『Fascism.』のカバーアート

Fascism.

Fascism.

著者： Popular Culture and Religion.
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概要

 Fascism is a far-right, authoritarian, and ultranationalist political ideology and movement that rose to prominence in early-20th-century Europe. Fascism is characterized by support for a dictatorial leader, centralized autocracy, militarism, forcible suppression of opposition, belief in a natural social hierarchy, subordination of individual interests for the perceived interest of the nation or race, and strong regimentation of society and the economy. Opposed to communism, democracy, liberalism, pluralism, and socialism, fascism is at the far-right of the traditional left–right spectrum. What constitutes a precise definition of fascism has been a longrunning and complex debate among scholars.

The first fascist movements emerged in Italy during World War I before spreading to other European countries, most notably Germany. Fascism also had adherents outside of Europe. Fascists saw World War I as a revolution that brought massive changes to the nature of war, society, the state, and technology. The advent of total war and the mass mobilization of society erased the distinction between civilians and combatants. A military citizenship arose, in which all citizens were involved with the military in some manner. The war resulted in the rise of a powerful state capable of mobilizing millions of people to serve on the front lines, providing logistics to support them, and having unprecedented authority to intervene in the lives of citizens.

Fascism views forms of violence—including political violence, imperialist violence, and war—as means to national rejuvenation. Fascists often advocate for the establishment of a totalitarian one-party state, and for a dirigiste economy, which is a market economy in which the state plays a strong directive role through market intervention with the principal goal of achieving national economic self-sufficiency, or "autarky". Fascism emphasizes both palingenesis—national rebirth or regeneration—and modernity when it is deemed compatible with national rebirth. In promoting the nation's regeneration, fascists seek to purge it of decadence. Fascism may also centre around an ingroup-outgroup opposition and demonization of "Others", such as various ethnicities, immigrants, nations, races, political opponents of fascist parties, religious groups, and sexual and gender minorities. In the case of Nazism, this involved racial purity and a belief in a master race. Such demonization has motivated fascist regimes to commit massacres, forced sterilizations, deportations, and genocides. During World War II, the genocidal and imperialist ambitions of the fascist regimes of the Axis powers resulted in the murder of millions of people.

Since the end of World War II in 1945, fascism has been largely disgraced, and few parties have openly described themselves as fascist; the term is often used pejoratively by political opponents. The descriptions neo-fascist or post-fascist are sometimes applied to contemporary parties with ideologies similar to, or rooted in, 20th-century fascist movements.
Copyright Popular Culture and Religion. 世界 政治・政府 政治学 社会科学
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  • 38 - Anti-fascism.

    38 - Anti-fascism.
    2026/04/28
    Anti-fascism.
    Anti-fascism is a political movement in opposition to fascist ideologies, groups and individuals. Beginning in European countries in the 1920s, it was at its most significant shortly before and during World War II. During the war, the Axis powers were opposed by many countries forming the Allies, and by dozens of resistance movements worldwide. Anti-fascism has been an element of movements across the political spectrum and holding many different political positions such as anarchism, communism, pacifism, republicanism, social democracy, socialism and syndicalism as well as centrist, conservative, liberal and nationalist viewpoints.
    Organization against fascism began around 1920. Fascism became the state ideology of Italy in 1922 and of Germany in 1933, spurring a large increase in anti-fascist action, including German resistance to Nazism and the Italian resistance movement. Anti-fascism was a major aspect of the Spanish Civil War, which foreshadowed World War II.
    Before World War II, the West had not taken seriously the threat of fascism, and anti-fascism was sometimes associated with communism. However, the outbreak of World War II greatly changed Western perceptions, and fascism was seen as an existential threat by not only the communist Soviet Union but also by the liberal-democratic United States and United Kingdom. The Axis Powers of World War II were generally fascist, and the fight against them was characterized in anti-fascist terms. Resistance during World War II to fascism occurred in every occupied country, and came from across the ideological spectrum. The defeat of the Axis powers generally ended fascism as a state ideology.
    After World War II, the anti-fascist movement continued to be active in places where organized fascism continued or re-emerged. Modern antifa politics in the United States and Britain can be traced to opposition to the infiltration of the American and British punk scenes by white power skinheads in the 1970s and 1980s. From the late 1980s, the squatter scene and autonomism movement in West Germany were important in an upswing of antifa in Germany. There was a further increase in antifascism following the increase in neo-Nazism in Germany after the fall of the Berlin Wall.[415] In the 21st century, this greatly increased in prominence as a response to the resurgence of the radical right, especially after the 2016 election of Donald Trump.


