‘Motherly Hate’: Gendering Anti–Semitism in the British Union of Fascists

Throughout the interwar period, Britain’s fascist movement was marked by anti–Semitism. That anti–Semitism was such a striking feature of the movement is well known, and studies of British fascism have consequently paid attention to the implications and effects of racial prejudice on Britain’s Jewish community, and on British society more generally. However, the history of women in Britain’s fascist movement has been less well known, and the narrative of racial politics and racial tensions in interwar Britain must now be modified by a consideration of gender relations and women’s activism on the extreme right. The first part of this article is thus concerned with the questions of how British fascist women gave vent to their racial hatreds, the particular tone of their rhetorical invectives against the Jewish community, and the distinctiveness of their expressions of anti–Semitism. From their support for Jew–baiting activities on the streets, to their high level of participation in an anti–war movement dedicated to keeping Britain out of the ‘Jews’ war’, to their choices to educate their young children in the principles of Jew–hating, British fascist women did, in fact, show themselves to be ‘Jew wise’. Their active expression of anti–Semitism certainly challenged the optimistic liberal supposition that the female sex was the more tolerant. The second part of this article is concerned with the theoretical implications of putting women back into the history of British anti–Semitism, and explores how the powerful gender paradigms of feminine tolerance, maternalism, and feminised pacifism were subverted to justify a seemingly incongruous sentiment of ‘motherly hate’.     

Women and Alcohol Consumption in Fascist Italy

This article examines discourses and practices around women's drinking in Fascist Italy. The history of alcohol production and consumption in Italy during the fascist dictatorship has only recently received attention; alcohol's gendered dimensions, especially women's drinking, have been hitherto overlooked. While the production of legislation, rhetoric and propaganda on alcohol consumption was dominated by men, women were identified as key constituents whose alcohol-related practices could make or break the causes of fascist propagandists, ‘anti-alcohol’ campaigners and alcohol industry associations. The article explains how Italian women were imagined and addressed by regime propagandists, alcohol industry producers and temperance campaigners as (a) simultaneously the principal victims of and responsibility bearers for male excess alcohol consumption, (b) potential ‘crisis-women’ whose unpatriotic drinking choices (whether English tea, French champagne or American cocktails) denoted their prioritising of fashion over fascist values and (c) gatekeepers of family alcohol consumer practices and consumers of alcohol in their own right. It then moves to examine sources left by interwar Italian women to explore what, how and when they drank. Ultimately, it argues that despite attempts to construct women's drinking in archly nationalistic terms, the discourses and actual practices of Italian women around alcohol consumption operated within profoundly transnational frames.     

Violence and the politics of prestige: the fascist turn in colonial Libya

In 1922–1923, Fascist Party leaders hoped to define a sharp break from previous approaches to colonial rule and imperial expansion in Italy's Libyan territories. Mussolini's nomination of Luigi Federzoni, a leading figure of the Italian Nationalist Association, as the Minister of Colonies at the end of 1922 signalled a new era in Italian colonial administration focused on aggressive expansion and the institution of what was known as a ‘politics of prestige’. This definition of a fascist style of colonial rule appealed to the enthusiasm for violence among blackshirt militias and early fascist supporters in the Libyan territories. This definition of a fascist style of colonial rule, however, inspired immediate reaction from both colonial officials, with stakes in maintaining a measure of continuity and stability, and from those within the nascent Fascist Party who wanted to promote an alternative model of fascism in the colonies. This article examines contests to define fascism and fascist colonial rule in the Libyan territories through the employment of voluntary militias, the competing voices of Fascist Party outposts, and various programmes for the development of a colonial culture.     

