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Artigos de revistas sobre o assunto "Fascism – Europe – Fiction"
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Lojo Rodríguez, Laura María. "Contradiction and ambivalence : Virginia Woolf and the aesthetic experience in "The Duchess and the Jeweller"". Journal of English Studies 3 (29 de maio de 2002): 115. http://dx.doi.org/10.18172/jes.73.
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In the midst of the terror waged on Europe by Nazi demonstrations of power and racial extermination Virginia Woolf published a most contrevorsial short story -"The Duchess and the Jeweller" (1938)- which was originally entitled "The Duchess and the Jew" but was changed at the request of Woolf's American publisher for its racist connotations. The story has been neglected by the critics on account of two major reasons: on the one hand, it does not partake of those innovative narrative devices that most of Woolf's fiction presents; on the other such an apparently Anti-Semitist piece of work is inconveniently at odds with the oeuvre of a writer who so ardently and energetically rejected Fascism in her pamphlet Three Guineas which was curiously simultaneous in date of composition and publication to "The Duchess and the Jeweller". Despite the fact that Woolf may have been airing her personal prejudices of race and class in the characters of Oliver Bacon and the Duchess of Lambourne, the present paper does not aim to do away with such incoherence, ambivalence and contradiction, but rather focuses on the jewel imagery which structures the narrative and which addresses questions such as the 'art for art's sake' doctrine versus the material commodity of beauty
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Шмелев, Д. В. "Revolution, Communism and Totalitarianism in Georges Bernanos’ Works". Диалог со временем, n.º 83(83) (31 de julho de 2023): 149–63. http://dx.doi.org/10.21267/aquilo.2023.83.83.009.
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В статье исследуется жизненный путь, художественное творчество и публицистика крупнейшего французского католического писателя первой половины XX в. Жоржа Бернаноса. Несмотря на переводы на русский язык его художественных произведений, дневников и части публицистики, его политические взгляды, ангажированность почти не изучались. Вместе с тем они представляют интерес с точки зрения формирования правой, традиционалисткой позиции французских интеллектуалов перед лицом русской революции, советского опыта строительства нового общества социальной справедливости и равенства, торжества и крушения тоталитарных идеологий. Позиция Бернаноса – это позиция думающего католика, размышляющего о кризисе веры и причинах упадка западной христианской цивилизации, противостоящей советскому коммунизму. Восприятие Бернаносом революционных потрясений и тоталитарного опыта в Европе прошло через травматизм Первой мировой войны, разрыв с Шарлем Моррасом, морально-этический выбор в период гражданской войны в Испании и борьбу с фашизмом в годы Второй мировой войны. Статья написана на основе художественных произведений, дневников, эссе и статей в газетах, опубликованных Бернаносом в период между двумя мировыми войнами. The article examines the life path, artistic creativity and journalism of the largest French Catholic writer of the first half of the XX century, Georges Bernanos, was chosen. Despite the translations into Russian of his works of art, diaries and parts of his journalism, his political views and engagement were almost not studied. At the same time, they are of interest from the point of view of the formation of the right-wing, traditionalist position of French intellectuals in the face of the Russian revolution, the Soviet experience of building a new society of social justice and equality, the triumph and collapse of totalitarian ideologies. The position of Bernanos is the position of a thinking catholic reflecting on the crisis of faith and the causes of the decline of Western Christian civilization opposing Soviet communism. Bernanos perception of the revolutionary upheavals and totalitarian experience in Europe went through the traumatism of the World War I, the break with Charles Maurras, the moral and ethical choice during the Spanish Civil War and the fight against fascism during the World War II. The article is written on the basis of works of fiction, diaries, essays and articles in newspapers published by Bernanos in the Interwar period.
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Nikolenko, Olha. "THE HOLOCAUST AS AN ETERNAL LESSON FOR MANKIND (Education of resistance to racism and xenophobia on the basis of contemporary foreign fiction and cinema)". Aesthetics and Ethics of Pedagogical Action, n.º 18 (9 de setembro de 2018): 84–94. http://dx.doi.org/10.33989/2226-4051.2018.18.176323.
