The Holocaust in Italian Culture, 1944–2010 is the first major study of how postwar Italy confronted, or failed to confront, the Holocaust. Fascist Italy was the model for Nazi Germany, and Mussolini was Hitler's prime ally in the Second World War. But Italy also became a theater of war and a victim of Nazi persecution after 1943, as resistance, collaboration, and civil war raged. Many thousands of Italians—Jews and others—were deported to concentration camps throughout Europe. After the war, Italian culture produced a vast array of stories, images, and debate through which it came to terms with the Holocaust's difficult legacy. Gordon probes a rich range of cultural material as he paints a picture of this shared encounter with the darkest moment of twentieth-century history. His book explores aspects of Italian national identity and memory, offering a new model for analyzing the interactions between national and international images of the Holocaust.

In this revisionist history of Italy's role in the Holocaust, the author presents an account of how ordinary Italians actively participated in the deportation of Italy's Jews between 1943 and 1945, when Mussolini's collaborationist republic was under German occupation

Describes the history and nature of the Italian Race Laws during the period (1938-43) when Italy was independent of German control.

Mussolini, in the thousand guises he projected and the press picked up, fascinated Americans in the 1920s and the early '30s. John Diggins' analysis of America's reaction to an ideological phenomenon abroad reveals, he proposes, the darker side of American political values and assumptions. Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Publisher Description

How did Italy treat Jews during World War II? Historians have shown beyond doubt that many Italians were complicit in the Holocaust, yet Italy is still known as the Axis state that helped Jews. Shira Klein uncovers how Italian Jews, though victims of Italian persecution, promoted the view that Fascist Italy was categorically good to them. She shows how the Jews' experience in the decades before World War II - during which they became fervent Italian patriots while maintaining their distinctive Jewish culture - led them later to bolster the myth of Italy's wartime innocence in the Fascist racial campaign. Italy's Jews experienced a century of dramatic changes, from emancipation in 1848, to the 1938 Racial Laws, wartime refuge in America and Palestine, and the rehabilitation of Holocaust survivors. This cultural and social history draws on a wealth of unexplored sources, including original interviews and unpublished memoirs.

This volume explores how Italian institutions, dealers, critics, and artists constructed a modern national identity for Italy by exporting – literally and figuratively – contemporary art to the United States in key moments between 1929 and 1969. From artist Fortunato Depero opening his Futurist House in New York City to critic Germano Celant launching Arte Povera in the United States, Raffaele Bedarida examines the thick web of individuals and cultural environments beyond the two more canonical movements that shaped this project. By interrogating standard narratives of Italian Fascist propaganda on the one hand and American Cold War imperialism on the other, this book establishes a more nuanced transnational approach. The central thesis is that, beyond the immediate aims of political propaganda and conquering a new market for Italian art, these art exhibitions, publications, and the critical discourse aimed at American audiences all reflected back on their makers: they forced and helped Italians define their own modernity in relation to the world’s new dominant cultural and economic power. The book will be of interest to scholars working in art history, social history, exhibition history, and Italian studies.