By Matthew Feldman (eds.)
Ten essays at the nature of fascism via a number one pupil within the box, targeting find out how to comprehend and practice fascist ideology to numerous activities because the 20th century, Mussolini's prophesied 'fascist century'. comprises reports of fascism's tried temporal revolution; Nazism as prolonged case-study; and fascism's postwar evolution.
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Extra resources for A Fascist Century: Essays by Roger Griffin
Sums up a doctrine which is not merely political: it is evidence of a fighting spirit which accepts all risks. ‘I am no longer human. I am a Titan. ’ 9 It signifies a new style of Italian life. The Fascist accepts and loves life; he rejects and despises suicide as cowardly. 30 In different permutations, the belief that Fascism’s creation of a new type of state was the materialisation and externalisation of a subjective revolution in values and national character was a recurrent topos in Fascist thought.
It may be that we are at the beginning, at the birth of a new humanity and that we are experiencing only the avalanches of spring. We are rising to the divine or plunging, plunging into night and destruction – but there is no standing still. 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.
I am a Titan. ’ 5 experiences, this was often existentially characterised by a qualitative change in time itself, from the personally meaningless to the collectively significant. Leading personalities in the occult revival, and many pioneers of artistic modernism, fit this pattern. Thus, figures like Helena Blavatsky, Rudolf Steiner, William Butler Yeats, Richard Wagner, Igor Stravinsky, Wassily Kandinsky, Pablo Picasso, Vincent Van Gogh, and Rainer Maria Rilke, and artists from such disparate movements as Expressionism, Cubism, and Surrealism were, in their very different ways, concerned both with the achievement of ‘ecstasy’ (states which allowed them to ‘stand outside’ ordinary time) and with acting as a catalyst for the diffusion of new forms of consciousness to ‘save’ the West from what they saw as a process of spiritual atrophy.
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