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"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.
Benito Mussolini has persistently been described as an 'actor' – and also as a master of illusions. In her vividly narrated account of the Italian dictator's relationship with the theatre, Patricia Gaborik discards any metaphorical notions of Il Duce as a performer and instead tells the story of his life as literal spectator, critic, impresario, dramatist and censor of the stage. Discussing the ways in which the autarch's personal tastes and convictions shaped, in fascist Italy, theatrical programming, she explores Mussolini's most significant dramatic influences, his association with important figures such as Luigi Pirandello, Gabriele D'Annunzio and George Bernard Shaw, his oversight of stage censorship, and his forays into playwriting. By focusing on its subject's manoeuvres in the theatre, and manipulation of theatrical ideas, this consistently illuminating book transforms our understandings of fascism as a whole. It will have strong appeal to readers in both theatre studies and modern Italian history.
In Embodied Memory, Anat Feinberg offers the first English-language study of the controversial dramatist George Tabori. A Jewish-Hungarian playwright and novelist, Tabori is a unique figure in postwar German theatre -- one of the few theatre people since Bertolt Brecht to embody "the ideal union" of playwright, director, theatre manager, and actor. Revered as a "theatre guru, " Tabori's career, first in the United States and later in Germany, is fraught with controversy.
In Revisioning John Chrysostom, Chris de Wet and Wendy Mayer harness a new wave of scholarship on the life and works of John Chrysostom (c. 350-407 CE), which applies new theoretical lenses and reconsiders his debt to classical paideia.
This study shows that women involved in National Socialism in the years 1924 - 1934 developed and shaped a recognizable discourse which communicated and reflected their position and status within the NS movement. The analysis is based on a variety of text-types produced by members of NS women's organisations, and includes official correspondence, circulars, reports, pamphlets, monographs and articles from NS women's journals. It draws upon several areas of linguistic theory, including feminist linguistics, semantics, pragmatics and discourse analysis, and the salient features identified in the female discourse are placed within a sociolinguistic framework. While previous research into the language of the NS-system has largely ignored the possibility of a cohesive female discourse, the study supports the idea that this discourse was dynamic, and at times heterogeneous, whilst also displaying many self-defining and self-referential features. It is characterised by its ambiguities and apparent contradictions, which expresses separateness and difference, yet also solidarity with the NSDAP.
From notions of art for art’s sake to committed poetry, it may seem that poets cannot achieve reconciliation between the politics and poetry. However, among committed Communist poets of the 20th century of the Spanish-speaking world, three poets stand out as examples of a search to bring together their political and their poetic commitments: Rafael Alberti, Nicolás Guillén, and Pablo Neruda. Political Poetry in the Wake of the Second Spanish Republic analyzes the simultaneous development of politics and poetics in these three Spanish-language poets as it was nurtured by the Second Spanish Republic (1931-1939). Beginning in these years, Alberti, Guillén, and Neruda strove to tackle the challenge of committing to their own independent poetic projects and to their politics at the same time. Later, these three poets maintained their Communist Party affiliation until their deaths and produced collection after collection of quality poetry. Despite the differences in their overall poetic trajectories and projects, the ability to maneuver between politics and poetry without sacrificing either one is common among them. Because of their unique experiences during the time of the Second Spanish Republic in Spain, each author explicitly denounced the injustices that the opposing Franquist forces had committed against the Republic. After the fall of the Republic in 1939, Alberti, Guillén, and Neruda continued to intertwine their politics with their poems only in a less obvious manner. Therefore, each could solidify his position within the poetic canon while at the same time each could maintain his position as a committed (or at least card-carrying) Communist.
The increasing radicalization of political life in most countries in Europe lends special relevance to studies of the antifascist legacies on the continent. This insightful collection of essays is an in-depth review of antifascism in Slovenia, setting it in the context of related movements elsewhere in Europe. The period treated by the 19 essays comprises the interwar period, World War Two, and the post-war decades. The comparative and transnational perspectives advanced by the volume change our understanding of antifascism. The essays deal with the right-wing but also left-wing instrumentalization of antifascism, with a particular focus on the communist and post-communist periods. The authors point out that antifascism comes in various strains, whether inspired by liberalism, social democracy, communism, monarchism, anarchism, or even Christian conservatism. The contributors bring to light several overlooked antifascist actors, campaigns, and organisations, mostly in Slovenia and the Adriatic area.