The legacy of Cesare Lombroso and criminal anthropology in the post-war Italian police: a study of the culture,narrative and memory of a post-fascist institution

This article examines the employment in post-war Italy of positivist scientific policing originally inspired by the work of the criminal anthropologist Cesare Lombroso at the end of the nineteenth century and subsequently developed at the scientific policing institute (Scuola Superiore di Polizia) in Rome. It analyses how the post-war police addressed the fascist regime’s employment of scientific policing for oppressive purposes and how far post-war scientific policing reflected the legacy of fascism. The article argues that post-war police narratives stressed the international importance of Lombroso and Italian criminal anthropology in order to ‘normalize’ the activities of the Scuola Superiore di Polizia during the fascist period and legitimize its work after the Second World War. Positivist criminological theories continued to influence police repression and criminal investigations in post-war Italy. However, the extent to which police officers and officials working outside the Scuola Superiore were convinced by such theories is questionable.     

SVEN OLOV LINDHOLM AND THE LITERARY INSPIRATIONS OF SWEDISH FASCISM

Very little research has been done into the leader of the most prominent Swedish fascist party of the interwar period, the leader of the Nationalsocialistiska Arbetarepartiet, Sven Olov Lindholm, in spite of extensive source material in his personal archive. This article explores the literary influences on his politics, which Lindholm cited in his private documents and interviews, both contemporary and post-war. The immediate impact of notable Swedish writers, poets especially, such as Verner von Heidenstam, Viktor Rydberg, Esaias Tegnér, and Bertel Gripenberg, is demonstrated. These authors, largely of the Swedish Romantic tradition, are shown to be parts of one major Scandinavian cultural current in particular, namely Gothicism (göticism), manifested through a centuries-long interest in the Old Nordic heritage. In Sweden, the influence of new far-Right ideas that made their way into the country in the 1920s intersected with Gothicism in unique ways, which gave Swedish fascists a peculiar relationship to both fascism and their national heritage. Ultimately, these literary Gothicist influences allowed a particular naturalizing codification of Swedish fascism in the 1930s. Under the influence of, above all, contemporary Finno-Swedish health specialist Are Waerland, Lindholm is shown to have actively shaped Swedish fascism in line with his literary exemplars.     

The legacy of fascism in the present: ‘third millennium fascists’ in Italy

New political groups directly or indirectly related to the European fascist past are gaining strength and significance in the political arena of the new millennium. Starting from an analysis of CasaPound in Italy, a movement and party whose activists define themselves as ‘third millennium fascists’, this article explores the legacy of fascism in current Italian politics. Analysing CasaPound’s history, political programme and some of the main features of its organization as a community, the article examines the prominent role the fascist legacy plays in structuring this movement, for which history constitutes a source of legitimization and identity formation. Fascism is not traced as something isolated in history, but instead its history is presented as a legitimate legacy with a significant place in Italy’s political landscape.     

‘Anti–Mini Militants Meet Modern Misses’: Urban Style,Gender and the Politics of ‘National Culture’ in 1960s Dar es Salaam,Tanzania

This essay examines a 1968–9 campaign by Tanzania’s ruling party Youth League to outlaw mini–skirts and other ‘indecent’ fashions as ‘decadent’ affronts to Tanzanian ‘national culture’. It situates the intense, public debate on the campaign both in terms of the state’s contested national cultural project, and in relation to intersecting anxieties about shifts in women’s work and mobility in urban space, and the politics of sex in postcolonial Dar es Salaam. Arguing that ‘the city’ ndash; both as an imagined space and as the site of particular, gendered social struggles – is central to understanding the campaign, the essay charts attempts by the ban’s opponents to fashion viable personas and notes the limits of these attempts.     

The Origins of European Fascism: Memory of Violence in Michael Haneke’s The White Ribbon

Michael Haneke’s film The White Ribbon (2009) narrates violent attacks that disrupt the cyclical life of a German village in 1913–14. The narrator frames the violence as a study of the origins of fascism: the alleged perpetrators are children, who rebel against the disciplinary powers of patriarchal authority. Coming to maturity during World War I, they will have become the generation of Nazism’s followers. In contrast to psycho-historical readings of The White Ribbon as a cinematic exploration of the causal relationship between the authoritarian formation of the juvenile subject and her susceptibility to fascism’s redemptive illusions, I propose an anti-psychological interpretation of the film. This reading seeks to understand The White Ribbon in terms of Haneke’s aesthetic and formal choices, which underpin his notion of “ethical spectatorship.” I argue that the film offers a dual metaphorical construction of the nexus between memory and the cinematic image, and of the mnemonic and affective aspects of the history of violence. Haneke forges a link between the European attitude to its history of fascism and its ongoing politics of exclusion, arising from its covert fascist desire for the unified self. The significance of The White Ribbon in the ongoing debate on history/memory thus lies in its critique of Europe’s current self-understanding as having outgrown its violent past.     

