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Books on the topic 'Fascism – Europe – Fiction'

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Author: Grafiati

Published: 25 July 2024

Last updated: 26 July 2024

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1

Rathbone, Julian. Watching the detectives. London: Pluto, 1985.

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2

Bataille, Georges. Blue of noon. London: Marion Boyars, 2002.

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3

Bataille, Georges. Blue of noon. London: M. Boyars, 1986.

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4

Bataille, Georges. Le bleu du ciel. [Paris]: Gallimard, 1991.

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5

Bataille, Georges. Blue of noon. London: Paladin, 1988.

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6

Rundle, Christopher. Publishing translations in Fascist Italy. New York: Peter Lang, 2009.

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7

Rundle, Christopher. Publishing translations in Fascist Italy. New York: Peter Lang, 2009.

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8

Silone, Ignazio. Fontamara: Roman ; [im Anhang ein Auszug aus "Der Fascismus"]. Leipzig: Reclam, 1990.

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9

Fisher, David E. The wrong man. New York: Random House, 1993.

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10

Marković, Milivoje. Politika kao teror: Evropski i srpski pisci o fašizmu i genocidu. Beograd: Srpska književna zadruga, 1995.

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11

Alberto, Moravia. The conformist: A novel. South Royalton, Vt: Steerforth Italia, 1999.

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12

Alberto, Moravia. Il conformista. Milano: Bompiani, 2002.

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13

Alberto, Moravia. Il conformista: Con un episodio inedito. 4th ed. Milano: Bompiani, 1995.

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14

Arnothy, Christine. I Am Fifteen--And I Don't Want to Die (Point): A True Story of Heartbreak and Heroism. New York, USA: Scholastic Inc., by arrangement with E.P. Dutton & Co., Inc., 1990.

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15

Brecht, Bertolt. The resistible rise of Arturo Ui. New York: Arcade Pub., 2001.

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16

Baricco, Alessandro. Zonder bloed. 2nd ed. Breda: De Geus, 2009.

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17

Baricco, Alessandro. Ohne Blut. München: Dt. Taschenbuch-Verl., 2006.

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18

Baricco, Alessandro. Sin sangre. Barcelona: Editorial Anagrama, 2012.

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19

Baricco, Alessandro. Sans sang. [Paris]: Gallimard, 2007.

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20

Baricco, Alessandro. Zonder bloed. Breda: De Geus, 2003.

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21

Advent of the Incredulous Stigmata Man. Citron, 1998.

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22

Bondebjerg, Ib. Images of Europe, European Images: Postwar European Cinema and Television Culture. Edited by Dan Stone. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199560981.013.0033.

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The audio-visual culture of Europe right after 1945 was a culture in ashes in a Europe soon to be divided into east and west under the Cold War. It was a Europe where nation-states had to reconstruct and revitalise a cinema culture damaged by war, and where television did not emerge until the 1950s, or in some countries even later. Already during the 1980s, a cultural policy and a policy for film and media was starting to develop, and both the MEDIA programmes (from 1987) and the EURIMAGE programme (from 1988) represented the institutionalisation of support for the diversity of film and media culture in Europe as a whole. This article explores European images in cinema and television culture during the postwar period. It also discusses fascism and new wave cinema in Southern Europe, new wave cinema in Scandinavia and the rise of a modern welfare culture, European media culture and the Communist ‘Ice Age’, European art television and national fiction series, the transnational power of television, documentary film and television, and digital television and film in European perspective.

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23

Bataille, Georges, and Ramon Garcia Fernandez. El Azul del Cielo (Fabula). TusQuets, 2002.

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24

Bataille, Georges. Blue of Noon (Penguin Modern Classics). Penguin Books Ltd, 2001.

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25

Bataille, Georges. Le Bleu Du Ciel. Editions Flammarion, 1998.

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26

Blue Of Noon. Penguin Books Ltd, 2012.

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27

Bataille, Georges. El Azul Del Cielo. Tusquets, 2002.

