fascism–“the major political innovation of the twentieth century, and the source of much of its pain.”

This is the original Doctrine of Fascism. This doctrine worked as the basis of the Italian Fascist Party and influenced numerous fascist movements and individuals that followed. "Fascism, the more it considers and observes the future and the development of humanity quite apart from political considerations of the moment, believes neither in the possibility nor the utility of perpetual peace. It thus repudiates the doctrine of Pacifism - born of a renunciation of the struggle and an act of cowardice in the face of sacrifice. War alone brings up to its highest tension all human energy and puts the stamp of nobility upon the peoples who have courage to meet it." -Mussolini