Is the term “Catholic fascism” necessary? On the historiographical classifications of post-World War I religious-fascist ideology

2018 ◽  
Vol 25 (1-2) ◽  
pp. 104-151
Author(s):  
Paul Silas Peterson
Keyword(s):  
World War I ◽  
Critical Role ◽  
Cultural Analysis ◽  
World War ◽  
Religious Background ◽  
Perspective Drawing ◽  
Ideological Conflict ◽  
Key Events

Abstract In den historiographischen Debatten über die verschiedenen Ideologien der ersten Hälfte des 20. Jahrhunderts wird der Begriff „katholischer Faschismus“ gelegentlich verwendet, um eine spezifische Version des Faschismus in den 1920ern, 1930ern und 1940ern Jahren zu bezeichnen. Im vorliegenden Aufsatz wird dieses Konzept in historischer und historiographischer Perspektive analysiert. Dabei geht es v. a. um den religiösen Hintergrund, die verschiedenen begrifflichen Unterscheidungen, die wichtigsten Ereignisse und die ideologischen Zusammenhänge. Der protestantische Faschismus sowie das Konfliktfeld zwischen Katholizismus und faschistischer Ideologie werden auch thematisiert. In the historiographical debates about the different streams of ideology in the first half of the 20th century, the term “Catholic fascism” has been used on occasion to refer to a specific version of fascism and Catholicism in the 1920s, 1930s and 1940s. The following article analyzes this concept in historical and historiographical perspective, drawing attention to the religious background, the various conceptual distinctions, key events and ideological interrelationships. Protestant fascism is also addressed along with the ideological conflict between Catholicism and fascist ideology. Before turning to these themes, however, the critical role of papal theological and cultural analysis will be addressed.

The Industrial Politics of the Kreditbanken, 1880–1914

1977 ◽  
Vol 51 (2) ◽  
pp. 190-207 ◽  
Author(s):  
Hugh Neuburger
Keyword(s):  
Economic Development ◽  
World War I ◽  
Critical Role ◽  
Electrical Equipment ◽  
Investment Banks ◽  
German Industry ◽  
World War ◽  
Financial Strength

One of the most durable theories explaining the remarkable rise of German industry in the generation before World War I was that of the critical role of the Kreditbanken, the great commercial and investment banks of which the Deutsche Bank was the most prominent. Recently, however, historians have begun to question the power of the banks, and even to suggest that they were a drag on German economic development. In this brief study of how Georg Siemens, of the Deutsche Bank, kept the peace between the two leading German electrical equipment manufacturers, Professor Neuburger shows that the crucial factors were not merely the financial strength or weakness of the Bank, but also the diplomatic skill with which its leaders navigated the rapidly shifting currents of the era.

The German Octopus: The British Metal Corporation and the Next War, 1914–1939

2004 ◽  
Vol 5 (3) ◽  
pp. 451-489 ◽  
Author(s):  
Simon Ball
Keyword(s):  
World War I ◽  
Critical Role ◽  
Nonferrous Metals ◽  
The State ◽  
Nazi Germany ◽  
Great War ◽  
World War ◽  
British State ◽  
The Great War

After World War I, the nonferrous metals trade played a critical role in Britain's preparations for a future European war. Yet it has attracted little attention. The British Metal Corporation (BMC) was formed at the end of the Great War as a state-sponsored corporation to conduct the development of the nonferrous metals industry on behalf of the British state. This article uses the papers of the BMC to explore the politics of a strategically vital trade, the functioning of the British state's institutional memory, and the role of business in appeasement and rearmament. It concludes that the state-sponsored corporation was, on balance, an effective strategic instrument. Although politics, trade, and strategy proved difficult to reconcile with one another, the pursuit of profit did not dictate business attitudes toward Nazi Germany in the 1930s.

The Great War of the Postcards

2021 ◽  
Vol 88 (3) ◽  
pp. 525-568
Author(s):  
Johann Strauss
Keyword(s):  
Middle East ◽  
World War I ◽  
Great War ◽  
World War ◽  
The Balkans ◽  
Book Illustrations ◽  
Characteristic Features ◽  
The Impact ◽  
The Great War

This article examines the functions and the significance of picture postcards during World War I, with particular reference to the war in the Ottoman Lands and the Balkans, or involving the Turkish Army in Galicia. After the principal types of Kriegspostkarten – sentimental, humorous, propaganda, and artistic postcards (Künstlerpostkarten) – have been presented, the different theatres of war (Balkans, Galicia, Middle East) and their characteristic features as they are reflected on postcards are dealt with. The piece also includes aspects such as the influence of Orientalism, the problem of fake views, and the significance and the impact of photographic postcards, portraits, and photo cards. The role of postcards in book illustrations is demonstrated using a typical example (F. C. Endres, Die Türkei (1916)). The specific features of a collection of postcards left by a German soldier who served in Turkey, Syria, and Iraq during World War I will be presented at the end of this article.

scholarly journals “A Black Man Replies”: Claude McKay’s Challenge to the British Left

