The Origins Of Fascist Ideology 1918 1925

This is the first detailed and definitive study of the development and initial success of fascism as it originated in Italy right after the First World War.

La Grande Italia traces the history of the myth of the nation in Italy along the curve of its rise and fall throughout the twentieth century. Starting with the festivities for the fiftieth anniversary of the unification of Italy in 1911 and ending with the centennial celebrations of 1961, Emilio Gentile describes a dense sequence of events: from victorious Italian participation in World War I through the rise and triumph of Fascism to Italy's transition to a republic. Gentile's definition of "Italians" encompasses the whole range of political, cultural, and social actors: Liberals and Catholics, Monarchists and Republicans, Fascists and Socialists. La Grande Italia presents a sweeping study of the development of Italian national identity in all its incarnations throughout the twentieth century. This important contribution to the study of modern Italian nationalism and the ambition to achieve a "great Italy" between the unification of Italy and the advent of the Italian Republic will appeal to anyone interested in modern European history, Fascism, and nationalism. Best Books for Special Interests, selected by the American Association of School Librarians, and Best Books for Regional General Interests, selected by the Public Library Association

This controversial and groundbreaking study proposes a compelling reinterpretation of the political thought of one Italy's founding fathers, Giuseppe Mazzini (1805-1872), and in the process suggests a new approach to understanding the origins of fascist ideology.

Bringing together an expert group of established and emerging scholars, this book analyses the pervasive myth of the 'new man' in various fascist movements and far-right regimes between 1919 and 1945. Through a series of ground-breaking case studies focusing on countries in Europe, but with additional chapters on Argentina, Brazil and Japan, The "New Man" in Radical Right Ideology and Practice, 1919-45 argues that what many national forms of far-right politics understood at the time as a so-called 'anthropological revolution' is essential to understanding this ideology's bio-political, often revolutionary dynamics. It explores how these movements promoted the creation of a new, ideal human, what this ideal looked like and what this things tell us about fascism's emergence in the 20th century. The years after World War One saw the rise of regimes and movements professing totalitarian aims. In the case of revolutionary, radical-right movements, these totalising goals extended to changing the very nature of humanity through modern science, propaganda and conquest. At its most extreme, one of the key aims of fascism – the most extreme manifestation of radical right politics between the wars – was to create a 'new man'. Naturally, this manifested itself in different ways in varying national contexts and this volume explores these manifestations in order to better comprehend early 20th-century fascism both within national boundaries and in a broader, transnational context.

The term “fascism” or “fascist” appears with regularity in academic and lay accounts of past and contemporary politics. This volume deals with the term as a concept, and traces its evolution over almost a century, as it has been employed virtually every place on the globe. It has been applied to Xi Jinping’s China, Vladimir Putin’s Russia, and to Donald Trump’s presidency in the United States. Written in a clear style—free of unnecessary jargon—the account is fully accessible to both professionals and lay persons. An Addendum to the text provides social science professionals with a bibliography that covers virtually all the major works dealing with Fascism as an ideology.

This book evaluates the current and future state of fascism studies, reflecting on the first hundred years of fascism and looking ahead to a new era in which fascism studies increasingly faces fresh questions concerning its relevance and the potential reappearance of fascism. This wide-ranging work celebrates Roger Griffin’s contributions to fascism studies – in conceptual and definitional terms, but also in advancing our understanding of fascism – which have informed related research in a number of fields and directions since the 1990s. Bringing together three ‘generations’ of fascism scholars, the book offers a combination of broad conceptual essays and contributions focusing on particular themes and facets of fascism. The book features chapters, which, although diverse in their approaches, explore Griffin’s work while also engaging critically with other schools of thought. As such, it identifies new avenues of research in fascism studies, placing Griffin’s work within the context of new and emerging voices in the field.

Alessandra Tarquini’s A History of Italian Fascist Culture, 1922–1943 is widely recognized as an authoritative synthesis of the field. The book was published to much critical acclaim in 2011 and revised and expanded five years later. This long-awaited translation presents Tarquini’s compact, clear prose to readers previously unable to read it in the original Italian. Tarquini sketches the universe of Italian fascism in three broad directions: the regime’s cultural policies, the condition of various art forms and scholarly disciplines, and the ideology underpinning the totalitarian state. She details the choices the ruling class made between 1922 and 1943, revealing how cultural policies shaped the country and how intellectuals and artists contributed to those decisions. The result is a view of fascist ideology as a system of visions, ideals, and, above all, myths capable of orienting political action and promoting a precise worldview. Building on George L. Mosse’s foundational research, Tarquini provides the best single-volume work available to fully understand a complex and challenging subject. It reveals how the fascists used culture—art, cinema, music, theater, and literature—to build a conservative revolution that purported to protect the traditional social fabric while presenting itself as maximally oriented toward the future.

Flying and the pilot were significant metaphors of fascism's mythical modernity. Fernando Esposito traces the changing meanings of these highly charged symbols from the air show in Brescia, to the sky above the trenches of the First World War to the violent ideological clashes of the interwar period.