Fascist Modernism: Aesthetics, Politics, and the Avant-garde

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Stanford University Press, 1993 - Literary Criticism - 222 pages
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What was it about fascism that made the movement, in its various forms, so attractive and exciting to such writers and artists as Wyndham Lewis, Ezra Pound and Celine, among others? Using as a focal point the literary work of Filippo Tommaso Marinetti, the founder of the Italian Futurist movement and an early associate of Mussolini, the author examines the points of contact between a progressive aesthetic practice and a reactionary political ideology. The book begins by unfolding the history of the avant-garde and concludes by re-examining some of his assertions in the light of the postmodernism debate, attempting to understand the ways in which the debate is framed by the demise of both fascism and the avant-garde in their most fully developed historical forms. Throughout, the book is enriched with close readings of a range of (often marginalized) avant-garde texts.
 

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Contents

Why Fascist Modernism?
1
A Theoretical Introduction
20
Excursus on the Dialectic of Autonomy
48
Decadence and Nationalism
68
The Politics of the Manifest
102
Fascist Modernism and
161
Notes
197
Bibliography
211
Copyright

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About the author (1993)

Andrew Hewitt is Professor of Germanic Languages and Comparative Literature at the University of California, Los Angeles. He is the author of Political Inversions: Homosexuality, Fascism, and the Modernist Imaginary and Fascist Modernism: Aesthetics, Politics, and the Avant-Garde.

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