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Making the Fascist Self : The Political Culture of Interwar Italy / Mabel Berezin.

By: Material type: TextTextSeries: The Wilder House series in politics, history, and culturePublisher: Ithaca, NY : Cornell University Press, [2018]Copyright date: ©1997Description: 1 online resource (288 p.) : 15 halftones; 1 map; 5 graphs; 4 tablesContent type:
Media type:
Carrier type:
ISBN:
  • 9781501722141
Subject(s): DDC classification:
  • 306.2/0945/09041 23
LOC classification:
  • DG571 .B444 1997eb
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Chronology -- Abbreviations -- Introduction: Post-Fascism/Fascism: Italy I994/I922 -- 1. Interpreting Fascism/Explaining Ritual -- 2. Imagining a New Political Community: The Landscape of Ritual Action -- 3. Convergence and Commemoration: Reenacting the March on Rome -- 4. The Evolution of Ritual Genres: The March Continues -- 5. Colonizing Time: Rhythms of Fascist Ritual in Verona -- 6. Dead Bodies and Live Voices: Locating the Fascist Self -- Conclusion: Fascism/Identity /Ritual -- Methodological Appendix -- Index
Summary: In her examination of the culture of Italian fascism, Mabel Berezin focuses on how Mussolini's regime consciously constructed a nonliberal public sphere to support its political aims. Fascism stresses form over content, she believes, and the regime tried to build its political support through the careful construction and manipulation of public spectacles or rituals such as parades, commemoration ceremonies, and holiday festivities.The fascists believed they could rely on the motivating power of spectacle, and experiential symbols. In contrast with the liberal democratic notion of separable public and private selves, Italian fascism attempted to merge the public and private selves in political spectacles, creating communities of feeling in public piazzas. Such communities were only temporary, Berezin explains, and fascist identity was only formed to the extent that it could be articulated in a language of pre-existing cultural identities.In the Italian case, those identities meant the popular culture of Roman Catholicism and the cult of motherhood. Berezin hypothesizes that at particular historical moments certain social groups which perceive the division of public and private self as untenable on cultural grounds will gain political ascendance. Her hypothesis opens a new perspective on how fascism works.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781501722141

Frontmatter -- Contents -- Acknowledgments -- Chronology -- Abbreviations -- Introduction: Post-Fascism/Fascism: Italy I994/I922 -- 1. Interpreting Fascism/Explaining Ritual -- 2. Imagining a New Political Community: The Landscape of Ritual Action -- 3. Convergence and Commemoration: Reenacting the March on Rome -- 4. The Evolution of Ritual Genres: The March Continues -- 5. Colonizing Time: Rhythms of Fascist Ritual in Verona -- 6. Dead Bodies and Live Voices: Locating the Fascist Self -- Conclusion: Fascism/Identity /Ritual -- Methodological Appendix -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

In her examination of the culture of Italian fascism, Mabel Berezin focuses on how Mussolini's regime consciously constructed a nonliberal public sphere to support its political aims. Fascism stresses form over content, she believes, and the regime tried to build its political support through the careful construction and manipulation of public spectacles or rituals such as parades, commemoration ceremonies, and holiday festivities.The fascists believed they could rely on the motivating power of spectacle, and experiential symbols. In contrast with the liberal democratic notion of separable public and private selves, Italian fascism attempted to merge the public and private selves in political spectacles, creating communities of feeling in public piazzas. Such communities were only temporary, Berezin explains, and fascist identity was only formed to the extent that it could be articulated in a language of pre-existing cultural identities.In the Italian case, those identities meant the popular culture of Roman Catholicism and the cult of motherhood. Berezin hypothesizes that at particular historical moments certain social groups which perceive the division of public and private self as untenable on cultural grounds will gain political ascendance. Her hypothesis opens a new perspective on how fascism works.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024)