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Saluting gestures in Roman art and literature -- Jacques-Louis David's Oath of the Horatii -- Raised-arm salutes in the United States before fascism : from the pledge of allegiance to Ben-Hur on stage -- Early cinema : American and European epics -- Cabiria : the intersection of cinema and politics -- Gabriele d'Annunzio and Cabiria -- Fiume : the Roman salute becomes a political symbol -- From D'Annunzio to Mussolini -- Nazi cinema and its impact on Hollywood's Roman epics : from Leni Riefenstahl to Quo vadis -- Visual legacies : antiquity on the screen from Quo vadis to Rome -- Cinema : from Salome to Alexander -- Television : from Star trek to Rome -- Conclusion.
The compelling story of Pope Pius XI's secret relations with Benito Mussolini. A ground-breaking work, based on seven years of research in the Vatican and Fascist archives by US National Book Award-finalist David Kertzer, it will forever change our understanding of the Vatican's role in the rise of Fascism in Europe.
We do it over and over again, day after day, and never seem to get enough of it. Albanians do it. Zulus do it. Movie stars and plumbers do it. All around the world, people say hi and bye in innumerable languages and countless ways: they wave and bow and curtsey and shake hands and rub noses and fist-bump and mwah-mwah and perform a vast array of greeting and farewell rituals, so common and natural that no-one stops to notice ... Tales of Hi and Bye provides a delightful, witty, and intriguing insight into the sometimes strange and often wonderful customs associated with an ordinary, everyday event. For more information, book extracts and cartoons visit www.talesofhiandbye.com
This richly textured cultural history of Italian fascism traces the narrative path that accompanied the making of the regime and the construction of Mussolini's power. Simonetta Falasca-Zamponi reads fascist myths, rituals, images, and speeches as texts that tell the story of fascism. Linking Mussolini's elaboration of a new ruling style to the shaping of the regime's identity, she finds that in searching for symbolic means and forms that would represent its political novelty, fascism in fact brought itself into being, creating its own power and history. Falasca-Zamponi argues that an aesthetically founded notion of politics guided fascist power's historical unfolding and determined the fascist regime's violent understanding of social relations, its desensitized and dehumanized claims to creation, its privileging of form over ethical norms, and ultimately its truly totalitarian nature.
Rome's Vengeance In the year A.D. 9, three Roman Legions under Quintilius Varus were betrayed by the Germanic war chief, Arminius, and destroyed in the forest known as Teutoburger Wald. Six years later Rome is finally ready to unleash Her vengeance on the barbarians. The Emperor Tiberius has sent his adopted son, Germanicus Caesar, into Germania with an army of forty-thousand legionaries. The come not on a mission of conquest, but one of annihilation. With them is a young legionary named Artorius. For him the war is a personal vendetta; a chance to avenge his brother, who was killed in Teutoburger Wald. In Germania Arminius knows the Romans are coming. He realizes that the only way to fight the legions is through deceit, cunning, and plenty of well-placed brute force. In truth he is leery of Germanicus, knowing that he was trained to be a master of war by the Emperor himself. The entire Roman Empire held its collective breath as Germanicus and Arminius faced each other in what would become the most brutal and savage campaign the world had seen in a generation; a campaign that could only end in a holocaust of fire and blood.
Rome is one of the world's greatest archaeological sites, preserving many major monuments of the classical past. It is also a city with an important post-Roman history and home to both the papacy and the modern Italian state. Archaeologists have studied the ruins, and popes and politicians have used them for propaganda programs. Developers and preservationists have fought over what should and should not be preserved. This book tells the story of those complex, interacting developments over the past three centuries, from the days of the Grand Tour through the arrival of the fascists, which saw more destruction but also an unprecedented use of the remains for political propaganda. In post-war Rome, urban development predominated over archaeological preservation and much was lost. However, starting in the 1970s, preservationists have fought back, saving much and making the city into Europe's most important case study in historical preservation and historical loss.
What is fascism? Is it revolutionary? Or is it reactionary? Can it be both? Fascism is notoriously hard to define. How do we make sense of an ideology that appeals to streetfighters and intellectuals alike? That is overtly macho in style, yet attracts many women? That calls for a return to tradition while maintaining a fascination with technology? And that preaches violence in the name of an ordered society? In the new edition of this Very Short Introduction, Kevin Passmore brilliantly unravels the paradoxes of one of the most important phenomena in the modern world—tracing its origins in the intellectual, political, and social crises of the late nineteenth century, the rise of fascism following World War I, including fascist regimes in Italy and Germany, and the fortunes of 'failed' fascist movements in Eastern Europe, Spain, and the Americas. He also considers fascism in culture, the new interest in transnational research, and the progress of the far right since 2002. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
This book examines the arrival of jazz in Italy, its reception and development, and how its distinct style influenced musicians in America.
A strikingly original investigation of the origins and dissemination of the world's most infamous greeting Sometimes the smallest detail reveals the most about a culture. In Heil Hitler: The History of a Gesture, sociologist Tilman Allert uses the Nazi transformation of the most mundane human interaction—the greeting—to show how National Socialism brought about the submission and conformity of a whole society. Made compulsory in 1933, the Hitler salute developed into a daily reflex in a matter of mere months, and quickly became the norm in schools, at work, among friends, and even at home. Adults denounced neighbors who refused to raise their arms, and children were given tiny Hitler dolls with movable right arms so they could practice the pernicious salute. The constantly reiterated declaration of loyalty at once controlled public transactions and fractured personal relationships. And always, the greeting sacralized Hitler, investing him and his regime with a divine aura. The first examination of a phenomenon whose significance has long been underestimated, Heil Hitler offers new insight into how the Third Reich's rituals of consent paved the way for the wholesale erosion of social morality.
Today Mussolini is remembered as a hated dictator who, along with Hitler and Stalin, ushered in an era of totalitarian repression unsurpassed in human history. But how was he viewed by ordinary Italians during his lifetime? In Fascist Voices, Christopher Duggan draws on thousands of letters sent to Mussolini, as well as private diaries and other primary documents, to show how Italian citizens lived and experienced the fascist regime under Mussolini from 1922-1943. Throughout the 1930s, Mussolini received about 1,500 letters a day from Italian men and women of all social classes writing words of congratulation, commiseration, thanks, encouragement, or entreaty on a wide variety of occasions: his birthday and saint's day, after he had delivered an important speech, on a major fascist anniversary, when a husband or son had been killed in action. While Duggan looks at some famous diaries-by such figures as the anti-fascist constitutional lawyer Piero Calamandrei; the philosopher Benedetto Croce; and the fascist minister Giuseppe Bottai-the majority of the voices here come from unpublished journals, diaries, and transcripts. Utilizing a rich collection of untapped archival material, Duggan explores "the cult of Il Duce," the religious dimensions of totalitarianism, and the extraordinarily intimate character of the relationship between Mussolini and millions of Italians. Duggan shows that the figure of Mussolini was crucial to emotional and political engagement with the regime; although there was widespread discontent throughout Italy, little of the criticism was directed at Il Duce himself. Duggan argues that much of the regime's appeal lay in its capacity to appropriate the language, values, and iconography of Roman Catholicism, and that this emphasis on blind faith and emotion over reason is what made Mussolini's Italy simultaneously so powerful and so insidious. Offering a unique perspective on the period, Fascist Voices captures the responses of private citizens living under fascism and unravels the remarkable mixture of illusions, hopes, and fears that led so many to support the regime for so long.