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One of the distinctive features of the "Vichy Syndrome"?the persistence of the memory of the Vichy regime in French political and cultural life?is that it has been extremelyødifficult for an authoritative historical discourse to impose itself. Why does Vichy, and all that the name entails, fascinate and even obsess the French, inflecting not only discussions of the past but of the present as well? In Vichy's Afterlife, Richard J. Golsan explores the complexities of some of the most provocative episodes of Vichy's curious persistence in France's national consciousness. He argues that each of these episodes, events, and scandals constitutes a crossroads where history and "counterhistory"?different or competing versions of the past?encounter one another, often with explosive and even destructive consequences.
Richard Golsan has brought together the crucial French journalistic pieces on the trial along with several essays by leading American and British scholars to help contextualize the trial for an English-speaking audience. The book delves deeply into the fascinating debates about the nature of French complicity in the Final Solution and of memory.
The wide-ranging portrayal of modern Jewishness in artistic terms invites scrutiny into the relationship between creativity and the formation of Jewish identity and into the complex issue of what makes a work of art uniquely Jewish. Whether it is the provenance of the artist, as in the case of popular Israeli singer Zehava Ben, the intention of the iconography, as in Ben Shahn's antifascist paintings, or the utopian ideals of the Jewish Palestine Pavilion at the 1939 New York World's Fair, clearly no single formula for defining Jewish art in the diaspora will suffice. The Art of Being Jewish in Modern Times is the first work to analyze modern Jewry's engagement with the arts as a whole, incl...
In Fascism's Return, eleven leading American and European scholars examine the resurgence of fascism from many angles, providing an essential and timely view of this troubling moment in European political, cultural, and intellectual history. Intellectual and public scandals surrounding the fascist past - including the highly publicized Barbie and Touvier trials in France - are addressed. Other writers focus on controversial efforts to revise the historical representation of fascism in Germany and France. The reemergence of the "new" fascist movements and ideologies in various European nations is also examined. A final essay considers the controversial U.S. support during the 1980s of Central American dictatorships.
With this nuanced and interdisciplinary work, political theorist Mihaela Mihai tackles several interrelated questions: How do societies remember histories of systemic violence? Who is excluded from such histories' cast of characters? And what are the political costs of selective remembering in the present? Building on insights from political theory, social epistemology, and feminist and critical race theory, Mihai argues that a double erasure often structures hegemonic narratives of complex violence: of widespread, heterogeneous complicity and of "impure" resistances, not easily subsumed to exceptionalist heroic models. In dialogue with care ethicists and philosophers of art, she then sugges...
These essays rethink the nature of Stalinism and Nazism and establish a new methodology for viewing their histories that goes well beyond outdated twentieth-century models of totalitarianism, ideology, and personality. They offer a new understanding of the intertwined trajectories of socialism and nationalism in European and global history.
Recent tensions between the U.S. and Europe seem to have opened up an insuperable rift, while Americanization, deplored by some, welcomed by others, seems to progress unabated. This volume explores, for the first time and in a comparative manner, the role American culture and anti-Americanism play in eleven representative European countries, including major powers like Great Britain, France, (West) Germany, Russia/Soviet Union, and Italy as well as smaller countries like Austria, Denmark, Greece, Spain, Sweden, and Poland. Each contributor to the volume, all of them highly respected experts in their field, was asked to address the following four topics: the role of American public diplomacy, the transfer of American “high culture,” the impact of “popular culture” ranging from Hollywood movies and TV to pop music and life-style issues, and the country specific features and history of anti-Americanism. The volume is enhanced by a substantial introduction by the editor, which looks both at the general “culture clash” between the United States and Europe and at adaptations and blending processes that seem to have occurred in individual countries.
Explosive images of sex and violence characterise what has come to be known as the 'new extremism' in contemporary European cinema. This collection of essays is devoted to the new extremism in contemporary European cinema and will critically interrogate t
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 polic...
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.