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This book examines the question of the repression of LGBT people through psychiatry during the fascist regime in Italy, a subject that has not been investigated until now. It draws together the substantial archival record of patients, doctors and fascist authorities to reconstruct intricate behind-the-scenes dialogue, and to document one of the ways in which the regime repressed LGBT lives in this period. Italian Fascism's Forgotten LGBT Victims focusses on three different psychiatric hospitals in three parts of the country - Rome, Florence and the small Calabrian town of Girifalco, which had different attitudes and therapeutic approaches. Archive research results are contextualised within the psychiatric theory of the time, highlighting the existing discrepancies between theory and daily routine practice of mental health institutions in Italy during the regime. Using a variety of sources, Gabriella Romano expands current knowledge of the history of Italian psychiatry, and, in doing so, she also touches a number of crucial issues of medical history, history of Fascism and queer history. Most importantly, this original and well-documented study sheds light on the life stories of ordinary LGBT individuals and their families under the fascist regime, a topic that is still mostly unexplored.
This book examines the question of the repression of LGBT people through psychiatry during the fascist regime in Italy, a subject that has not been investigated until now. It draws together the substantial archival record of patients, doctors and fascist authorities to reconstruct intricate behind-the-scenes dialogue, and to document one of the ways in which the regime repressed LGBT lives in this period. Italian Fascism's Forgotten LGBT Victims focusses on three different psychiatric hospitals in three parts of the country - Rome, Florence and the small Calabrian town of Girifalco, which had different attitudes and therapeutic approaches. Archive research results are contextualised within the psychiatric theory of the time, highlighting the existing discrepancies between theory and daily routine practice of mental health institutions in Italy during the regime. Using a variety of sources, Gabriella Romano expands current knowledge of the history of Italian psychiatry, and, in doing so, she also touches a number of crucial issues of medical history, history of Fascism and queer history. Most importantly, this original and well-documented study sheds light on the life stories of ordinary LGBT individuals and their families under the fascist regime, a topic that is still mostly unexplored.
A Badge of Injury is a contribution to both the fields of queer and global history. It analyses gay and lesbian transregional cultural communication networks from the 1970s to the 2000s, focusing on the importance of National Socialism, visual culture, and memory in the queer Atlantic. Provincializing Euro-American queer history, it illustrates how a history of concepts which encompasses the visual offers a greater depth of analysis of the transfer of ideas across regions than texts alone would offer. It also underlines how gay and lesbian history needs to be reframed under a queer lens and understood in a global perspective. Following the journey of the Pink Triangle and its many iterations, A Badge of Injury pinpoints the roles of cultural memory and power in the creation of gay and lesbian transregional narratives of pride or the construction of the historical queer subject. Beyond a success story, the book dives into some of the shortcomings of Euro-American queer history and the power of the negative, writing an emancipatory yet critical story of the era.
This study offers a clear, concise introduction to the Fascist-era practice, know as confino, of exiling antifascist dissidents to parts of Italy far from the dissidents’ homes, often on islands or in tiny inland villages. The book is organised in two sections. Part one provides a case study of the political colony on the island of Lipari and a historical overview of internal exile. Part two focuses on representations of confinement in literature and film. It examines the varieties of self-expression (e.g. memoirs, letters and literature) used by prisoners to describe their experiences, investigates how filmmakers interpret these events, places and people, and explores how film portrays the repression of homosexuality. A timely examination of the birthplace of European federalism, the book also contributes to our understanding of the legacy of confinement from both national and European perspectives.
This book is an accessible history of internal exile's origins and practices under Fascism and of its representation in film, literature and memoir.
Clemens August Graf von Galen, Bishop of Münster from 1933 until his death in 1946, is renowned for his opposition to Nazism, most notably for his public preaching in 1941 against Hitler’s euthanasia project to rid the country of sick, elderly, mentally retarded, and disabled Germans. This provocative and revisionist biographical study of von Galen views him from a different perspective: as a complex figure who moved between dissent and complicity during the Nazi regime, opposing certain elements of National Socialism while choosing to remain silent on issues concerning discrimination, deportation, and the murder of Jews. Beth Griech-Polelle places von Galen in the context of his times, describing how the Catholic Church reacted to various Nazi policies, how the anti-Catholic legislation of the Kulturkampf shaped the repertoire of resistance tactics of northwestern German Catholics, and how theological interpretations were used to justify resistance and/or collaboration. She discloses the reasons for von Galen’s public denunciation of the euthanasia project and the ramifications of his openly defiant stance. She reveals how the bishop portrayed Jews and what that depiction meant for Jews living in Nazi Germany. Finally she investigates the creation of the image of von Galen as “Grand Churchman-Resister” and discusses the implications of this for the myth of Catholic conservative “resistance” constructed in post-1945 Germany.
From neorealism's resolve to Berlusconian revisionist melodramas, this book examines cinema's role in constructing memories of Fascist Italy. Italian cinema has both reflected and shaped popular perceptions of Fascism, reinforcing or challenging stereotypes, remembering selectively and silently forgetting the most shameful pages of Italy's history.
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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.