By Andrea Slane
World battle II marked a turning aspect within the cultural rhetoric of democracy, Slane claims, since it intensified a preoccupation with the political function of personal lifestyles and driven sexuality to the guts of democratic discourse. Having created great anxiety—and fascination—in American tradition, Nazism turned linked to promiscuity, sexual perversionand the destruction of the kin. Slane finds how this actual imprint of fascism is utilized in revolutionary in addition to conservative imagery and language to extra their household agendas and exhibits how our cultural engagement with Nazism displays the inherent rigidity in democracy among the price of range, person freedoms nationwide identification, and notions of the typical sturdy. eventually, she applies her research of wartime narratives to modern texts, reading anti-abortion, anti-gay, and anti-federal rhetoric, in addition to the psychic lifetime of skinheads, censorship debates, and the modern fascination with incest.
An worthy source for realizing the language we use—both visible and narrative—to describe and debate democracy within the usa this day, A no longer So overseas Affair will attract these attracted to cultural reports, movie and video reports, American experiences, 20th century background, German stories, rhetoric, and sexuality studies.
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Extra resources for A Not So Foreign Affair: Fascism, Sexuality, and the Cultural Rhetoric of American Democracy
Unlike the previous two contemporary chapters, in which I mostly remark on the socially conservative uses to which the genres explored previously have been put, this last chapter considers Introduction 19 how the ﬁgure of Nazi sexuality has served a widely varying array of rhetorical functions, both conservative and progressive, in contemporary e√orts to deﬁne democracy through sexuality. The evils of the Nazi regime—its murder of millions of people on religious, ethnic, political, and sexual grounds—certainly makes fascism a powerful trope in the democratic imagination.
She is prone, like her mother and aunt, to moral laxity and suicide. The motif of the dead mother is introduced early on in the ﬁlm, in the course of Anna’s ﬂirtatious afternoon with Christian, when they stop to visit the tombstone that marks the spot where her mother drowned herself when Anna was a child. ≤∫ This point is well taken in understanding the overriding masculinism of Nazi ideology. But Die Goldene Stadt also uses this locale to favorably inﬂect the heterosexual union of choice between Anna and Christian.
The tragic elements of the ﬁlm center on the father’s inability to learn from his previous mistakes and the daughter’s consequent destiny to endure her mother’s fate. The gendered embodiment of a dual Nature/nature in both mother and daughter is structurally central, just as the father is narratively inscribed as fully capable, by contrast, of stopping the cycle by rationally changing his behavior. The father therefore is not so much condemned for his prudishness— although some measure of evidence for this can be found—but for his stubborn unwillingness to act in a way that would both save his daughter and signal the most formidable future for Germany.