Constantin Frantz and the intellectual history of Bonapartism and Caesarism: a reassessment

The conservative German publicist and political theorist, Constantin Frantz (1817–1891), occupies an ambiguous place in German intellectual history. Some, such as Friedrich Meinecke, located him within the rich intellectual tradition of German federalism, highlighting his hostility to the idea of the “nation-state” and the traditions of nationalism, Realpolitik and militarism. Others, by contrast, have situated him within a long genealogy of German fascism, identifying his remarkable 1852 work, Louis Napoleon, as a kind of precursor or antecedent of twentieth-century fascist ideology. This interpretation raises broader questions about the historiography on Bonapartism and Caesarism, which has often been motivated by an interest in the intellectual origins of modern fascism. The present article supplies a reinterpretation of Frantz’s thinking about Bonapartism (Napoleonismus) and Caesarism by focusing on a much broader range of his intellectual output and by tracking the development of his view of Bonapartism’s significance between 1851 and the early 1870s. The main outcome is not just to question Frantz’s place in the “prehistory” of fascism, but also to show how deeply nineteenth-century debates about Bonapartism were connected to concerns about liberalism, democracy, nationalism and imperialism.     

Byron to D'Annunzio: from liberalism to fascism in national poetry, 1815–1920

ABSTRACT. From Byron's death at Missolonghi in 1824 to D'Annunzio's capture of Fiume for Italy in 1919, the nationalism of universal liberalism and independence struggles changed, in literature as in politics, to cruel dictatorial fascism. Byron was followed by a series of idealistic fighter‐poets and poet‐martyrs for national freedom, but international tensions culminating in World War I exposed fully the intolerant, brutal side of nationalism. D'Annunzio, like Byron, both a major poet and charismatic war leader, was a key figure in transforming nineteenth‐century democratic nationalism into twentieth‐century dictatorial fascism. The poet's ‘lyrical dictatorship’ at Fiume (1919–20) inspired Mussolini's seizure of power in 1922, with far‐reaching political consequences. The poet became the dangerous example of a Nietzschean Übermensch, above common morality, predatory and morally irresponsible. This article shows how the meaning of nationalism was partly determined and transformed by poets, illustrating their role as ‘unacknowledged legislators of the world’.     

A Decadence Baedeker: D’Annunzio’s The Triumph of Death

This article investigates how Gabriele D’Annunzio’s The Triumph of Death brings together Nietzsche’s ideas and Wagner’s music and interweaves them with the motifs of literary Decadence and the author’s own particular sexual politics. The novel is an experimental text striving to be a Gesemtkunstswerk, an integrated work that incorporates music, painting, poetry, regional folklore, and private thoughts about personal and national power. I discuss the novel’s themes of violent sexuality and the anxiety of powerlessness and explore their implications for the fascist political aesthetics in which D’Annunzio played a pioneering role.     

Italian Jews and their ‘political’ reactions to the fascist regime’s anti-Semitic campaign*

ABSTRACT

The article intends to emphasize the political redefinition of Italian Jews in reaction to the fascist aggression and its different answers ‘organized’. Since 1934 there arose strong divisions within Italian Judaism: the real issue of contention, however, did not reside in the attitude towards fascism, but in the judgement on Zionism and postponed a long-standing dynamics. A group of Jews, called ‘bandieristi’ from a magazine called La Nostra Bandiera, on the basis of a ‘fascist’ programme and anti-Zionism, tried to replace the official establishment of the Jewish representatives, the Union Community of Italian Jewish, as a reference to the fascist authorities. The Union was accused by the ‘bandieristi’ of being complicit with international Jewry and Zionism. The confrontation with fascism exasperated the Italian Judaism internal contradictions, putting in long-term dynamic light that preceded fascism and survived the early post-war years.     