Lateral ◽  
2016 ◽  
Vol 5 (1) ◽  
Author(s):  
Anne Donlon
Keyword(s):  
World War I ◽  
Black Men ◽  
Cultural Analysis ◽  
World War ◽  
White Supremacist ◽  
Claude Mckay ◽  
Letter To The Editor ◽  
History Of ◽  
Black Man ◽  
The Moment

Anne Donlon delves into the history of the British Left after World War I to assert the significance of the Black and feminist interventions of Claude McKay and Sylvia Pankhurst. Donlon centers the publication of “A Black Man Replies,” McKay’s letter to the editor published in Pankhurst’s newspaper The Worker’s Dreadnought, against white supremacist logics mobilized by prominent 1920s leftists that contributed to the reestablishment of policing of and violence against black men. Donlon’s archival discoveries weave together biography, material cultural analysis, and histories of trans-Atlantic activism, and, in the process, reveal the labor of building radical intersectional solidarity that came before and followed the moment of “A Black Man Replies.”

scholarly journals The role of Anglo-German Naval Agreement in escalation of crisis trends of the Versailles system (based on the materials of new archival documents)

2020 ◽  
pp. 75-84
Author(s):  
Alexander Naumov
Keyword(s):  
World War Ii ◽  
World War I ◽  
International Relations ◽  
Political Elite ◽  
World War ◽  
Systemic Mechanism ◽  
The United Kingdom ◽  
The World ◽  
Archival Documents

This article reviews the role of Anglo-German Naval Agreement of 1935 in escalation of crisis trends of the Versailles system. Leaning on the British Russian archival documents, which recently became available for the researchers, the author analyzes the reasons and consequences of conclusion of this agreement between the key European democratic power and Nazi Reich. Emphasis is placed on analyzing the moods within the political elite of the United Kingdom. It is proven that the agreement became a significant milestone in escalation of crisis trends in the Versailles model of international relations. It played a substantial role in establishment of the British appeasement policy with regards to revanchist powers in the interbellum; policy that objectively led to disintegration of the created in 1919 systemic mechanism, and thus, the beginning of the World War II. The novelty of this work is substantiated by articulation of the problem. This article is first within the Russian and foreign historiography to analyze execution of the Anglo-German Naval Agreement based on the previously unavailable archival materials. The conclusion is made that this agreement played a crucial role in the process of disintegration of interbellum system of international relations. Having officially sanctioned the violation of the articles of the Versailles Treaty of 1919 by Germany, Great Britain psychologically reconciled to the potential revenge of Germany, which found reflection in the infamous appeasement policy. This launched the mechanism for disruption of status quo that was established after the World War I in Europe. This resulted in collapse of the architecture of international security in the key region of the world, rapid deterioration of relations between the countries, and a new world conflict.

scholarly journals Who Reads Shashi? The Case of the Hiroshima Regional Newspaper

2012 ◽  
Vol 1 (1) ◽  
Author(s):  
Ann Sherif
Keyword(s):  
World War Ii ◽  
World War ◽  
International Media ◽  
The Public ◽  
Nuclear Age ◽  
History Of ◽  
Key Events ◽  
Regional Newspaper ◽  
Self Presentations

The company history of a newspaper company raises new questions about the genre of company histories. Who reads them? What features should readers and researchers be aware of when using them as a source? This article examines the shashi of the Chûgoku Shinbun, the Hiroshima regional newspaper. The atomic bombings of Hiroshima and Nagasaki in August 1945 were significant because of their perceived role in bringing World War II to an end and in signaling the start of the nuclear age. Most research to date has emphasized the role of national newspapers and the international media in informing the public about the extent of the damage and generating a framework within which to understand. I compare the representation of three key events in the Chûgoku Shinbun company history (shashi) to those in two national newspapers (Asahi and Yomiuri), as well as the ways that the Hiroshima company’s 100th and 120th year self-presentations reveal important concerns of the region and the nation, and motivations in going public with its shashi. These comparisons will reveal some of the merits and limits of using shashi in research. This article is part of a larger study on the work of the influence of regional press and publishers on literature in twentieth-century Japan.   

scholarly journals Ballerina Sofia Fedorova II in the Russian Sculpture of the Silver Age (Stepan Erzia, Marina Ryndzyunskaya, Natalya Danko)

2020 ◽  
Author(s):  
И.В. Клюева
Keyword(s):  
World War I ◽  
Semantic Content ◽  
Cultural Analysis ◽  
World War ◽  
Silver Age ◽  
Saint Petersburg ◽  
History Of ◽  
Inner World ◽  
Vyacheslav Ivanov ◽  
Professional Critics