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28

Bataille, Georges. Le bleu du ciel. Fayard, 1985.

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29

Bataille. Le Bleu Du Ciel. Editions Flammarion, 1999.

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30

McNaughton, James. Samuel Beckett and the Politics of Aftermath. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198822547.001.0001.

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Samuel Beckett and the Politics of Aftermath explores Beckett’s creative response to the Irish Civil War and the crisis of commitment in 1930s Europe, to the rise of fascism and the atrocities of World War II. Grounded in archival material, the book reads Beckett’s letters and German Diaries to demonstrate Beckett’s personal attunement to propaganda and expectations for war. We see how profoundly Beckett’s fiction and theater engage with specific political strategies, rhetoric, and events. Deep into literary form, syntax, and language, Beckett contends with ominous political and historical developments taking place around him. More, he satirizes aesthetic and philosophical interpretations that overlook them. From critiques of the Irish Free State’s inability to examine its foundational violence to specific analysis of the functioning of Nazi propaganda, from exploring how language functions in conditions of authoritarian power to challenging postwar Europe’s conveniently limited definitions of genocide, Beckett’s writing challenges many political pieties with precision and force. He burdens all aesthetic production with guilt for how imagination and narrative form help to effect atrocity as well as cover it up. This book develops new readings of Beckett’s early and middle work up to Three Novels and Endgame.

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31

McNaughton, James. “The same old mouldy words”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198822547.003.0002.

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Chapter 1 develops Beckett’s “Politics of Aftermath.” In letters, Beckett expresses mistrust of “the usual” political positions, a mistrust rooted less in disengagement than in how political language loses its capacity to properly evaluate. Beckett learned these lessons crisply in the Irish Free State, and he applies them to political claims made for modernism and the avant-garde. More, he brings his frustration with exhausted conceptual models into his fiction. With new readings of More Pricks than Kicks, this chapter shows how Beckett’s collection fictionalizes sensational aspects of Irish political history, in particular state executions and big-house fires, the better to critique the Free State’s inability to examine its foundational violence and to warn against fascism emerging across Europe. Beckett’s personal attention to slogan and cliché and, in his creative writing, to the erasure of historical reference and the evacuation of political meanings, are specific analytical responses to encrusted political interpretations.

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32

Meier, Franziska. Emanzipation als Herausforderung: Rechtsrevilutionare Schriftsteller zwischen Bisexualitat und Androgynie (Literatur in der Geschichte, Geschichte in der Literatur). Bohlau, 1998.

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33

Alberto, Moravia. The Conformist. Zoland Books, 1999.

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34

The Conformist. Milan, Italy: R.C.S. Libri S.p.A., 1999.

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35

Baricco, Alessandro. Sin Sangre. Anagrama, 2003.

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36

Baricco, Alessandro. Senza Sangue. Rizzoli, 2004.

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37

Baricco, Alessandro. Without Blood (Vintage International). Vintage, 2008.

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38

Ohne Blut. Carl Hanser Verlag, 2002.

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39

Baricco, Alessandro. Senza Sangue. Rizzoli Publications, 2002.

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40

Without Blood. New York: Knopf Doubleday Publishing Group, 2008.

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41

Baricco, Alessandro. Without Blood. Knopf, 2004.

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42

Without Blood. Edinburgh: Canongate Books, 2009.

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43

Senza Sangue: Un apologo sulla violenza ed il dolore. Biblioteca Universale Rizzoli BUR, 2004.

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44

Baricco, Alessandro. Senza Sangue. Rizzoli, 2004.

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45

Baricco, Alessandro. Sin Sangre. Quinteto, 2006.

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46

Brun, Françoise, and Alessandro Baricco. Sans sang. Albin Michel, 2003.

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47

Baricco, Alessandro. Senza sangue. Feltrinelli, 2015.

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48

Baricco, Alessandro. Without Blood. Canongate Books Ltd, 2005.

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49

Baricco, Alessandro. Ohne Blut. Carl Hanser Verlag, 2003.

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