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Despite the enormous amount of material about Nazism, there has been no substantial work on its emblem, the swastika. This original contribution examines the popular appeal of the archaic image of the swastika: the tradition of the symbol.
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With observations on the migration of certain industries in prehistoric times. From the report of the U.S. National Museum for 1894, pages 757-1011, with plates 1-25 and figures 1-374.
"Forces even the most sophisticated to rethink and rework their ideas of how images work in the world."--School Library Journal.* Traces the history of the swastika, from religious symbol to reviled symbol * More than 175 illustrations * Powerful examination of the impact of one graphic symbol on society. This acclaimed examination of the most powerful symbol ever created is now available in paperback. The rise and fall of the swastika, and its mysteries and misunderstandings, are fully explained and explored. Readers will be captivated by the twists and turns of the symbol's fortunes, from its pre-Nazi religious and commercial uses, to the Nazi appropriation and misuse of the form, to its c...
The author of the work derives the origins of what we know as a swastika symbol from the earliest cultures. He studies its origins in the ancient shapes of a cross and brings the comparison of different types of cross symbols, which later evolved in the swastika. Further, the author examines the role of the swastika in the extreme Orient (Japan, Korea, China, and Tibet), the classical Orient (Babylonia, Assyria, Chaldea, and Persia, Phenicia, Lycaonia, Armenia, Caucasus, and Asia Minor - including Troy and mentioning Schliemann), Africa (Egypt, Algeria, Ashantee), classical Occident (Mediterranean - Greece, Cyprus, Rhodes, Milos, and Thera), Europe (the Bronze Age, the Gallo-Roman period, th...
In 1995, we published the 1st Edition of The Pink Swastika to counter historical revisionism by the homosexual political movement which had been attempting since the 1970s to fabricate a "Gay Holocaust" equivalent to that suffered by the Jews in Nazi Germany. Fifteen years have passed, but our research into this topic has never stopped.
Norman Spinrad's 1972 alternate history, gives us both a metafictional what-if novel and a cutting satire of one of the 20th century's most evil regimes . . . In 1919, a young Austrian artist by the name of Adolf Hitler immigrated to the United States to become an illustrator for the pulp magazines and, eventually, a Hugo Award-winning SF author. This volume contains his greatest work, Lord of the Swastika: an epic post-apocalyptic tale of genetic 'trueman' Feric Jagger and his quest to purify the bloodline of humanity by ruthlessly slaughtering races of the genetically impure - a quest Norman Spinrad expertly skewers through ironic imagery and over-the-top rhetoric. Spinrad hoped to expose some unpalatable truths about much of SF and Fantasy literature and its uncomfortable relationship with fascist ideologies - an aim that was not always apparent to neo-fascist readers. In order to make his aims clear to the hard-of-understanding, Spinrad added an imaginary critical analysis by a fictional literary scholar, Homer Whipple, of New York University.
In a "feudal Europe seven centuries into post-Hitlerian society, Burdekin's novel explores the connection between gender and political power and anticipates modern feminist science fiction."--Cover.
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Between 1941 and 1945, Hitler was pummeled on comic book covers by everyone from Captain America to Wonder Woman. Take That, Adolf! is an oversized compilation of more than 500 stunningly restored comics covers published during World War II, featuring America’s greatest super-villain. From Superman and Daredevil to propaganda and racism, Take That, Adolf! is a fascinating look at how legendary creators such as Joe Simon, Jack Kirby, Alex Schomburg, Will Eisner, and Lou Fine entertained millions of kids on the home front and buoyed the spirits of GIs fighting overseas by using Adolf Hitler as a punching bag.