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The theme of the Second World War and the Holocaust is one of the topical themes of contemporary fiction and cinema. Outstanding writers and directors of our time are turning to the embodiment of this tragic topic. They set themselves the task of comprehending the past and giving the third millennium generation spiritual experience that will help young people combat the manifestations of racism and xenophobia in the modern world. The article deals with the novel “Schindler’s Ark” by Th. Keneally, “The Children of Noah” by E.-E. Schmitt, “The Boy in the Striped Pajamas” by J. Boyne, “The Book Tief” by M. Zuzak and movies that are based on these books. In the genres of a historic novel and psychological story based on the documents, the writers revealed the complicated social processes in Europe during 1930-1940. The writers described the historic events within the life of ordinary people who lived in the terrible circumstances of the totalitarian system. The symbols playedthe main role in revealing the subject of the Holocaust in the novels and films about the Second World War and the Holocaust. Thomas Keneally continued the traditions of romantic irony and added to it some social, psychological and philosophical meanings. The irony in the novel by Thomas Keneally “Schindler’s Ark” plays an important role in the investigation of European society in the tragic period of the 20thcentury. In the novels by Thomas Keneally irony takes place on the different levels such as plot, composition, imagology, time and space, style and language. T. Keneally broadens the meaning of irony and its function in the documentary and historic novel. The irony in the novel “Schindler’s Ark” maintains some main functions: social for explaining the anti-humanistic essence of fascism, war, racial hatred, research in investigating the tragedy of the Holocaust and its consequences, psychological in revealing the psychology of people of different social class, philosophical in discussing the important issues of human life in the word, axiological dealing with the values of mercy, morality, the ability to resist violence. T. Kenealy represents different forms of irony such as the irony of the narrator, the irony of the author, the combination of controversial documentary facts, the contradiction of phenomenon and notions, the comparison of the different points of view, self-irony, irony as inner enlightenment, catharsis. In the novel “Schindler’s Ark” by T. Kenealy the author of the article analyzed the traditions of world literature such as B. Brecht within the motive of personal financial profit from the war, N. Gogol within the motive of buying and selling the dead souls. The writer represented these motives in his own way as the events took place during the real historic time, and he found the inner power in people of past century to keep their life, humanity and culture on the Earth. The irony is a unique feature of T. Keneally’s individual style and it enriched the genre of novel.
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BLINDER, CAROLINE. "American Alphabet: Photo-textual Politics in Paul Strand and Nancy Newhall's Time in New England (1950)". Journal of American Studies 50, n.º 1 (8 de julho de 2015): 143–65. http://dx.doi.org/10.1017/s0021875815001152.
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The first in a series of regional studies by the photographer Paul Strand, Time in New England pairs the iconographical landscapes and portraits of Strand with a cross-section of historical and fictional accounts of New England life from 1630 to 1950. The texts, chosen and edited by Nancy Newhall, constitute a counterpoint to Strand's images, designed to historicize the ideological parameters, subjects, and faces of a vernacular New England. This essay examines some of the problems inherent in Strand and Newhall's attempts to record an essentially democratic vision of America through a specific cultural landscape both found and constructed. Partly a postwar response to the trauma of fascism in Europe, Time in New England sought to confirm the intrinsic values of America as a safe haven for democratic principles, a project jeopardized by the increasing harassment of leftist artists that drove Strand out of the US in the same year Time in New England was published.
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Vrančić, Frano. "Le catholique Bernanos face à la guerre civile espagnole". Studia Romanistica 20, n.º 2 (novembro de 2020): 97–113. http://dx.doi.org/10.15452/sr.2020.20.0013.
