By Matthew Feldman (eds.)
Ten essays at the nature of fascism by way of a number one student within the box, concentrating on the right way to comprehend and follow fascist ideology to varied routine because the 20th century, Mussolini's prophesied 'fascist century'. comprises experiences of fascism's tried temporal revolution; Nazism as prolonged case-study; and fascism's postwar evolution.
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Additional info for A Fascist Century: Essays by Roger Griffin
I am a Titan. ’ 13 participate mystically in Italy and hence, in its imminent destiny, to become once again the focal point of world civilisation and progress – yet another manifestation of the ‘eternal genius’ of the race producing the Roman Empire, the Catholic Church, and the Renaissance. In the context of such a vision the ‘monumental’ – such a major feature of Fascist (and all totalitarian) art – acquires specific connotations. It refers to a cult of remembering practised not in a conservative spirit, but in a revolutionary one: the past is to be remembered in order to regenerate the present and transform the future.
And, basically, it is the same day that keeps recurring in the guise of holidays, which are days of remembrance. Thus the calendars do not measure time as clocks do; they are monuments of a historical consciousness of which not the slightest trace has been apparent 22 Fascism’s Temporal Revolution in Europe in the last hundred years. In the July Revolution an incident occurred which showed this consciousness was still alive. 72 Given our discussion on fascism thus far, this is an extraordinary statement.
13 An investigation of the late nineteenth century European avant-garde on the basis of its philosophy of time and history would show how deeply associated both are with the passionate belief that routinised, sclerotic ways of feeling and seeing – associated with the age of materialism and philistinism – can be transfigured individually or collectively through the awakening of visionary faculty better attuned to a ‘higher’ time. Indeed, this could well prove to be the main, if not the only, common denominator which underlies the rich profusion of so many conflicting aesthetics and nuanced visions of reality that are embraced by the terms ‘modernism’ and ‘avant-garde’.
A Fascist Century: Essays by Roger Griffin by Matthew Feldman (eds.)