Actualism and the Fascist Historic Imaginary

This essay argues that, just like liberalism and communism, fascist ideology was based on a specific philosophy of history articulated by Giovanni Gentile in the aftermath of World War I. Gentile's actualist notion that history “belongs to the present” articulated an immanent vision of the relationship between historical agency, representation, and consciousness against all transcendental conceptions of history. I define this vision as historic (as opposed to “historical”) because it translated the popular notion of historic eventfulness into the idea of the reciprocal immanence of the historical and the historiographical act. I further show that the actualist philosophy of history was historically resonant with the Italian experience of the Great War and was culturally modernist. I insist, however, that the actualist catastrophe of the histori(ographi)cal act was also genealogically connected to the Latin‐Catholic rhetorical signification of “presence” that had sustained the development of Italian visual culture for centuries. Accordingly, I argue that the fascist translation of actualism into a historic imaginary was at the root of Italian fascism's appeal to both masses and intellectuals. Fascism presented itself as a historic agent that not only “made history,” but also made it present to mass consciousness. In fact, I conclude by suggesting that the fascist success in institutionalizing a proper mode of historic representation in the 1920s, and a full‐blown historic culture in the 1930s, may have also constituted a fundamental laboratory for the formation of posthistoric(al) imaginaries.     

Importing fascism: reappraising the British fascisti, 1923–1926

This article re-evaluates the ideology and significance of Britain’s first self-proclaimed fascist party, the British Fascisti (BF) between 1923 and 1926. It challenges the dominant scholarly perception of BF ideology as a virulent form of conservatism or ‘Conservatism with Knobs On’ by demonstrating that they represent a hybrid movement consisting of both domestic conservative and continental fascist ideas. Thus, the chief purpose of this article is to demonstrate the dynamics of what scholars refer to as ‘fascistisation’ – the adoption and re-contextualisation of fascist features by non-fascist political movements and regimes. The BF’s ideology represents an, at times, contradictory attempt to replicate the Italian Fascist movement and repackage it for a British audience – they were a ‘fascistized’ right-wing pressure group seeking a new, authoritarian state. Abstract notions of the ‘success’ of Mussolini’s fascist experiment in stemming a Bolshevik revolution and his achievements in bringing order and a new sense of patriotism were re-adapted to the British context. These ideas were manacled to British conservative ideas of Christianity, anti-Socialism and imperialism typically associated with Edwardian Die Hards. Ultimately, the BF’s ideology will be proved to be far more complex than scholars have been prepared to acknowledge during a period in which fascism was ill-defined.     

The management and memory of fascist monumental art in postwar and contemporary Italy: the case of Luigi Montanarini’s Apotheosis of Fascism

In postwar Germany, the Allies and the German authorities moved quickly and systematically to destroy or physically remove all traces of Nazi art. No such process occurred in postwar Italy. This meant that hundreds of ideologically inspired statues, mosaics, murals and other artefacts survived into the republican period. This article uses Luigi Montanarini’s mural, the Apotheosis of Fascism, as a case study to examine the management, meaning and memory of fascist monumental art (and, more broadly, fascist monumental architecture) in postwar and contemporary Italy. To date, memory studies of fascism have largely overlooked the artistic and architectural legacies of the dictatorship. This article helps to address this historiographical lacuna and speaks to current debates and controversies in Italy surrounding the meaning and significance of historic fascism.     

