For fascism, myth was reality—or was realer than the real. Fascist notions of the leader, the nation, power, and violence were steeped in mythic imagery and the fantasy of transcending history. A mythologized primordial past would inspire the heroic overthrow of a debased present to achieve a violently redeemed future. What is distinctive about fascist mythology, and how does this aspect of fascism help explain its perils in the past and present? Federico Finchelstein draws on a striking combination of thinkers—Jorge Luis Borges, Sigmund Freud, and Carl Schmitt—to consider fascism as a form of political mythmaking. He shows that Borges’s literary and critical work and Freud’s psychoanalytic writing both emphasize the mythical and unconscious dimensions of fascist politics. Finchelstein considers their ideas of the self, violence, and the sacred as well as the relationship between the victims of fascist violence and the ideological myths of its perpetrators. He draws on Freud and Borges to analyze the work of a variety of Latin American and European fascist intellectuals, with particular attention to Schmitt’s political theology. Contrasting their approaches to the logic of unreason, Finchelstein probes the limits of the dichotomy between myth and reason and shows the centrality of this opposition to understanding the ideology of fascism. At a moment when forces redolent of fascism cast a shadow over world affairs, this book provides a timely historical and critical analysis of the dangers of myth in modern politics.

"There is no better book on fascism's complex and vexed relationship with truth."—Jason Stanley, author of How Fascism Works: The Politics of Us and Them In this short companion to his book From Fascism to Populism in History, world-renowned historian Federico Finchelstein explains why fascists regarded simple and often hateful lies as truth, and why so many of their followers believed the falsehoods. Throughout the history of the twentieth century, many supporters of fascist ideologies regarded political lies as truth incarnated in their leader. From Hitler to Mussolini, fascist leaders capitalized on lies as the base of their power and popular sovereignty. This history continues in the present, when lies again seem to increasingly replace empirical truth. Now that actual news is presented as “fake news” and false news becomes government policy, A Brief History of Fascist Lies urges us to remember that the current talk of “post-truth” has a long political and intellectual lineage that we cannot ignore.

What is fascism and what is populism? What are their connections in history and theory, and how should we address their significant differences? What does it mean when pundits call Donald Trump a fascist, or label as populist politicians who span left and right such as Hugo Chávez, Juan Perón, Rodrigo Duterte, and Marine Le Pen? Federico Finchelstein, one of the leading scholars of fascist and populist ideologies, synthesizes their history in order to answer these questions and offer a thoughtful perspective on how we might apply the concepts today. While they belong to the same history and are often conflated, fascism and populism actually represent distinct political trajectories. Drawing on an expansive record of transnational fascism and postwar populist movements, Finchelstein gives us insightful new ways to think about the state of democracy and political culture on a global scale. This new edition includes an updated preface that brings the book up to date, midway through the Trump presidency and the election of Jair Bolsonaro in Brazil.

In Transatlantic Fascism, Federico Finchelstein traces the intellectual and cultural connections between Argentine and Italian fascisms, showing how fascism circulates transnationally. From the early 1920s well into the Second World War, Mussolini tried to export Italian fascism to Argentina, the “most Italian” country outside of Italy. (Nearly half the country’s population was of Italian descent.) Drawing on extensive archival research on both sides of the Atlantic, Finchelstein examines Italy’s efforts to promote fascism in Argentina by distributing bribes, sending emissaries, and disseminating propaganda through film, radio, and print. He investigates how Argentina’s political culture was in turn transformed as Italian fascism was appropriated, reinterpreted, and resisted by the state and the mainstream press, as well as by the Left, the Right, and the radical Right. As Finchelstein explains, nacionalismo, the right-wing ideology that developed in Argentina, was not the wholesale imitation of Italian fascism that Mussolini wished it to be. Argentine nacionalistas conflated Catholicism and fascism, making the bold claim that their movement had a central place in God’s designs for their country. Finchelstein explores the fraught efforts of nationalistas to develop a “sacred” ideological doctrine and political program, and he scrutinizes their debates about Nazism, the Spanish Civil War, imperialism, anti-Semitism, and anticommunism. Transatlantic Fascism shows how right-wing groups constructed a distinctive Argentine fascism by appropriating some elements of the Italian model and rejecting others. It reveals the specifically local ways that a global ideology such as fascism crossed national borders.

The Devil in History is a provocative analysis of the relationship between communism and fascism. Reflecting the author’s personal experiences within communist totalitarianism, this is a book about political passions, radicalism, utopian ideals, and their catastrophic consequences in the twentieth century’s experiments in social engineering. Vladimir Tismaneanu brilliantly compares communism and fascism as competing, sometimes overlapping, and occasionally strikingly similar systems of political totalitarianism. He examines the inherent ideological appeal of these radical, revolutionary political movements, the visions of salvation and revolution they pursued, the value and types of charisma of leaders within these political movements, the place of violence within these systems, and their legacies in contemporary politics. The author discusses thinkers who have shaped contemporary understanding of totalitarian movements—people such as Hannah Arendt, Raymond Aron, Isaiah Berlin, Albert Camus, François Furet, Tony Judt, Ian Kershaw, Leszek Kolakowski, Richard Pipes, and Robert C. Tucker. As much a theoretical analysis of the practical philosophies of Marxism-Leninism and Fascism as it is a political biography of particular figures, this book deals with the incarnation of diabolically nihilistic principles of human subjugation and conditioning in the name of presumably pure and purifying goals. Ultimately, the author claims that no ideological commitment, no matter how absorbing, should ever prevail over the sanctity of human life. He comes to the conclusion that no party, movement, or leader holds the right to dictate to the followers to renounce their critical faculties and to embrace a pseudo-miraculous, a mystically self-centered, delusional vision of mandatory happiness.

