47 Benito Mussolini—The Doctrine of Fascism

2016 ◽  
pp. 324-331
Keyword(s):  
Pólemos ◽  
2018 ◽  
Vol 12 (1) ◽  
pp. 185-201
Author(s):  
Andrew Majeske

Abstract This essay initially identifies and explores issues relating to relativity and relativism in cultural and political matters. It highlights the problematic character of the prime virtue that liberals claim to be the product of this relativistic outlook, tolerance, and points out that relativism equally supports illiberal agendas, as emphasized by Benito Mussolini. The essay then examines Shakespeare’s profound treatment of relativity in his As You Like It, focusing especially upon Rosalind and Orlando’s riddle exchange in Act 3, Scene 2, and the related sequencing of Orlando’s poems. In closing, the essay attempts to show how the West could benefit from revisiting great works of Western literature such as As You Like It, as it grapples with its moral crisis, works which plumbed the depths of the very problems we face today. But we will only garner from these texts the lessons we truly need to learn if we set aside, if only provisionally, the historicist assumptions which have blinded us to the contemporary pertinence and value of an older wisdom which by all appearances is more profound than our own.


Fascism ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 1-8 ◽  
Author(s):  
Roger Griffin

In the entry on ‘Fascism’ published in 1932 in the Enciclopedia Italiana, Benito Mussolini made a prediction. There were, he claimed, good reasons to think that the twentieth century would be a century of ‘authority’, the ‘right’: a fascist century (un secolo fascista). However, after 1945 the many attempts by fascists to perpetuate the dreams of the 1930s have come to naught. Whatever impact they have had at a local level, and however profound the delusion that fascists form a world-wide community of like-minded ultranationalists and racists revolutionaries on the brink of ‘breaking through’, as a factor in the shaping of the modern world, their fascism is clearly a spent force. But history is a kaleidoscope of perspectives that dynamically shift as major new developments force us to rewrite the narrative we impose on it. What if we take Mussolini’s secolo to mean not the twentieth century, but the ‘hundred years since the foundation of Fascism’? Then the story we are telling ourselves changes radically.


1950 ◽  
Vol 26 (3) ◽  
pp. 411-411
Author(s):  
M. H. H. Macartney
Keyword(s):  

2021 ◽  
pp. 002190962110549
Author(s):  
Raphael Chijioke Njoku

The primary focus here is to accentuate the competing roles of race and propaganda in the enlistment of Africans and African Americans for the Second World War. Among other things, the discussion captures on the interwar years and emphasizes the subtleties of African American Pan-Africanist discourses as a counterweight to Black oppression encountered in the racialized spaces of Jim Crow America, colonized Africa, and the pugnacious infraction that was the Italo-Ethiopian war of 1935–1936. Tying up the implications of these events into the broader global politics of 1939–1945 establishes the background in which the Allied Powers sought after Black people’s support in the war against the Axis Powers. Recalling that Italy’s fascist leader Benito Mussolini attacked Ethiopia in 1935 with poisonous gas while the League of Nations refused to act, points to the barefaced conflation of race and propaganda in the Great War and the centrality of African and African Diaspora exertions in the conflict.


Author(s):  
Chiara Faggella

Between the years 1922 and 1943, Italian Fascism revealed quite an ambivalent attitude towards lifestyle.[1] While the regime tried to impose standards of nationalistic moderation, popular entertainment of the time reveals that different aspects of culture never surrendered completely to the diktats of the regime. This article discusses the ways in which two films, Il Signor Max (Astra Film, 1937) and I Grandi Magazzini (Amato-Era Film, 1939) can provide a perspective into the consumer culture of Fascist Italy and its ambivalences. By presenting recurrent references to lifestyle commodities and fashion, the experiences of consumption in the two films take center stage in spite of the regime’s campaigns for modesty.   [1] The use of the capital ‘f’ is employed to specifically indicate the totalitarian regime led by Benito Mussolini, which occurred in Italy between the years 1922 and 1943, and to distinguish it from additional national variations (e.g. Spanish Falangism).


Author(s):  
MaÜro Canali

This article describes crime and fascist repression in Italy during the rule of Benito Mussolini. It explores the character of Mussolinian totalitarianism and the issue of an alleged continuity between the policing practices of the Liberal and fascist regimes. In terms of its repressive techniques, the dictatorship retooled instruments and organizations that the Liberal state had forged in its social crisis or under the urgent requirements of running the war after 1915. For almost all combatants, the weakness of opposition to the national war effort meant that policy in regard to domestic security could focus on espionage matters. Only in Italy did government have to deal with active and widespread popular hostility to the conflict, organized and run by ‘maximalist’ socialists, with their own deep social roots. To confront this threat, the Liberal state instituted the so-called Sacchi decree against any public show of ‘defeatism’.


2016 ◽  
Vol 162 (2) ◽  
pp. 347
Author(s):  
Michelangelo Giampaoli
Keyword(s):  

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