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This paper analyses the political‑religious reflection developed by the great French novelist Georges Bernanos (1888-1948) during his Majorcan stay in the course of the Spanish Civil War. Indeed, it was in Palma de Mallorca, where this writer stayed from 1934 to 1937 to escape the anger of his Parisian creditors, that he wrote most of his masterpiece The Diary of a Country Priest as well as A New History of Mouchette. Fundamentally Catholic and monarchist, at the very beginning of the Francoist military uprising against the Popular Front in the summer of 1936, Bernanos became enthusiastic about the “glorioso Movimiento”. This is due not only to his son Yves, who actively participated in the rebellion, but also and above all to his virulent anticommunism and his youth’s fascination for the ideas of Hello and Maurras. However, after seeing the atrocities committed against the civilian population by the partisans of Franco, as a good Catholic, Bernanos raises his voice and denounces the blessing of Francoist war crimes by part of the Spanish clergy in his famous non‑fiction book The Great Cemeteries Under the Moon (1938). Contrary to what one might believe, this explosive essay is not a leftist manifesto, since Bernanos does not justify the crimes committed by the socialists and communists who came to Spain so as to fight against Franco and his Italian and German allies, but a warning addressed to the French political elites, especially to his old friends of the conservative Action Française, against the fascist temptation. Finally, this striking work is still relevant in a Europe whose political classes sometimes tend to minimize the destructive effects of the three deadly ideologies of the past century for electoral purposes, which exacerbates memory wars and thus damages the living‑together.
Teses / dissertações sobre o assunto "Fascism – Europe – Fiction"
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Aldea, Agudo M. Elena. "RHETORICS OF EMPIRE: THE FALANGIST DISCOURSE OF WAR (1939-1943)". UKnowledge, 2012. http://uknowledge.uky.edu/hisp_etds/5.
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During the Spanish Civil War (1936-1939) a mix of right-wing ideologies existed among the Francoist forces. In sharp contrast with the Republican forces, the Francoist insurgents were successful in banding together despite their ideological differences. However, in the postwar era, this relative unity gave way to a struggle among the different ideological positions, each striving to impose its agenda for the new State. The party Falange Española Tradicionalista y de las Juntas de Ofensiva Nacional Sindicalista (FET y de las JONS) assumed power, but was not entirely successful in advancing its totalitarian project, which it had inherited from the prewar FE de las JONS party. Unsatisfied with this outcome, staunch Falangists employed political strategies to squelch the opposition of the military, conservatives, royalists and the Church, whose ideals differed in many ways.
The purpose of this dissertation is to demonstrate how the political strategies used by the Falangists against opposing factions are mirrored in the cultural sphere, especially in literary and cinematographic portrayals of war. The propagandistic nature of these works is reflected in their narrative structures and literary characters, as in what Susan Suleiman refers to as “authoritarian fictions.” This study examines the ways in which Falangists propaganda exploits distinct features of the Rif War, the Civil War, and the Second World War, in order to promote key parts of the Nationalist Syndicalist ideology endorsed by core Falangists. This essay traces the transformation of these authoritarian narrative schemes as the hegemonic political position of National Syndicalism begins to deteriorate. In response to this unwelcome political change, Falangists propaganda becomes increasingly critical toward the other ideological positions of the Francoist Regime. This dissertation thus shows the way in which shifting political tides are mirrored in the cultural production of Falangist propaganda.
Livros sobre o assunto "Fascism – Europe – Fiction"
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Rathbone, Julian. Watching the detectives. London: Pluto, 1985.
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Bataille, Georges. Blue of noon. London: Marion Boyars, 2002.
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Bataille, Georges. Blue of noon. London: M. Boyars, 1986.
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Bataille, Georges. Le bleu du ciel. [Paris]: Gallimard, 1991.
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Bataille, Georges. Blue of noon. London: Paladin, 1988.
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Rundle, Christopher. Publishing translations in Fascist Italy. New York: Peter Lang, 2009.
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Rundle, Christopher. Publishing translations in Fascist Italy. New York: Peter Lang, 2009.
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Silone, Ignazio. Fontamara: Roman ; [im Anhang ein Auszug aus "Der Fascismus"]. Leipzig: Reclam, 1990.
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Fisher, David E. The wrong man. New York: Random House, 1993.
