Alessandra Tarquini's A History of Italian Fascist Culture, 1922-1943 is widely recognized as an authoritative synthesis of the field. The book was published to much critical acclaim in 2011 and revised and expanded five years later. This long-awaited translation presents Tarquini's compact, clear prose to readers previously unable to read it in the original Italian. Tarquini sketches the universe of Italian fascism in three broad directions: the regime's cultural policies, the condition of various art forms and scholarly disciplines, and the ideology underpinning the totalitarian state. She details the choices the ruling class made between 1922 and 1943, revealing how cultural policies shaped the country and how intellectuals and artists contributed to those decisions. The result is a view of fascist ideology as a system of visions, ideals, and, above all, myths capable of orienting political action and promoting a precise worldview. Building on George L. Mosse's foundational research, Tarquini provides the best single-volume work available to fully understand a complex and challenging subject. It reveals how the fascists used culture-art, cinema, music, theater, and literature-to build a conservative revolution that purported to protect the traditional social fabric while presenting itself as maximally oriented toward the future.

Objects are all around us - and images of objects, advertisements for objects. Things are no longer merely purely physical or economic entities: within the visual economy of advertising, they are inescapably moral. Any object, regardless of its nature, can for at least a moment aspire to be "good," can become not just an object of value but a complex of possible happiness, a moral source of perfection for any one of us. Our relation to things, Coccia, argues in this provocative book, is what makes us human, and the object world must be conceived as an ultimate artifact in order for it to be the site of what the philosophical tradition has considered "the good." Thinking a radical political praxis against a facile materialist critique of things, Coccia shows how objects become the medium through which a city enunciates its ethos, making available an ethical life to those who live among them. When we acknowledge that our notion of "the good" resides within a world of things, we must grant that in advertising, humans have revealed themselves as organisms that are ethically inseparable from the very things they produce, exchange, and desire. In the advertising imaginary, to be human is to be a moral cyborgs whose existence attains ethical perfection only via the universe of things. The necessary alienation which commodities cause and express is moral rather than economic or social; we need our own products not just to survive biologically or to improve the physical conditions of our existence, but to live morally. Ultimately, Coccia's provocative book offers a radically political rethinking of the power of images. The problem of contemporary politics is not the anesthetization of words but the excess power we invest in them. Within images, we already live in another form of political life, which has very little to do with the one invented and formalized by the ancient and modern legal tradition. All we need to do is to recognize it. Advertising and fashion are just the primitive, sometimes grotesque, but ultimately irrepressible prefiguration of the new politics to come.

Objects are all around us - and images of objects, advertisements for objects. Things are no longer merely purely physical or economic entities: within the visual economy of advertising, they are inescapably moral. Any object, regardless of its nature, can for at least a moment aspire to be "good," can become not just an object of value but a complex of possible happiness, a moral source of perfection for any one of us. Our relation to things, Coccia, argues in this provocative book, is what makes us human, and the object world must be conceived as an ultimate artifact in order for it to be the site of what the philosophical tradition has considered "the good." Thinking a radical political praxis against a facile materialist critique of things, Coccia shows how objects become the medium through which a city enunciates its ethos, making available an ethical life to those who live among them. When we acknowledge that our notion of "the good" resides within a world of things, we must grant that in advertising, humans have revealed themselves as organisms that are ethically inseparable from the very things they produce, exchange, and desire. In the advertising imaginary, to be human is to be a moral cyborgs whose existence attains ethical perfection only via the universe of things. The necessary alienation which commodities cause and express is moral rather than economic or social; we need our own products not just to survive biologically or to improve the physical conditions of our existence, but to live morally. Ultimately, Coccia's provocative book offers a radically political rethinking of the power of images. The problem of contemporary politics is not the anesthetization of words but the excess power we invest in them. Within images, we already live in another form of political life, which has very little to do with the one invented and formalized by the ancient and modern legal tradition. All we need to do is to recognize it. Advertising and fashion are just the primitive, sometimes grotesque, but ultimately irrepressible prefiguration of the new politics to come.