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American Historical Review 69.3 (1964): 707–712 online. Horne, Gerald. The color of fascism: Lawrence Dennis, Racial passing, and the rise of right-wing extremism in the United States (NYU Press, 2009). Pinto, António Costa. Latin American Dictatorships in the Era of Fascism: The Corporatist Wave (Routledge, 2019). Santos, Theotonio Dos.
Indeed, the book concludes that Collins then became a kind of scapegoat after 1941 when many other members of the American social and intellectual elites were eager to distract attention from their own flirtations with fascism in the 1920s and 1930s. Yet his praise of Hitler and Mussolini, noted above, testifies to his beliefs, at least during ...
The final death knell was a sensationalistic article published in November 1929, by Harper's Magazine, "Mussolini's American empire" [7] by Marcus Duffield claiming the FLNA was part of Mussolini's plot to control the Italian-American community in the United States and raise "soldiers for Fascism". The Italian government concluded that the ...
The Southern Renaissance (also known as Southern Renascence) [1] was the reinvigoration of American Southern literature in the 1920s and 1930s with the appearance of writers such as William Faulkner, Thomas Wolfe, Caroline Gordon, Margaret Mitchell, Katherine Anne Porter, Erskine Caldwell, Allen Tate, Tennessee Williams, Robert Penn Warren, and Zora Neale Hurston, among others.
The Anatomy of Fascism. New York: Alfred A. Knopf. Weber, Eugen. [1964] 1985. Varieties of Fascism: Doctrines of Revolution in the Twentieth Century, New York: Van Nostrand Reinhold Company, (Contains chapters on fascist movements in different countries.) Wallace, Henry. "The Dangers of American Fascism". The New York Times, Sunday, 9 April 1944.
When fascism was on the rise in the early 1930s, he re-branded his American Reds, whose emblem was a red flag with the stars and stripes on top, as the American Fascists, [13] but in 1938 was still claiming to be "so red the Russian Reds are pale yellow in comparison".
Fascism, according to Bray, is rooted in the desire "to return to an imaginary past where natural hierarchies were respected, hierarchies around nationalism or gender or race, and it aims to use ...
The Southern Agrarians were twelve American Southerners who wrote an agrarian literary manifesto in 1930. They and their essay collection, I’ll Take My Stand: The South and the Agrarian Tradition, contributed to the Southern Renaissance, the reinvigoration of Southern literature in the 1920s and 1930s. [1]