Employing an approach informed by Slavoj Zizek's work on the Communist's sublime body and by British psychoanalytic feminism's concern with feminine subjectivity, Hell first examines the antifascist works by exiled authors and authors tied to the resistance movement. She then strives to understand the role of Christa Wolf, the GDR's most prominent author, in the GDR's effort to reconstruct symbolic power after the Nazi period.

Salvador Dalí's autobiography confesses that "Hitler turned me on in the highest," while Sylvia Plath maintains that "every woman adores a Fascist." Susan Sontag's famous observation that art reveals the seamier side of fascism in bondage, discipline, and sexual deviance would certainly appear to be true in modernist and postwar literary texts. How do we account for eroticized representations of fascism in anti-fascist literature, for sexual desire that escapes the bounds of politics?Laura Frost advances a compelling reading of works by D. H. Lawrence, Virginia Woolf, Jean Genet, Georges Bataille, Marguerite Duras, and Sylvia Plath, paying special attention to undercurrents of enthrallment with tyrants, uniforms, and domination. She argues that the first generation of writers raised within psychoanalytic discourse found in fascism the libidinal unconscious through which to fantasize acts—including sadomasochism and homosexuality—not permitted in a democratic conception of sexuality without power relations. By delineating democracy's investment in a sexually transgressive fascism, an investment that persists to this day, Frost demonstrates how politics enters into fantasy. This provocative and closely-argued book offers both a fresh contribution to modernist literature and a theorization of fantasy.

An anthology of science fiction and fantasy stories about characters recognizing the fascism in their worlds and making the choice to fight it.

Post-Imperial Brecht challenges prevailing views of Brecht's theatre and politics. Kruger focuses much of her analysis in regions where Brecht has had special resonance, including East Germany, and South Africa, where Brechtian philosophy has been vigorously employed in the anti-apartheid movement. Kruger also analyses political interpretations of Brecht in light of other key dramatists, including Heiner MÜller and Athol Fugard. The book also examines Brechtian influence on writers and philosophers such as Adorno, Benjamin, and Barthes.

A remarkable new history evoking the centrality of Italy to World War II, outlining the brief rise and triumph of the Fascists, followed by the disastrous fall of the Italian military campaign. While staying closely aligned with Hitler, Mussolini remained carefully neutral until the summer of 1940. At that moment, with the wholly unexpected and sudden collapse of the French and British armies, Mussolini declared war on the Allies in the hope of making territorial gains in southern France and Africa. This decision proved a horrifying miscalculation, dooming Italy to its own prolonged and unwinnable war, immense casualties, and an Allied invasion in 1943 that ushered in a terrible new era for the country. John Gooch's new history is the definitive account of Italy's war experience. Beginning with the invasion of Abyssinia and ending with Mussolini's arrest, Gooch brilliantly portrays the nightmare of a country with too small an industrial sector, too incompetent a leadership and too many fronts on which to fight. Everywhere—whether in the USSR, the Western Desert, or the Balkans—Italian troops found themselves against either better-equipped or more motivated enemies. The result was a war entirely at odds with the dreams of pre-war Italian planners—a series of desperate improvisations against an allied force who could draw on global resources, and against whom Italy proved helpless.

This book argues and demonstrates that fascism did happen in contemporary society such as especially America, as during post-2016. It classifies and discusses the main elements of fascism to see if these reveal and replicate themselves in America post-2016. It discovers the specific syndromes of fascism in America post-2016 that reveal and replicate universal fascist features. It detects the main social causes of fascism in America post-2016. It identifies primary counterforces to fascism in America and elsewhere. Lastly, the book constructs a composite fascism index and calculates fascism indexes for Western and comparable societies like OECD countries. These indexes provide suggestive evidence that fascism happened in America and other OECD countries, even if not in Western Europe, especially Scandinavia.

Interest in Christa Wolf continues to grow. Her classics are being reprinted and new titles are appearing posthumously, becoming bestsellers, and being translated. Energetic scholarly debates engage well-known aesthetic and political issues that the public intellectual herself fore-fronted. This broad-ranging introduction to the author, her work and times builds upon and moves beyond such foundational interpretative frameworks by articulating the global relevance of Wolf’s oeuvre today, also for non-German readers. Thus, it brings East German culture alive to students, teachers, scholars and the general public by connecting the socialist German Democratic Republic (GDR) and the lived experiences of its citizens to nations and cultures around the world. The collection focuses on topical matters including the search for authenticity, agency, race, cosmopolitanism, gender, environmentalism, geopolitics, war, and memory debates, as well as movie adaptations and Wolf’s film work with DEFA, marketing, and international reception. Our contributions – by senior and emerging scholars from across the globe – emphasize Wolf’s position as an author of world literature and an important critical voice in the 21st century.

Examines the literature produced from the very beginnings of what became the GDR through the 1950s, redressing a tendency of literary scholarship to focus on the later GDR.

In late 1945 local Japanese turned their energies toward creating new behaviors and institutions that would give young people better skills to combat repression at home and coercion abroad. They rapidly transformed their political culture-policies, institutions, and public opinion-to create a more equitable, democratic and peaceful society. Post-Fascist Japan explores this phenomenon, focusing on a group of highly educated Japanese based in the city of Kamakura, where the new political culture was particularly visible. The book argues that these leftist elites, many of whom had been seen as 'the enemy' during the war, saw the problem as one of fascism, an ideology that had succeeded because it had addressed real problems. They turned their efforts to overtly political-legal systems but also to ostensibly non-political and community institutions such as universities, art museums, local tourism, and environmental policies, aiming not only for reconciliation over the past but also to reduce the anxieties that had drawn so many towards fascism. By focusing on people who had an outsized influence on Japan's political culture, Hein's study is local, national, and transnational. She grounds her discussion using specific personalities, showing their ideas about 'post-fascism', how they implemented them and how they interacted with the American occupiers.