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Marković, Milivoje. Politika kao teror: Evropski i srpski pisci o fašizmu i genocidu. Beograd: Srpska književna zadruga, 1995.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Fascism – Europe – Fiction"
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Sandberg, Eric. "The Fingerprints of Fascism: Philip Kerr’s Bernie Gunther Novels, Nazi Noir, and the Continuing Presence of the Past". In Contemporary European Crime Fiction, 41–57. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-21979-5_3.
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Griffin, Roger. "Gerhard Frey, Truth And Fiction". In Fascism, 342. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780192892492.003.0193.
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Abstract The Malmo conference of May 1951, which brought together the internationalist fascists from fourteen European countries, succeeded in founding the ‘Malmo International’, or European Social Movement, to which sixteen national movements were affiliated. Despite divisions over the degree of anti-Semitism and active racism to adopt, delegates had little difficulty agreeing that the role of a regenerated Europe was to act as a citadel of healthy values to ward off the threat posed by the two superpowers, a position expressed in this manifesto of ESM goals, one of the first major post-war statements ofEurofascism.
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Sedzielarz, Aleksander. "Illuminating the Black Film: The Weimar Origins of the Argentine Policial , the Curious Case of ‘El Metteur’ James Bauer and Crime as Transnational Signifier". In Transnational Crime Cinema, editado por Sarah Delahousse e Aleksander Sedzielarz, 23–43. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781399505673.003.0002.
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Literary narratives of crime and detective work were enjoyed by wide audiences attracted to the popular policial fiction in serial publications in South America throughout the 1930s. Crime films, however, arrive quite late in with most Argentine studios producing their first policial films around the year 1940. Drawing inspiration from Weimar and French sources—and often produced by filmmakers-in-exile escaping the rise of fascism in Europe—the first policials blended the techniques honed by veterans of the European studio systems in Spain, France, and Germany with the established genre and stylistic conventions of musical and romantic comedy that attracted audiences to local Argentine productions. This chapter focuses on German-born director James Bauer’s Explosivo 008, a mashup of Weimar aesthetics and local Argentine musical comedy and science fiction, as a kaleidoscopic production that reveals the global cultural influences entering the visual culture of Argentina through film as foreign filmmakers settled in Buenos Aires and collaborated with local studios. This film offers a picture of the entangled strands of national cultures in transition during a time of war and occupation and resulting in a cinematic transnationalism that would enrich the subsequent development of policial films and fiction in Argentina.
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Malcolm, William K. "Setting Tales upon the Truth: Three Go Back, The Lost Trumpet and Gay Hunter". In Lewis Grassic Gibbon, 49–58. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620627.003.0005.
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While Mitchell was offhand about his imaginative romances, they are viewed here as more than just potboilers whose brand of utopian idealism was designed to garner widespread popularity. On the contrary, Mitchell employs a lightweight fiction form to promote key themes about society, human nature and historical evolution. Two of his fantasy novels are explored as classic time-travel yarns of Voyage and Return. The first of these, Three Go Back, invokes a natural Golden Age of the prehistoric past untrammelled by civilised values, while his last fantasy Gay Hunter constitutes a darker dystopian narrative informed by the contemporary rise of fascism in Europe. The intermediate romance The Lost Trumpet is appraised as a classic example of the popular genre of the Quest, an early form of magical realism set in Egypt in which pressing socio-political themes are addressed within the framing fantasy of an archaeological search for Joshua’s talismanic trumpet of Old Testament legend. Ultimately the fantasy form is viewed as uncongenial to Mitchell’s literary aspirations, although his formal experimentation in these novels was important to his literary development.
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McCulloch, Margery Palmer. "Changing Worlds and a Hampstead Idyll 1930–1933". In Edwin and Willa Muir, 129–45. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192858047.003.0010.
