Forum: Intellectual and Artistic Responses to Early Fascism—the Historians' Perspective

[1]  R. Griffin,et al.  Editorial Introduction: Architectural Projections of a ‘New Order’ in Fascist and Para-Fascist Interwar Dictatorships , 2018, Fascism.

[2]  C. Goeschel A Parallel History? Rethinking the Relationship between Italy and Germany, ca. 1860–1945* , 2016, The Journal of Modern History.

[3]  C. Goeschel The Cultivation of Mussolini’s Image in Weimar and Nazi Germany , 2015 .

[4]  W. Ruppert Künstler im Nationalsozialismus: Die »deutsche« Kunst, die Kunstpolitik und die Berliner Kunsthochschule , 2015 .

[5]  Wolfgang Schieder Mythos Mussolini: Deutsche in Audienz beim Duce , 2013 .

[6]  Stephen D. Dowden,et al.  The Place of German Modernism , 2011 .

[7]  V. Weiss Deutschlands Neue Rechte : Angriff der Eliten -- von Spengler bis Sarrazin , 2011 .

[8]  Thomas Etzemüller Die Ordnung der Moderne : social engineering im 20. Jahrhundert , 2009 .

[9]  P. Potter Dismantling a Dystopia: On the Historiography of Music in the Third Reich , 2007, Central European History.

[10]  Ulrich Herbert Europe in High Modernity. Reflections on a Theory of the 20th Century , 2007 .

[11]  W. Hardtwig 4. Die Krise des Geschichtsbewusstseins in Kaiserreich und Weimarer Republik und der Aufstieg des Nationalsozialismus , 2005 .

[12]  P. Betts The New Fascination with Fascism: The Case of Nazi Modernism , 2002 .

[13]  K. C. Fuhrer German Cultural Life and the Crisis of National Identity during the Depression, 1929-1933 , 2001 .

[14]  Bill Nichols,et al.  Documentary Film and the Modernist Avant-Garde , 2001, Critical Inquiry.

[15]  M. Hansen The Mass Production of the Senses: Classical Cinema as Vernacular Modernism * , 1999 .

[16]  P. Fritzsche Did Weimar Fail? , 1996, The Journal of Modern History.

[17]  Glenn Watkins Pyramids at the Louvre : music, culture, and collage from Stravinsky to the postmodernists , 1994 .