Reviews : Pamela M. Pilbeam, The Middle Classes in Europe, 1789-1914. France, Germany, Italy and Russia, Basingstoke, Macmillan, 1990; vii + 328 pp.; £35.00 hardback, £9.99 paperback. Rudy Koshar, ed., Splintered Classes. Politics and the Lower Middle Classes in Interwar Europe, New York and London, Holmes & Meier, 1990; viii + 251 pp.; US $39.95 hardback, US $19.95 paperback. Martin Blinkhorn, ed., Fascists and Conservatives. The Radical Right and the Establishment in Twentieth-Century Europe, London, Unwin Hyman, 1990; viii + 292 pp.; £30.00 hardback, £9.95 paperback. Steven Salter and John Stevenson, eds, The Working Class in Europe and America, 1929-1945, London and New York, Longman, 1990; vi + 287 pp.; £17.90 hardback, £8.95 paperback

1992 ◽  
Vol 22 (2) ◽  
pp. 305-308
Author(s):  
R.N. Gildea
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Working Class ◽  
Radical Right ◽  
Middle Classes ◽  
Interwar Europe ◽  
Twentieth Century Europe

"Us" vs. "Them". Communist Dialectical Images from Interwar Europe and Soviet Russia

2021 ◽  
Author(s):  
Adri Kácsor
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
Visual Culture ◽  
Upper Class ◽  
Avant Garde ◽  
Political Propaganda ◽  
Political Transformations ◽  
The Rich ◽  
Soviet Russia ◽  
Interwar Europe

Brawny male workers vs. bulging bourgeois men. Working-class mothers burdened by the hardship of poverty and childcare vs. elegant upper-class women enjoying a lifestyle of privilege. Such juxtaposed images of workers and the rich were prevalent in the visual culture of communism throughout the twentieth century, appearing on posters, illustrations, and other genres of political propaganda across countries and continents. Although these didactic propaganda images have rarely been considered in histories of modernism and the avant-garde, this article argues that they were among the key visual inventions of twentieth-century communist visual culture given their highly innovative aesthetics and juxtaposed structure that provided them a potential to become dialectical. Drawing on examples from interwar Europe and Soviet Russia, this article examines how didactic juxtapositions could become dialectical images, triggering political transformations while also making revolutionary class consciousness visible for the viewer.

Jack Kirby

2018 ◽  
pp. 191-205
Author(s):  
Andrew Alan Smith
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Working Class ◽  
Real World ◽  
York City ◽  
Background Information ◽  
East Side ◽  
Alter Ego

Ben “The Thing” Grimm of the Fantastic Four is portrayed as a working-class “guy,” despite the vast amount of money at his disposal as a principal in Fantastic Four, Inc. However, his origins go back further than his first appearance in 1961, to the childhood of his co-creator and original artist, Jack Kirby. Kirby, a working-class Jew from the slums of Lower East Side New York City in the early part of the twentieth century, patterned Grimm after himself. Even after both Kirby and cocreator Stan Lee left Fantastic Four, successive writers and artists would include new pieces of background information about the character cementing the direct correlation between the fictional Thing and his real-world creator and alter ego, Jack Kirby.

7. Fascism and the radical right

2017 ◽  
Author(s):  
Aristotle Kallis
Keyword(s):  
Twentieth Century ◽  
Historical Context ◽  
Radical Right ◽  
Distinct Form ◽  
Third Way ◽  
Radical Ideology ◽  
Twentieth Century Europe

This chapter examines fascism as a distinct form of ultra-nationalism, combining glorification of the nation with aggressive exclusion of those perceived as outsiders and even more enemies. It first considers the ‘era of fascism’ and the basic tenets of fascist ideology before discussing the various terminologies and classifications that have been used in order to analyse fascism and the radical right. It then explores the historical context in which fascism emerged as a radical ideology in twentieth-century Europe, seeking a ‘third way’ beyond liberalism and socialism. It also assesses fascism's overlaps with other established ideologies such as conservatism, authoritarianism, liberalism, and revolutionary socialism, along with the ensuing hybrids that it has spawned.

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