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Abstract 1930–1933. The chapter begins with a discussion of the literary renaissance in Scotland, Edwin’s engagement with it, and his friendship with Hugh MacDiarmid and James Whyte, the editor of The Modern Scot. Edwin and Willa are sent to Budapest in May 1932 as representatives of Scottish P.E.N. They are glad to be back in Europe, but it is not a happy occasion, tainted by a harsh Hungarian regime and shadows of fascism. On their return the Muirs decide to move to London, using an inheritance from Willa’s mother to rent a house in Hampstead. Here they will spend five happy years, in close contact with publishers and writers, including expatriate Scots such as Catherine Carswell, George Malcolm Thomson, and younger poets including Stephen Spender, Dylan Thomas, and George Barker. Edwin’s last novel Poor Tom (1932) is his best piece of fiction, but lukewarm reviews convince him that his métier is poetry. Willa’s second novel, Mrs Ritchie, appears in 1933 as a scathing vision of a puritanical narrowness in Scottish society. More overtly polemical, it is less successful than Imagined Corners. In May 1933, Edwin attends another P.E.N. conference, this time in Dubrovnik, sadly marked by anti-Semitism and the presence of Nazi sympathizers. Back in London, Gavin is injured by a lorry while fleeing from the servant girl whose hell-fire religious fanaticism had frightened him, an already nervous child.
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Gordan, Rachel. "The Roots of 1940s Anti-Antisemitism Fiction". In Postwar Stories, 48–58. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197694367.003.0003.
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Abstract “Anti-antisemitism,” a term used in the 1940s, is the one employed in this book to capture a 1940s liberal sentiment. It was a convenient term to signal America’s desired distance from European and fascist bigotry without having to say too much about actual Jews. The idea of anti-antisemitism, if not the phrase, crystallized in the 1940s, after receiving impetus from events such as aviator Charles Lindbergh’s September 11, 1941, Des Moines speech and the backlash it provoked. In view of the pervasiveness of antisemitism earlier in the century, this 1940s reversal was dramatic, and it affected liberal Americans’ self-understanding. More frequent messaging about the need to fight discrimination against Jews during the 1940s suggested a changing culture. It was this increased discussion of antisemitism in mainstream media and popular culture that inspired some of the 1940s anti-antisemitism novelists, including Laura Z. Hobson.
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Mosse, George L. "Toward a New Masculinity?" In The Image of Man, 181–94. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195101010.003.0009.
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Abstract The Second World War did not bring about any immediate change in the normative masculine stereotype. Even if the new fascist man had been an ideal to aim at, and had attracted attention in all of Europe, he did not truly survive into the postwar world. Nevertheless, a certain nostalgia for such a heightened manly ideal could be found on the fringes of post war society, where the Nazi SS stirred the imagination, informing, for example, some German memoirs and postwar popular fiction: sober, sovereign figures of manhood. But there was no longer much talk about fashioning a “new man” who would guide the nation into a brighter future. Instead, in western Europe, a consensus emerged that the tom fabric of society must be mended as soon as possible, and as part of this new traditionalism, prosaic, normative masculinity was at first reaffirmed.
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Paris, Václav. "Comparing Tales of the Tribe". In The Evolutions of Modernist Epic, 137–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198868217.003.0005.
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This chapter compares two texts written in the same year, 1928, in very different geographical settings: Mário de Andrade’s Macunaíma and Virginia Woolf’s Orlando. Both works narrate, in peculiar allegorical form, the history of their nations embodied in one unusual hero. Macunaíma tells the story of Brazil’s modernization; Orlando begins in Elizabethan England and works its way up to the moment of composition. Although each is deeply idiosyncratic, they arrive at a similar set of conceits for national representation. Orlando famously changes sex halfway through Woolf’s narrative, while Macunaíma changes race, from black to white. To make sense of the contiguities between Macunaíma and Orlando, the chapter reads both as epics responding to the changing discourse of large-scale social Darwinism in the 1920s. In particular, it points out that both authors were aware of fascism’s increasingly rigid interpretations of evolution’s significance. Drawing out the similarities between Andrade and Woolf’s narratives, the chapter explains how Macunaíma and Orlando exemplify and expand this book’s methodology for reading modernist epic fiction comparatively against changing perceptions of evolution. It shows how such a bifocal reading allows us to see connections across traditional disciplinary borders of high and low, center and periphery, European and post-colonial.