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Political Inversions attempts to understand the forces at play in conflations both theoretical and cultural of homosexuality and fascism. Taking its cue from Adorno's assertion that totalitarianism and homosexuality belong together, the book examines how aberrant political and sexual economies have been equated across a variety of literary, visual, and theoretical discourses in contemporary debate. At the same time, the author explores the ways in which queer theory and historiography have responded defensively to such conflations, thereby excluding from current discussions much important material. Thus, for example, Political Inversions reassesses the work of German masculinist writers of the early part of the century thinkers whose definitive (but politically troubling) contributions to the construction of homosexual identity have been overlooked by a history heavily invested in the liberal Weimar tradition represented by figures such as Hirschfeld. Rather than reconstructing a history of gay identity, the book reads its texts as interventions in the broader political crises besetting democratic institutions in the first half of this century.

An introduction to cultural anthropology which uses ethnographic film, this concise text focuses on 14 cultures. These are used to illustrate concepts throughout the book, and are also the subject of the 21 film clips which accompany it. A "Focus Overview Box" highlights key facts about the culture. In addition, each chapter highlights one or more films, which are described in the "Seeing Anthropology" feature. This feature includes a case study of the culture of the film, and a set of questions which direct the reader/viewer to certain key elements in the film. A video including 10-minute clips from each film is packaged with the book.

Product Description: While the relationship between gender and fascism has been fully explored in studies of Nazi Germany and Fascist Italy, attitudes toward women in the reactionary politics of post-revolutionary France have received little scholarly attention...read more (view table of contents, read Amazon.com's description)

Product Description: Salvador Dalí's autobiography confesses that "Hitler turned me on in the highest," while Sylvia Plath maintains that "every woman adores a Fascist." Susan Sontag's famous observation that art reveals the seamier side of fascism in bondage, discipline, and sexual deviance would certainly appear to be true in modernist and postwar literary texts...read more (view table of contents, read Amazon.com's description)

Product Description: In this provocative new book, Mark Christian Thompson addresses the startling fact that many African American intellectuals in the 1930s sympathized with fascism, seeing in its ideology a means of envisioning new modes of African American political resistance...read more

As femme fatale, cabaret siren, and icon of Camp, the Christopher Isherwood character Sally Bowles has become this century's darling of "divine decadence"--a measure of how much we are attracted by the fiction of the "shocking" British/American vamp in Weimar Berlin. Originally a character in a short story by Isherwood, published in 1939, "Sally" has appeared over the years in John Van Druten's stage play I Am a Camera, Henry Cornelius's film of the same name, and Joe Masteroff's stage musical and Bob Fosse's Academy Award-winning musical film, both entitled Cabaret. Linda Mizejewski shows how each successive repetition of the tale of the showgirl and the male writer/scholar has linked the young man's fascination with Sally more closely to the fascination of fascism. In every version, political difference is read as sexual difference, fascism is disavowed as secretly female or homosexual, and the hero eventually renounces both Sally and the corruption of the coming regime. Mizejewski argues, however, that the historical and political aspects of this story are too specific--and too frightening--to explain in purely psychoanalytic terms. Instead, Divine Decadence examines how each text engages particular cultural issues and anxieties of its era, from postwar "Momism" to the Vietnam War. Sally Bowles as the symbol of "wild Weimar" or Nazi eroticism represents "history" from within the grid of many other controversial discourses, including changing theories of fascism, the story of Camp, vicissitudes of male homosexual representations and discourses, and the relationships of these issues to images of female sexuality. To Mizejewski, the Sally Bowles adaptations end up duplicating the fascist politics they strain to condemn, reproducing the homophobia, misogyny, fascination for spectacle, and emphasis of sexual difference that characterized German fascism. Originally published in 1992. 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 paperback editions preserve the original texts of these important books while presenting them in durable paperback 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.