“Socialist Realism, Socialist Expressionism” examines how Expressionist aesthetics metamorphosed from a radical critique of bourgeois liberalism into full-blown fascism. During his period of involvement with National Socialism, Gottfried Benn treated the Volk as an aesthetic object – as a work of art that could be shaped and refined through direct eugenic interventions. Yet Benn’s staunchest critics on the left did not dismiss his aesthetic definition of the Volk outright. Instead, they appropriated the Volk for a leftist politics. Examining the celebrated Expressionism Debate of 1937–1938, I argue that Marxists like Georg Lukács refrained from a vocabulary of class struggle in order to promote a populist aesthetics that associated the Volk with a distinctly anti-modernist literary mode: the realist novel. Hence the chapter grapples with populist cultural politics from both the radical left and right at the moment when the liberal tradition descending from Kant was reaching its nadir.

The final published debate in which Neurath participated was with Horace Kallen, founding member of the New School in New York. This discussion with manifold cultural dimensions was a fitting swansong for Neurath, summarizing key themes of his thought and highlighting essential issues of his complex and contentious legacy. Kallen suspected Neurath’s drive for ‘Unity of Science’ as harbouring the danger of totalitarianism, but Neurath defended the pluralism of his approach while accepting Kallen’s proposed term of ‘orchestration’ instead of ‘unity’ for the sciences. Neurath felt rather neglected for his scholarly achievements at the end of his life, but these now become increasingly more relevant.

“Eusynoptos” takes its title from the Aristotelian notion of εὐσύνοπτος: “easily taken in at a glance.” In the Politics, Aristotle maintains that the size of a city is strictly delimited by the number of citizens that can be visually comprehended at a glance. But what if a machine were to augment the sensory capacities of humans? Could a political entity then be expanded beyond its natural limits? Confronting these questions in his film theory, Walter Benjamin modernizes eusynoptos by showing how the movie camera records large masses of individuals in a manner impossible for the naked eye. Informed by Benjamin’s idiosyncratic Marxism, the coda examines the reception of Nazi propaganda films in the United States in order to develop a critical theory of collective spectatorship that promotes a rational politics, thereby pressing back on an irrationalist tradition in aesthetics leading from Schelling and Schopenhauer through Nietzsche to fascism.

This chapter examines an intriguing debate that Neurath started along with co-author J. A. Lauwerys by denouncing Plato’s Republic as a totalitarian vision with affinities to Nazism. They did this in the context of planning German re-education after the war. Neurath had a theory about the inherent tendencies in what he called the ‘German climate’ for subservience to grand ideas of duty, and he felt that continued reverence for Plato could lead young Germans astray in this respect. His attack on Plato provoked an angry response from countless educators and scholars in 1944, raising issues that are still relevant today. Neurath and Lauwerys’ views were overshadowed by Popper’s similar treatment of Plato in The Open Society and Its Enemies and, to Popper’s annoyance, he was lumped together with them by some critics.

Chapter 1 introduces the figure of the foreign fighter in the interwar period by focusing on the Spanish Civil War. It shows how the image of the nineteenth-century adventurer haunts the imaginary of the actors preoccupied with finding a legal status for the volunteers in Spain. This image is nonetheless constantly split in two: idealists and freebooters; heroes and opportunists; barbaric troops and brave highlanders. The chapter moves from the League to the Anglo-American doctrine, to domestic discussions and ends at The Hague in 1907. It is there that rules on foreign volunteers are codified in an international convention for the first time. The chapter further links the Brussels Conference of 1874 to those of Geneva in 1949 and offers a lens through which to understand how the shifting image of the adventurer reaches the decolonization period.

The Yorkshire novelist Storm Jameson wrote that her work tended to ‘sag beneath my great ideas’, as she fought to reconcile her own frustrations with a world of isms and inconsistencies. This chapter explores In the Second Year (1936) Storm Jameson’s dystopian vision of fascist Britain and what this might look like. Like many of her other novels is waterlogged with dialogues and monologues which seek to unpack and explore the great ideas of the age - modernity; capitalism; materialism; individualism - and the ways in which they inform and underpin the attractions of a particularly British fascism, one fashioned in a crucible of class prejudices, the public school system and growing inequality.

The paper will be looking at two Second World War texts, Olaf Stapledon’s 1944 science fiction fantasy Sirius, about the genetic modification of a sheepdog so that it becomes a superdog capable of speech and spiritual and erotic relationships; and Charles Williams’ 1945 theological fantasy All Hallow’s Eve. The novels are novels of ideas, testing theories of creative evolution and species distinctions with Stapledon, and damnation and control with Williams: both explore the death drive within the psyche in war culture, and posit the very different ways infection by Fascist politics have shaped those explorations.

References to “Weimar” have played an increasingly important role in trying to make sense of the present, and also to mobilize various constituencies. Related to the diagnosis of contemporary political movements as fascist or neo-fascist, there is the question of whether some of the lessons drawn in the postwar period from the failures of Weimar – especially the ones that inspired the creation of the legal toolkit generally known as “militant democracy” – should be central to attempts to defend democracy today. This chapter engages both issues and argues that the toolkit of militant democracy remains valuable in many ways – but that its instruments are often not well suited to dealing with today’s challenges to democracy.

This chapter examines how a shared experience of isolation during the Second World War clouded a sense of the future for civilian internees. It focuses on how various historical processes collapsed into the spacetime of confinement for most working-age Italian men in Egypt. British authorities had planned a complete shutdown of the Italian community during Italy’s 1935 Ethiopia campaign, when they perceived the large-scale participation in fascist institutions as a ’fifth column’ threat to their authority in Egypt. After June 1940, Anglo-Egyptian authorities closed Italian institutions, froze bank accounts, restricted movement, and forbade the signing of contracts with Italian nationals. Italian institutional life, which had become central to the population during the after 1919 was abruptly brought to a halt. While the buttressing of the Italian population collapsed during the war, many of its political structures remained intact. In this chapter, the camp is seen as a temporal isolation chamber, one that delimited the horizons of the internees during the war and then moulded a shared experience that would inform their relationship with the post-fascist Italian state after the war.

This chapter shows how extraterritorial jurisdiction facilitated the coexistence of nationalist and imperialist projects in colonial Egypt. The safeguards proffered by Ottoman-era extraterritoriality had been either adapted to European colonial administrations or cancelled by the early twentieth century. In Egypt, they remained in effect until 1937, playing a formative role when Mussolini announced an aggressively imperialistic project in the Mediterranean in 1933. Cultural institutions, state schools, and Italian consulates became crucial sites of encounter and propaganda dissemination for the regime. Rome’s focus on building a national community coincided with a steady rise in unemployment among Italian subjects. Italians in Egypt became dependent upon Italian state structures just as the they became vital to Rome’s propaganda in the region. Notwithstanding the efforts of the fascist government to convince Egyptian nationalists that Italy’s imperial ambitions posed no territorial threat, the 1936 Anglo-Egyptian Treaty set the stage for the end of extraterritoriality and discourse around ’repatriation’ emerged to mitigate tensions between nationalist and imperialist projects.

This chapter examines the rich and complicated relationship between Pirandello and Germany, beginning with his formation in Bonn and with German intellectual sources that were important for his worldview. It then examines the important role of the German stage and German director Max Reinhardt in influencing his mature theatre. At the same time, Pirandello’s own views of Germany also shifted over time, from his cultural affiliation with German thinkers to criticism of Austria and Germany in the period of the Great War. Spanning from inspiration to reception, Germany held an important if shifting and ambiguous place in Pirandello’s work and life.