The formation of a civil religion in republican Italy (1943–49)

Absract

The essay investigates the formation of a new political rituality in Italy after the collapse of the fascist regime. The first paragraph deals with the protagonists: especially religious and institutional ones. The second one discusses different liturgies: the institutional one, that followed the example of the pre-fascist period; the religious one, so important that made it possible some sort of interference between civil and religious rituals; the political one, characterized by different rhetoric attitudes. Finally, the essay focuses on the similarities which emerge among all liturgical experiences: the need to find a line of continuity with the past through a coherent interpretation of national history; the pedagogical aim given to the ceremonies; the tendency to excise World War II from the country s history; the tendency to turn to the primary sources of collective identity: death and mourning, and family ties.     

The uses and abuses of ‘secular religion’: Jules Monnerot's path from communism to fascism

From starting his intellectual career as a surrealist, communist and co-founder of the Collège de Sociologie in 1937, Jules Monnerot (1911–95) ended it as a candidate for the Front National in 1989.In this article I offer an explanation for the unexpected trajectory of this thinker whose work is little known in the English-speaking world. Without overlooking the idea that the infamous College encouraged such tendencies, I argue that the notion of ‘secular religion’, as Monnerot developed it in his Sociology of Communism (1949), goes some way to explain his gradual radicalization from Cold Warrior to fascist, a path that otherwise seems unlikely for a French intellectual after World War II. In order to emphasize the unusualness of Monnerot's case, I contrast it with that of his erstwhile collaborator, Georges Bataille. I show that accusations of fascism often levelled against Bataille should be more accurately directed at Monnerot, indeed that the fascism inherent within the College of Sociology was brought out not by Bataille but by Monnerot. Monnerot's case is unsettling first because his definition of ‘secular religion’ contributed to his pro-fascist stance; and second, because it forces us tore think what is meant by ‘philosophy after Auschwitz.’ This term usually brings to mind scholars such as T.W. Adorno, Emil Fackenheimor Emmanuel Levinas. Monnerot provides a rare example of a thinker whose fascism only developed after the Holocaust, a shocking response that demands the attention of all those interested in the relationship between religion and politics.     

A nation's parks: failure and success in Fascist nature conservation

Nature conservation is a complex venture, with a great impact, among other things, on local and national power relationships. Nature conservation also depends on a wide set of variables to determine any one planned initiative's long-term success or failure. This article explores what made the difference between success and failure in the history of nature conservation under Mussolini's regime. Many parks were planned in those years in Italy, but only a handful were effectively instituted. This essay will address the following questions: What were the reasons behind the planning and creation of these national parks? What was the role of Fascist ideology in determining the long-term success of a park proposal? Was there anything specifically Fascist in Italian nature conservation in the 1920s and 1930s? Which other variables impacted on the involved decision-making processes?     

Fani Popova–Mutafova

The article explores the life and professional activities of Fanny Popova–Mutafova – the most prominent of the few writers of historical fiction in Bulgaria and one of the most prolific and published Bulgarian women authors of the interwar period. Her life spanned two epochs – the ‘bourgeois’ epoch prior to World War II, and that of the communist regime. While she was celebrated as one of the best and most productive writers and intellectuals in Bulgaria before 1944, the communist regime pronounced her ‘a people’s enemy’, held her responsible for ‘Great–Bulgarian chauvinism and fascism’, banned and destroyed her books and ruined her life. The story of her life is embedded in several decades of Bulgarian intellectual life and, besides giving an idea of a woman writer’s existence there at that time, reveals wider sociopolitical and ideological contexts in which various discourses affecting Bulgarian women were articulated.     

The Fascist racial turn: the view from the Italian-American community in the United States

ABSTRACT

This article examines Italian-Americans’ reaction to the Fascist embrace of anti-Semitism in 1938, primarily by means of a perusal of the Italian-language press in the U.S. It argues that the newcomers and their offspring usually failed to distance themselves from the regime’s racial turn because of pre-existing rivalries and resentment towards U.S. Jews. It also holds that, although Italian-Americans hardly subscribed to the Fascist ideology, which cannot be confined to anti-Jewish theories only, the notion that the Italian people were a race of their own helped the immigrants and their descendants strengthen a sense of ethnic identity based on their common national extraction and, thus, further allowed for the penetration of anti-Semitic propaganda into the Little Italies.