Grassroots Fascism profiles the Asia Pacific War (1941Ð1945)Ñthe most important though least understood experience of JapanÕs modern historyÑthrough the lens of ordinary Japanese life. Moving deftly from the struggles of the home front to the occupied territories to the ravages of the front line, the book offers rare insight into popular experience from the warÕs troubled beginnings through JapanÕs disastrous defeat in 1945 and the new beginning it heralded. Yoshimi Yoshiaki mobilizes personal diaries, memoirs, and government documents to portray the ambivalent position of ordinary Japanese as both wartime victims and active participants. He also provides equally penetrating accounts of the war experience of JapanÕs imperial subjects, including Koreans and Taiwanese. This book challenges the idea that the Japanese operated as a passive, homogenous mass during the warÑa mere conduit for a militaryÐimperial ideology imposed upon them by the political elite. Viewed from the bottom up, wartime Japan unfolds as a complex modern mass society, with a corresponding variety of popular roles and agendas. In chronicling the diversity of the Japanese social experience, YoshimiÕs account elevates our understanding of JapanÕs war and ÒJapanese Fascism,Ó and in its relation of World War II to the evolutionÑand destructionÑof empire, it makes a fresh contribution to the global history of the war. Ethan MarkÕs translation supplements the Japanese original with explanatory annotations and an in-depth analytical introduction, drawing on personal interviews to situate the work within Japanese studies and global history.

Grassroots Fascism profiles the Asia Pacific War (1937–1945)—the most important though least understood experience of Japan's modern history—through the lens of ordinary Japanese life. Moving deftly from the struggles of the home front to the occupied territories to the ravages of the front line, the book offers rare insights into popular experiences from the war's troubled beginnings through Japan's disastrous defeat in 1945 and the new beginning it heralded. Yoshimi Yoshiaki mobilizes diaries, letters, memoirs, and government documents to portray the ambivalent position of ordinary Japanese as both wartime victims and active participants. He also provides penetrating accounts of the war experiences of Japan's minorities and imperial subjects, including Koreans and Taiwanese. His book challenges the idea that the Japanese people operated as a mere conduit for the military during the war, passively accepting an imperial ideology imposed upon them by the political elite. Viewed from the bottom up, wartime Japan unfolds as a complex modern mass society, with a corresponding variety of popular roles and agendas. In chronicling the diversity of wartime Japanese social experience, Yoshimi's account elevates our understanding of "Japanese Fascism." In its relation of World War II to the evolution—and destruction—of empire, it makes a fresh contribution to the global history of the war. Ethan Mark's translation supplements the Japanese original with explanatory notes and an in-depth introduction that situates the work within Japanese studies and global history.

The fascist Ustasha regime and its militias carried out a ruthless campaign of ethnic cleansing that killed an estimated half million Serbs, Jews, and Gypsies, and ended only with the defeat of the Axis powers in World War II. In Visions of Annihilation, Rory Yeomans analyzes the Ustasha movement's use of culture to appeal to radical nationalist sentiments and legitimize its genocidal policies. He shows how the movement attempted to mobilize poets, novelists, filmmakers, visual artists, and intellectuals as purveyors of propaganda and visionaries of a utopian society. Meanwhile, newspapers, radio, and speeches called for the expulsion, persecution, or elimination of "alien" and "enemy" populations to purify the nation. He describes how the dual concepts of annihilation and national regeneration were disseminated to the wider population and how they were interpreted at the grassroots level. Yeomans examines the Ustasha movement in the context of other fascist movements in Europe. He cites their similar appeals to idealistic youth, the economically disenfranchised, racial purists, social radicals, and Catholic clericalists. Yeomans further demonstrates how fascism created rituals and practices that mimicked traditional religious faiths and celebrated martyrdom. Visions of Annihilation chronicles the foundations of the Ustasha movement, its key actors and ideologies, and reveals the unique cultural, historical, and political conditions present in interwar Croatia that led to the rise of fascism and contributed to the cataclysmic events that tore across the continent.

Grassroots Pacifism in Post-War Japan presents new material on grassroots peace activism and pacifism in two major groups active in the post-World War 2 peace movement - workers and housewives. Yamamoto contends that the peace movement, which was organised in tandem with other activities to promote democratic, economic and humanitarian issues, served as a popular lever which helped to eliminate feudal remnants that lingered in Japanese society and individual attitudes after the war, thereby modernizing the political process and the outlook of the ordinary Japanese. Including extensive primary material such as letters, essays, memoirs and interviews, specialists in Japanese history, peace studies and women's studies will appreciate the richness of the text supporting Yamamoto's narrative of how workers' and women's political awareness developed under the influence of organizational and ideological interests and contemporary events.

In this wide-ranging study of Japanese cultural expression, Alan Tansman reveals how a particular, often seemingly innocent aesthetic sensibility—present in novels, essays, popular songs, film, and political writings—helped create an "aesthetic of fascism" in the years leading up to World War II. Evoking beautiful moments of violence, both real and imagined, these works did not lead to fascism in any instrumental sense. Yet, Tansman suggests, they expressed and inspired spiritual longings quenchable only through acts in the real world. Tansman traces this lineage of aesthetic fascism from its beginnings in the 1920s through its flowering in the 1930s to its afterlife in postwar Japan.

This groundbreaking book explores the interpretative potential and analytical capacity of the concept ‘fascist warfare’. Was there a specific type of war waged by fascist states? The concept encompasses not only the practice of violence at the front, but also war culture, the relationship between war and the fascist project, and the construction of the national community. Starting with the legacy of the First World War and using a transnational approach, this collection presents case studies of fascist regimes at war, spanning Nazi Germany, Fascist Italy, Francoist Spain, Croatia, and Imperial Japan. Themes include the idea of rapid warfare as a symbol of fascism, total war, the role of modern technology, the transfer of war cultures between regimes, anti-partisan warfare as a key feature, and the contingent nature and limits of fascist warfare.

Visualizing Fascism argues that fascism was not merely a domestic menace in a few European nations, but arose as a genuinely global phenomenon in the early twentieth century. Contributors use visual materials to explore fascism's populist appeal in settings around the world, including China, Japan, South Africa, Slovakia, and Spain. This visual strategy allows readers to see the transnational rise of the right as it fed off the agitated energies of modernity and mobilized shared political and aesthetic tropes. This volume also considers the postwar aftermath as antifascist art forms were depoliticized and repurposed in the West. More commonly, analyses of fascism focus on Italy and Germany alone and on institutions like fascist parties, but that approach truncates our understanding of the way fascism was indebted to colonialism and internationalism with all their attendant grievances and aspirations. Using photography, graphic arts, architecture, monuments, and film—rather than written documents alone—produces a portable concept of fascism, useful for grappling with the upsurge of the global right a century ago—and today. Contributors. Nadya Bair, Paul D. Barclay, Ruth Ben-Ghiat, Maggie Clinton, Geoff Eley, Lutz Koepnick, Ethan Mark, Bertrand Metton, Lorena Rizzo, Julia Adeney Thomas, Claire Zimmerman