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BOOK NOTES images ofchildbirth, maternity, and the maternal. All three were also either lesbian or had homosexual affinities, so they were interested in the move--especially salient in decadent art and literature--from l'artpour Tart to le sexe pour le sexe: "aestheticism came to mean the irrational in both productive (art) and reproductive (sexuality) realms [. . J female homosexuality became the perfect figure for l'art pour l'art. Voluptuous (that is, aesthetic) yet sterile (that is, nonutilitarian)" (47). Carlston emphasizes that fascism was not just a political ideology but a cultural movement: it both used culture (including sexual politics, art, the media, and social power relations) and created it (as a mechanism of mass control). This study also takes a larger view of fascism, linking its past and present appeal to elements suppressed by Western rationalism: the mystical, the aesthetic, and the sexual (185). The dominance ofreason has "produced enormous classes of objectified and dominated beings--workers, colonized peoples, women, animals--and alienated humans from the products of their labor, their own bodies, each other, and the natural world" (185). As we trace the legacy of fascism in our time--techniques of media manipulation, control of mass culture, the politics of spectacle--and note
The Comparatist – University of North Carolina Press
Published: Oct 3, 1999
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