American Mythologies examines eleven myths that form part of the storehouse of present-day American mythologies, elucidating the nature of contemporary myths by investigating their ideological sub-terrain. Grounded in a semiological approach, which explores the displacement of information and the transformation of signs that characterise mythic communication, this book sheds light on the socio-economic, gendered, national and racial interests that lie behind myth-making. Presenting rich case studies from popular culture and public discourse, it demonstrates the manner in which these myths, and American mythology in general, promote the core values of everyday life under capitalism: rugged individualism, the unfettered right to accumulate wealth, the superior moral character of free-enterprise democracy, and its abundant opportunities for every citizen. By the same token, that same mythology negates the corruption endemic to the capitalist social order, an order that also promotes inescapable class, racial, and gender inequalities which confine the majority of Americans to a life of constant economic struggle. A fresh critique of the foundations of American culture, American Mythologies will appeal to those with interests in sociology, social and cultural theory, and cultural and media studies.

Reproductions of Banality was first published in 1986. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. An established fascist state has never existed in France, and after World War II there was a tendency to blame the Nazi Occupation for the presence of fascists within the country. Yet the memory of fascism within their ranks still haunts French intellectuals, and questions about a French version of fascist ideology have returned to the political forefr.

Myths have intrigued scholars throughout history. 'Twentieth Century Mythologies' traces the study of myth over the last century, presenting the key theories of mythology and critiquing traditional definitions of myth. The volume presents the work of influential scholars in mythology: the noted Indo-Europeanist Georges Dumezil, the structuralist anthropologist Claude Levi-Strauss, and the historian of religions Mircea Eliade. 'Twentieth Century Mythologies' is an indispensable resource for scholars of religion and myth and for all those interested in the history of ideas.

"Yet the dark places are the centre" claims George Steiner in "The Bluebird's Castle". Any attempt to analyze rationally the predominating barbaric phenomenon of the 20th century, namely the Holocaust and its Fascist background, challenges the limits of human understanding. The phenomenon of the Holocaust is a consequence of these "dark places" where again in Steiner's words "we have passed out of the major order and symmetries of Western civilization". A final understanding of the theme is beyond the limits of rationality and may also be viewed in the light of Adorno's "no poetry after Auschwitz". Nevertheless, the need to attempt reflective and creative 'work' on this topic continues. The aim of the book is to study the relationship between ideology and myth as they function diversely in Fascist and Antifascist drama. All the plays discussed are constructed as a paradigmatic constellation between myth and ideology, coordinated by a central and homogeneous political intent. The difference between them lies in their Fascist or Antifascist attitude. The plays analyzed were chosen for the treatment of a common thematic Ur-myth: the post-figuration of the return of the prodigal son and the story of the crucifixion from the New Testament. The 'prodigal cluster' includes plays by Franz Theodor Csokor, Ernst Wiechert and Max Frisch, the 'sacrificial cluster' plays by Otto Erler, Rainer Werner Fassbinder and George Tabori. As an introductory analysis, the theme of the artist and his mission is treated in two plays written in the pre-Nationalsocialist period: "Der Einsame. Ein Menschenuntergang" by Hanns Johst and Bertold Brecht's reaction to this play in "Baal". A final analysis deals with the fusion of mythologems and ideologems as demonstrated in two plays dealing with the New Myth of Germania by Richard Eutinger and Heiner Müller.

During 1942, the decisive battles of Stalingrad and El Alamein raged and the Nazi genocide was at its lethal peak. The Pen Confronts the Sword examines the shared motives behind four remarkable texts German exiles began writing that year: Thomas Mann's Doctor Faustus (1947); Ernst Cassirer's The Myth of the State (1946); Erich Auerbach's Mimesis: The Representation of Reality in Western Literature (1946); and Max Horkheimer and Theodor Adorno's Dialectic of Enlightenment (1944). Each identified a specific danger in Nazi ideology and mustered new theories, approaches, and sources to combat it. The books aimed to expose the encompassing catastrophes of German culture (Mann), politics (Cassirer), philology (Auerbach), and philosophy and sociology (Horkheimer and Adorno). Their scope, mastery, and sense of urgency constitute a comprehensive Kulturkampf (culture war) against Nazi barbarism. Avihu Zakai cogently analyzes each work, explains the context of its creation, and draws connections between these four landmark books in Western intellectual history.