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    3 分
  • 37 - Criticism.

    37 - Criticism.
    2026/04/28
    Criticism. Fascist parties were closely contested by anti-fascist movements from the political centre and left wing throughout the Interwar period. The defeat of the Axis powers in World War II and subsequent revelation of the crimes against humanity committed during the Holocaust by Germany have led to an almost universal condemnation of both past and present forms of fascism in the modern era. "Fascism" is today used across the political spectrum as a pejorative or byword for perceived authoritarianism and other forms of political evil. Anti-democratic and tyrannical. One of the most common and strongest criticisms of fascism is that it is a tyranny. Fascism is deliberately and entirely non-democratic and anti-democratic. Fascism's extreme authoritarianism and nationalism often manifest as a belief in racial purity or a master race, usually blended with some variant of racism or discrimination against a demonized "Other", such as Jews, homosexuals, transgender people, ethnic minorities, or immigrants. These ideas have motivated fascist regimes to commit massacres, forced sterilizations, deportations, and genocides. During World War II, the genocidal and imperialist ambitions of the fascist Axis powers resulted in the murder of millions of people. Federico Finchelstein wrote that fascism: ...encompassed totalitarianism, state terrorism, imperialism, racism and, in the German case, the most radical genocide of the last century: the Holocaust. Fascism, in its many forms, did not hesitate to kill its own citizens as well as its colonial subjects in its search for ideological and political closure. Millions of civilians perished on a global scale during the apogee of fascist ideologies in Europe and beyond. Unprincipled opportunism. Some critics of Italian fascism have said that much of the ideology was merely a by-product of unprincipled opportunism by Mussolini and that he changed his political stances merely to bolster his personal ambitions while he disguised them as being purposeful to the public. Richard Washburn Child, the American ambassador to Italy who worked with Mussolini and became his friend and admirer, defended Mussolini's opportunistic behaviour by writing: Opportunist is a term of reproach used to brand men who fit themselves to conditions for the reasons of self-interest. Mussolini, as I have learned to know him, is an opportunist in the sense that he believed that mankind itself must be fitted to changing conditions rather than to fixed theories, no matter how many hopes and prayers have been expended on theories and programmes. Child quoted Mussolini as saying: "The sanctity of an ism is not in the ism; it has no sanctity beyond its power to do, to work, to succeed in practice. It may have succeeded yesterday and fail to-morrow. Failed yesterday and succeed to-morrow. The machine, first of all, must run!" Some have criticized Mussolini's actions during the outbreak of World War I as opportunistic for seeming to suddenly abandon Marxist egalitarian internationalism for non-egalitarian nationalism and note, to that effect, that upon Mussolini endorsing Italy's intervention in the war against Germany and Austria-Hungary, he and the new fascist movement received financial support from Italian and foreign sources, such as Ansaldo (an armaments firm) and other companies as well as the British Security Service MI5. Some, including Mussolini's socialist opponents at the time, have noted that regardless of the financial support he accepted for his pro-interventionist stance, Mussolini was free to write whatever he wished in his newspaper Il Popolo d'Italia without prior sanctioning from his financial backers. Furthermore, the major source of financial support that Mussolini and the fascist movement received in World War I was from France and is widely believed to have been French socialists who supported the French government's war against Germany and who sent support to Italian socialists who wanted Italian intervention on France's side. Mussolini’s transformation away from Marxism into what eventually became fascism began prior to World War I, as Mussolini had grown increasingly pessimistic about Marxism and egalitarianism while becoming increasingly supportive of figures who opposed egalitarianism, such as Friedrich Nietzsche. By 1902, Mussolini was studying Georges Sorel, Nietzsche and Vilfredo Pareto. Sorel's emphasis on the need for overthrowing decadent liberal democracy and capitalism by the use of violence, direct action, general strikes and neo-Machiavellian appeals to emotion impressed Mussolini deeply. Mussolini's use of Nietzsche made him a highly unorthodox socialist, due to Nietzsche's promotion of elitism and anti-egalitarian views. Prior to World War I, Mussolini's writings over time indicated that he had abandoned the Marxism and egalitarianism that he had previously supported in favour of Nietzsche's übermensch ...
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    9 分
  • 36 - Culture.