Цель статьи – культурологический и искусствоведческий анализ трех портретных изображений выдающейся балерины Серебряного века русской культуры Софьи Федоровой 2-й (1879–1963), созданных С.Д. Эрьзей, М.Д. Рындзюнской и Н.Я. Данько. Материалом исследования являются архивные документы, отечественная периодика 1910-х гг., отзывы критиков и воспоминания современников о балерине. На основе использования сравнительно-исторического, биографического и семиотического методов представлена характеристика личности и творчества Федоровой 2-й, реконструирована ее биография; прослежена история создания трех скульптур, выявлены их художественные особенности и смыслоSвоенаполнение. Автор заключает, что Н. Я. Данько и М.Д. Рындзюнская изображают «дневную» Федорову, главным в их работах является демонстрация красоты и выразительности движений балерины. С.Д. Эрьзя запечатлел «ночную» Федорову: сосредоточив внимание на лице артистки, он сумел в своей скульптуре отразить ее сложный внутренний мир. The main aim of the article is to present an art historical and cultural analysis of three portrait images of Sofia Fedorova II(1879–1963), the outstanding ballerina of the Silver Age of Russian culture, created by masters of Russian sculpture Stepan Erzia (portrait bust, 1915, marble), MarinaRyndzyunskaya (statue, 1916, marble) and Natalya Danko (figurine, 1921, porcelain). The research materials are previously unpublished documents from the archives of Moscow, Saint Petersburg, Saransk, as well as articles from Russian periodicals of the 1910s; reviews of professional critics and memories about the ballerina. Based on the use of comparative historical, biographical, and semiotic methods, the article reconstructs Fedorova’s biography, considers various aspects of the reception of her personality and work by contemporaries: figures of literature (Vyacheslav Ivanov), theater (S. Giatsintova, E. Gogoleva, K. Stanislavsky, V. Telyakovsky), ballet (S. Grigoriev, B. Nizhinskaya), art critics and historians of ballet (Yu. Belyaev, P. Liven, S. Mamontov), other representatives of the humanitarian intelligentsia (S. Grigorov). Sofia Fedorova is known as an unsurpassed performer of characteristic dances in ballet and opera performances, as well as a ballerina who embodied the images of the innovative choreography of A.A. Gorsky and M.M. Fokin. Vyacheslav Ivanov claimed that the ballerina had “two faces”: the “daytime”, “galloping” Fedorova and the “nighttime” Fedorova, whose sphere was the “dark mysticism of the soul”. The author of the article traced the history of the creation of the three sculptures and revealed their artistic features and semantic content. The three sculptors created completely different sculptural images of Fedorova: a monumental marble figure (Ryndzyunskaya), an easel marble bust (Erzia), and a decorative porcelain figurine (Danko). According to the findings of the author of the study, Danko portrays Fedorova as “daytime” and “galloping” (nevertheless, she manages to create an ethereal image). Ryndzyunskaya also shows Fedorova as“daytime”, the sculptor is attracted by the ballerina’s grace, the beauty and expressiveness of her movement: portraying it, she focuses on purely plastic problems. Erzia is the only sculptor of the three who managed to see and capture the “nighttime” Fedorova. He is not interested in the ballerina’s dance, but in her complex deep inner world: he reflects the “dark mysticism” of her soul, conveys the state of tensity and anxiety that engulfed the woman, revealing not only signs of her incipient mental illness, but also her keen sense of the catastrophic state of the world (during World War I and the impending revolution).

“When Women Do the Work of Men”: Representations of Gendered Occupational Identities on British Railways in World War I Cartoons

2019 ◽  
Vol 117 (1) ◽  
pp. 47-78
Author(s):  
Emma Robertson ◽  
Lee-Ann Monk
Keyword(s):  
Women Workers ◽  
World War I ◽  
Occupational Culture ◽  
World War ◽  
National Union ◽  
Late Twentieth ◽  
Traditional Work ◽  
Late Twentieth Century ◽  
Do So

During World War I in Britain, women workers took on previously men-only jobs on the railways. In response to this wartime development, the National Union of Railwaymen published a series of cartoons in their journal, Railway Review. These images depicted women employed as porters and guards, occupying the engine footplate, and acting in the role of station-mistress. Through a close reading of the cartoons, and related images in the journal, this article examines how the humorous portrayal of female railway workers reinforced masculine occupational identities at the same time as revealing ambiguities in (and negotiating anxieties over) the gendered nature of railway employment. Despite wartime labour shortages, certain occupations, notably the driving and firing of steam trains, remained stolidly men’s work and would do so until the late twentieth century. By scrutinising the construction of gendered occupational culture in union journals, we can better understand the tenacity of notions of “traditional” work for men and women on the railways.

Mountain Interval

2018 ◽  
pp. 45-66
Author(s):  
Virginia F. Smith
Keyword(s):  
World War I ◽  
Alternative Interpretation ◽  
Natural Setting ◽  
World War ◽  
The Road

In early 1915, the Frost family made a hurried departure from England as the war in Europe escalated. Although they successfully escaped the ravages of World War I, at the time the most mechanized conflict in history, the Frosts returned to a country undergoing its own rapid and irreversible changes at the hands of technology. In the collection Mountain Interval, published in 1916, Frost depicts the violence of technology toward humans in poems such as “Out, Out –“ and “The Vanishing Red,” but most of the violence is reserved for plants and animals, both domestic and wild. He also addresses the role of technology in society, especially the telephone, and starts to move from observational to theoretical descriptions of astronomical objects. This chapter begins with an alternative interpretation of the natural setting in one of Frost’s most popular poems, “The Road Not Taken.”

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