Originally published by Howard Fertig, Inc., under the title The Fascist Revolution: Toward a General Theory of Fascism, copyright Ã1999 by George L. Mosse.

Benito Mussolini (1893 - 1945) is the living image of Fascism and one of the most well known historical figures ever, the antonomasia of a Dictator: nevertheless few are the ones aware that early in the 20th century he was the coming man of the Italian Revolutionary Socialism, headed to represent the Socialist Party, in which everyone had high hopes for the overthrowing of the so-called "bourgeois system," when Socialism was still revolutionary and hostile to Capitalism. Lenin said of him: "in Italy, comrades, in Italy there is only a Socialist capable of guiding the people towards the revolution, Benito Mussolini," soon after the Duce would lead a revolution, but a Fascist one... So, why did he become a Fascist after wall? Has he really betrayed Socialism as his critics accused him of doing? Or was Fascism the genial and natural outcome of a Socialist's evolution, of a charismatic mass leader, towards the real revolution? In "Revolutionary Fascism" Erik Norling, author of "Blood in the Snow: The Russo-Finnish War" (Shelf Books, 2001), acquaints us not only with the Revolutionary and Socialist roots of primeval Fascism but also describes the Italian Social Republic period, at the end of the war, when these values reemerged in its utmost purity.

When The Birth of Fascist Ideology was first published in 1989 in France and at the beginning of 1993 in Italy, it aroused a storm of response, positive and negative, to Zeev Sternhell's controversial interpretations. In Sternhell's view, fascism was much more than an episode in the history of Italy. He argues here that it possessed a coherent ideology with deep roots in European civilization. Long before fascism became a political force, he maintains, it was a major cultural phenomenon. This important book further asserts that although fascist ideology was grounded in a revolt against the Enlightenment, it was not a reactionary movement. It represented, instead, an ideological alternative to Marxism and liberalism and competed effectively with them by positing a revolt against modernity. Sternhell argues that the conceptual framework of fascism played an important role in its development. Building on radical nationalism and an "antimaterialist" revision of Marxism, fascism sought to destroy the existing political order and to uproot its theoretical and moral foundations. At the same time, its proponents wished to preserve all the achievements of modern technology and the advantages of the market economy. Nevertheless, fascism opposed every "bourgeois" value: universalism, humanism, progress, natural rights, and equality. Thus, as Sternhell shows, the fascists adopted the economic aspect of liberalism but completely denied its philosophical principles and the intellectual and moral heritage of modernity.

In her examination of the culture of Italian fascism, Mabel Berezin focuses on how Mussolini's regime consciously constructed a nonliberal public sphere to support its political aims. Fascism stresses form over content, she believes, and the regime tried to build its political support through the careful construction and manipulation of public spectacles or rituals such as parades, commemoration ceremonies, and holiday festivities. The fascists believed they could rely on the motivating power of spectacle, and experiential symbols. In contrast with the liberal democratic notion of separable public and private selves, Italian fascism attempted to merge the public and private selves in political spectacles, creating communities of feeling in public piazzas. Such communities were only temporary, Berezin explains, and fascist identity was only formed to the extent that it could be articulated in a language of pre-existing cultural identities. In the Italian case, those identities meant the popular culture of Roman Catholicism and the cult of motherhood. Berezin hypothesizes that at particular historical moments certain social groups which perceive the division of public and private self as untenable on cultural grounds will gain political ascendance. Her hypothesis opens a new perspective on how fascism works.

In Revolutionary Nativism Maggie Clinton traces the history and cultural politics of fascist organizations that operated under the umbrella of the Chinese Nationalist Party (GMD) during the 1920s and 1930s. Clinton argues that fascism was not imported to China from Europe or Japan; rather it emerged from the charged social conditions that prevailed in the country's southern and coastal regions during the interwar period. These fascist groups were led by young militants who believed that reviving China's Confucian "national spirit" could foster the discipline and social cohesion necessary to defend China against imperialism and Communism and to develop formidable industrial and military capacities, thereby securing national strength in a competitive international arena. Fascists within the GMD deployed modernist aesthetics in their literature and art while justifying their anti-Communist violence with nativist discourse. Showing how the GMD's fascist factions popularized a virulently nationalist rhetoric that linked Confucianism with a specific path of industrial development, Clinton sheds new light on the complex dynamics of Chinese nationalism and modernity.