twinned birthing of liberalism and imperialism in the nineteenth century, gave rise to liberal authoritarianism. This ideology, which underpinned Britain’s civilizing mission, took form in various enabling legal scaffoldings, including the evolution of
Violence in Britain’s Twentieth-Century Empire
Beginning in the 1980s, several historians began to challenge the view that fascism was a marginal phenomenon in interwar France, a view dubbed "the immunity thesis" by one of its critics. Surveying a range of works on far-Right intellectuals and movements during the 1920s and 1930s, this article suggests that "the immunity thesis" has been increasingly challenged by a variety of historians since the mid-1990s. However, a consensus on the issue has not emerged, as a number of historians stress the need to differentiate between fascism and other forms of right-wing nationalism in the French context. At the same time, there are signs that scholars are beginning to move beyond questions of categorization and address other themes relating to the inter-war Right. These new agendas have the potential to broaden our understanding of the late Third Republic in general.
Nature, Narrative, and Identity in Dystopian Film
This article offers an ecocritical reading of four dystopian films, two from the early 1970s and two from the late 1990s: Silent Running, Soylent Green, eXistenZ, and Gattaca. In particular, it interprets these films – which variously predict the probable ramifications of environmental catastrophe and biotechnological progress – in relation to contrasting conceptualizations of 'nature' that might broadly be termed either the 'postmodern' or 'ecological'. It argues that despite the genre's apparent preoccupation with technologically advanced, virtual or urban environments, the concept of 'nature' and 'the natural' remains crucial to dystopian cinema's characteristic critique of authoritarian power structures that restrict individual self-expression, and its interrogation of human individuality and selfhood. Moreover, it suggests that even self- consciously postmodern dystopias are rooted in the experience of embodiment, and point towards a reconceptualized idea of 'the natural' that is shaped by, and often fused with, technology.
Gustave Hervé and the Great War
Michael B. Loughlin
romantic, or authoritarian—the rather ingenuous Hervé had come to feel betrayed. The former history professor perceived his failure to unite revolutionaries as a rejection. This conclusion propelled him toward increasing identification with the nation as
Reading between Opaque Narrative and Transparent Text
Iranian combatants. I ‘read’ 5 their published memoirs and autobiographies to detect the transparency of the opaque and the obscurity of clarity within frameworks of remembrance forged under the influence of the authoritarian Iranian regime. The
Conventional wisdom holds that the political evolution of an individual passes from youthful radicalism to the conservatism of later years. In this respect, as in many others, Sartre declined to follow the norm. As a young man, despite his detestation of the bourgeoisie, his anti-militaristic sentiments, his anti-authoritarianism and unconventional lifestyle, Sartre remained aloof from politics, while it was towards the end of his life that his most radical commitment occurred, triggered in large part by the events of May-June 1968. This paper will establish that although Sartre supported the 1968 student movement, he remained essentially outside it and it made little immediate impact on his thinking or practice; it was only several months later that the ‘events’ made themselves felt to Sartre, leading him to question the definition of himself as intellectual which he had defended hitherto.
Rick Turner and the End of the Durban Moment
extent possible, authoritarian and hierarchical methods of working together; and place a corresponding trust in ‘the educative function of participation’, the ability of people to develop the capacity to control their own lives through the act of
Towards a Frommian Critical Social Theory of Narcissism
of authoritarian political regime’ ( Bach 2006: 192 ). The eminent theorist of fascism Roger Griffin further defines fascism as a ‘revolutionary form of ultra-nationalism that attempts to realize the myth of the regenerated nation’ (2012: 1). On the
Safi Mahmoud Mahfouz
authoritarian regime of President João Goulart. Banned for almost a decade, and only premiering in Brazilian cinemas in 1978, Severed Heads exemplified the Brazilian anti-dictatorial film industry known as Cinema Novo , which daringly defied censorship
impossible in the new world of 1914. Because of newspapers, rising literacy, and political movements, all states, even autocratic Russia and authoritarian Germany, had to appeal for support from their entire populations to underpin the war effort. Once