Fascist Voices contains a unique and uncompromising collection of essays that appeared in Fascist Quarterly during the turbulent 1930s. This publication was a bold attempt by the British Union of Fascists to counter the influence of the Left Book Club, by providing an alternative intellectual platform for those writers and thinkers who subscribed to the Fascist and National Socialist creed.
The series includes articles by Ezra Pound who highlights the problem of money and the Central Banking system, Anne Seelig-Thomann describes the achievements of Hitler, and the role of women in National Socialist Germany. Joseph Goebbels, outlining his vision of European Socialism, Vidkun Quisling, calling for the political unification of the Nordic race. General Franco's speech to the people of Spain, Major General J. F. C. Fuller, describes the Fascist attitude to War. Oswald Mosley provides an analysis of the political philosophy of Fascism. Alfred Rosenberg outlines the "World" philosophy of Fascism and National Socialism. Dr. Robert Ley describes the goals and achievements of the National Socialist "Strength through Joy" program, and Max Hunger describes the achievements of the German "Winter Relief Work."
Whilst these and other writers in Fascist Voices shared common values in the Fascist creed, each had their own political agenda and loyalties. In Fascist Voices the reader will obtain not only an understanding of the vision and achievements of Fascism and National Socialism, but the reader will also understand why powerful economic and political vested interests sought their destruction. Some eighty years later, the world knows very little about the Fascist and National Socialist creed, except the lies and distortions provided by its opponents. The publication of Fascist Voices seeks to address that problem.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.
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The Natural Philosophy of Love is an exploration of the prodigious sexual mores of Nature's creations. Translated with a postscript by Ezra Pound, Remy de Gourmont's "essay on sexual instinct" surveys the entire animal kingdom, describing the hermaphroditism of oysters, the cannibalistic amours of spiders, and many more curious natural phenomena. Blending zoology, poetry, and philosophy, the author's subversive erudition casts a dubious glance at anthropocentric morality, finding "there is no lewdness which has not its normal type in nature."
This important and much-disputed essay edited by Ezra Pound from the manuscript of Ernest Fenollosa (and published in Instigations, London, 1920) has since gone through several editions, despite the ridicule of such sinologists as Professor George Kennedy of Yale, who called it a small mass of confusion.
The old theory as to the nature of the Chinese written character (which Pound and Fenollosa followed) is that the written character is ideogrammica stylized picture of the thing or concept it represents. The opposing theory (which prevails today among scholars) is that the character may have had pictorial origins in prehistoric times but that these origins have been obscured in all but a few very simple cases, and that in any case native writers don’t have the original pictorial meaning in mind as they write.
Whether Pound proceeded on false premises remains an academic question. Let the pedants rave. An important extension of imagist technique in poetry was gained by Pound’s perception of the essentially poetic nature of the Chinese character as it is still written.
"Scholarly edition that combines the first full publication of Fenollosa's essay as he wrote it, along with the 1919 version of the essay as altered by Ezra Pound."The Chronicle of Higher Education
"How can we come to a new understanding of Chinese classical literature when our inherited view of it is so powerfully shaped and conditioned by a 'strong misreading,' which is a vital part of our own poetic language? This question afflicts Haun Saussy in his extraordinary introduction to a new critical edition of The Chinese Written Character as a Medium for Poetry, which presents both the edited and original versions of Fenollosa's essay."The Threepenny Review
"Fenollosa's critical assessment of what could evolve from a blending of the East and West is perhaps more relevant today than when it was written."Oyster Boy Review
"This bookindispensable to anyone following modern poeticsreminds us that one of the four most influential modern essays on poetry (the others are T.S. Eliot's) was the product of a scholar-translator, writing in 1903, well before there was any modern poetry in English. Fenollosa's belief that the Chinese language is profoundly suited to poetry is well known, but because of Pound's editing, we had no way of knowing what Fenollosa made of the music of poetry. Least of all could we have imagined that he thought the music of this poetry was better preserved by Japanese phonics than by living Chinese speakers. Fenollosa was an idealistic advocate of Anglo-American empire fused with pan-Asian 'humanity,' by which he meant roughly what is covered by the term 'humanities.' He saw the approach of a peaceful east/west fusion, economic, military, and cultural, and sought to guide its arrival by elucidating the art of classical Chinese poetry, without any expectation that his essay would alter the ways that Anglo-American poets shape sentences. This handsome edition is a major contribution to the history of modern poetics. Until now we have known little of the intellectual, political, and religious context of this great essay on diction and syntax. Haun Saussy, Jonathan Stalling, and Lucas Klein reveal the range and growth of Fenollosa's still appealing conviction that modern poetry has to go far beyond national borders."Robert von Hallberg, University of Chicago
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