    36 - Culture.
    2026/04/28
    Culture.
    Aesthetics.
    In The Work of Art in the Age of Mechanical Reproduction (1935), Walter Benjamin identifies aestheticization of politics as a key ingredient in fascist regimes. On this point he quotes Filippo Tommaso Marinetti, founder of the Futurist art movement and co-author of the Fascist Manifesto (1919), who aestheticizes war in his writings and claims "war is beautiful".
    In Simulacra and Simulation (1981), Jean Baudrillard interprets fascism as a "political aesthetic of death" and a vehement countermovement against the increasing rationalism, secularism, and pacifism of the modern Western world.
    The standard definition of fascism, given by Stanley G. Payne, focuses on three concepts, one of which is a "fascist style" with an aesthetic structure of meetings, symbols, and political liturgy, stressing emotional and mystical aspects.
    Emilio Gentile argues that fascism expresses itself aesthetically more than theoretically by means of a new political style with myths, rites, and symbols as a lay religion designed to acculturate, socialize, and integrate the faith of the masses with the goal of creating a "new man".
    Cultural critic Susan Sontag writes:
    Fascist aesthetics ... flow from (and justify) a preoccupation with situations of control, submissive behavior, extravagant effort, and the endurance of pain; they endorse two seemingly opposite states, egomania and servitude. The relations of domination and enslavement take the form of a characteristic pageantry: the massing of groups of people; the turning of people into things; the multiplication or replication of things; and the grouping of people/things around an all-powerful, hypnotic leader-figure or force. The fascist dramaturgy centers on the orgiastic transactions between mighty forces and their puppets, uniformly garbed and shown in ever swelling numbers. Its choreography alternates between ceaseless motion and a congealed, static, 'virile' posing. Fascist art glorifies surrender, it exalts mindlessness, it glamorizes death.
    Sontag also enumerates some commonalities between fascist art and the official art of communist countries, such as the obeisance of the masses to the hero, and a preference for the monumental and the "grandiose and rigid" choreography of mass bodies. But whereas official communist art "aims to expound and reinforce a utopian morality", the art of fascist countries such as Nazi Germany "displays a utopian aesthetics – that of physical perfection", in a way that is "both prurient and idealizing".
    According to Sontag, fascist aesthetics "is based on the containment of vital forces; movements are confined, held tight, held in". Its appeal is not necessarily limited to those who share the fascist political ideology because fascism "stands for an ideal or rather ideals that are persistent today under the other banners: the ideal of life as art, the cult of beauty, the fetishism of courage, the dissolution of alienation in ecstatic feelings of community; the repudiation of the intellect; the family of man (under the parenthood of leaders)."

    Popular culture.
    In Italy, the Mussolini regime created the Direzione Generale per la Cinematografi to encourage film studios to glorify fascism. Italian cinema flourished because the regime stopped the import of Hollywood films in 1938, subsidized domestic production, and kept ticket prices low. It encouraged international distribution to glorify its African empire and to oppose the accusation that Italy was backward. The regime censored criticism and used the state-run Luce Institute film company to laud the Duce through newsreels, documentaries, and photographs. The regime promoted Italian opera and theatre as well, making sure that political enemies did not have a voice on stage.
    In Nazi Germany the new Reich Chamber of Culture was under the control of Joseph Goebbels, Hitler's powerful Reich Minister for Public Enlightenment and Propaganda. The goal was to stimulate the Aryanization of German culture and to prohibit postmodern trends such as surrealism and cubism.


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    This episode includes AI-generated content.
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    4 分
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