Antliff considers three French fascists: Georges Valois, Philippe Lamour, and Thierry Maulnier, demonstrating how they appropriated the avant-garde aesthetics of cubism, futurism, surrealism, and the so-called Retour à l’Ordre (“Return to Order”), and, in one instance, even defined the “dynamism” of fascist ideology in terms of Soviet filmmaker Sergei Eisenstein’s theory of montage. For these fascists, modern art was the mythic harbinger of a regenerative revolution that would overthrow existing governmental institutions, inaugurate an anticapitalist new order, and awaken the creative and artistic potential of the fascist “new man.”
In formulating the nexus of fascist ideology, aesthetics, and violence, Valois, Lamour, and Maulnier drew primarily on the writings of the French political theorist Georges Sorel, whose concept of revolutionary myth proved central to fascist theories of cultural and national regeneration in France. Antliff analyzes the impact of Sorel’s theory of myth on Valois, Lamour, and Maulnier. Valois created the first fascist movement in France; Lamour, a follower of Valois, established the short-lived Parti Fasciste Révolutionnaire in 1928 before founding two fascist-oriented journals; Maulnier forged a theory of fascism under the auspices of the journals Combat and Insurgé.
The renowned Argentine art historian and critic Andrea Giunta analyzes projects specifically designed to internationalize Argentina’s art and avant-garde during the 1960s: the importation of exhibitions of contemporary international art, the sending of Argentine artists abroad to study, the organization of prize competitions involving prestigious international art critics, and the export of exhibitions of Argentine art to Europe and the United States. She looks at the conditions that made these projects possible—not least the Alliance for Progress, a U.S. program of “exchange” and “cooperation” meant to prevent the spread of communism through Latin America in the wake of the Cuban Revolution—as well as the strategies formulated to promote them. She describes the influence of Romero Brest, prominent art critic, supporter of abstract art, and director of the Centro de Artes Visuales del Instituto Tocuato Di Tella (an experimental art center in Buenos Aires); various group programs such as Nueva Figuración and Arte Destructivo; and individual artists including Antonio Berni, Alberto Greco, León Ferrari, Marta Minujin, and Luis Felipe Noé. Giunta’s rich narrative illuminates the contentious postwar relationships between art and politics, Latin America and the United States, and local identity and global recognition.
Americans today “know” that a majority of the population supports the death penalty, that half of all marriages end in divorce, and that four out of five prefer a particular brand of toothpaste. Through statistics like these, we feel that we understand our fellow citizens. But remarkably, such data—now woven into our social fabric—became common currency only in the last century. Sarah Igo tells the story, for the first time, of how opinion polls, man-in-the-street interviews, sex surveys, community studies, and consumer research transformed the United States public.
Igo argues that modern surveys, from the Middletown studies to the Gallup Poll and the Kinsey Reports, projected new visions of the nation: authoritative accounts of majorities and minorities, the mainstream and the marginal. They also infiltrated the lives of those who opened their doors to pollsters, or measured their habits and beliefs against statistics culled from strangers. Survey data underwrote categories as abstract as “the average American” and as intimate as the sexual self.
With a bold and sophisticated analysis, Igo demonstrates the power of scientific surveys to shape Americans’ sense of themselves as individuals, members of communities, and citizens of a nation. Tracing how ordinary people argued about and adapted to a public awash in aggregate data, she reveals how survey techniques and findings became the vocabulary of mass society—and essential to understanding who we, as modern Americans, think we are.
The half century between statehood in 1896 and the end of World War II in 1945 was a period of transformation and transition for Utah. This book interprets those profound changes, revealing sweeping impacts on both institutions and ordinary people. Drawing upon expertise honed over decades of teaching, researching, and writing about Utah’s history, the authors incorporate fresh archival sources, new oral histories, and hundreds of scholarly articles and books as they narrate the little-known story of the crucial formative years when Utah came of age.
During its sometimes awkward years of adolescence and maturation, Utah was gradually incorporated into the American political, social, and economic mainstream. Urban and industrial influences supplanted agrarian traditions, displacing people socially, draining the countryside of population, and galvanizing a critical crisis in values and self-identification. National corporations and mass labor movements took root in the state as commerce expanded. Involvement in world events such as the Spanish-American War, two world wars, and the Great Depression further set the stage for entry into the modern, globalized world as Utahns immersed themselves in national politics and became part of the democratic, corporate culture of twentieth-century America.
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