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Quote by Marina Keegan

“It was quiet, the old wood creaking and the snow barely visible outside the stained glass. And I sat down. And I looked up. At this giant room I was in. At this place where thousands of people had sat before me. And alone, at night, in the middle of a New Haven storm, I felt so remarkably, unbelievably safe.”

Quote by Marina Keegan

Book:The Opposite of Loneliness: Essays and Stories
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Work

The Opposite of Loneliness: Essays and Stories

This volume brings together a selection of essays and short stories that delve into the complexities of human relationships and the nature of loneliness. The pieces vary in style and tone, reflecting a diverse range of perspectives on the human condition. more

Author

Marina Keegan
Marina Keegan

Marina Keegan was a talented American journalist, born on October 25, 1989, and unfortunately passed away on May 26, 2012. During her brief life, she made a name for herself in the journalism world with her keen observations and profound insights. more

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Book:Undoing the Demos: Neoliberalism’s Stealth Revolution
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“Indeed, fascist regimes tried to redraw so radically the boundaries between private and public that the private sphere almost disappeared. Robert Ley, head of the Nazi Labor Office, said that in the Nazi state the only private individual was someone asleep. For some observers, this effort to have the public sphere swallow up the private sphere entirely is indeed the very essence of fascism. It is certainly a fundamental point on which fascist regimes differed most profoundly from authoritarian conservatism, and even more profoundly from classical liberalism. There was no room in this vision of obligatory national unity for either free-thinking persons or for independent, autonomous subcommunities. Churches, Freemasonry, class-based unions or syndicates, political parties— all were suspect as subtracting something from the national will.121 Here were grounds for infinite conflict with conservatives as well as the Left. In pursuit of their mission to unify the community within an all-consuming public sphere, fascist regimes dissolved unions and socialist parties. This radical amputation of what had been normal worker representation, encased as it was in a project of national fulfillment and managed economy, alienated public opinion less than pure military or police repression, as in traditional dictatorships. And indeed the fascists had some success in reconciling some workers to a world without unions or socialist parties, those for whom proletarian solidarity against capitalist bosses was willingly replaced by national identity against other peoples. Brooding about cultural degeneracy was so important a fascist issue that some authors have put it at the center. Every fascist regime sought to control the national culture from the top, to purify it of foreign influences, and make it help carry the message of national unity and revival. Decoding the cultural messages of fascist ceremonies, films, performances, and visual arts has today become the most active field of research on fascism. The “reading” of fascist stagecraft, however ingenious, should not mislead us into thinking that fascist regimes succeeded in establishing monolithic cultural homogeneity. Cultural life in fascist regimes remained a complex patchwork of official activities, spontaneous activities that the regimes tolerated, and even some illicit ones. Ninety percent of the films produced under the Nazi regime were light entertainment without overt propaganda content (not that it was innocent, of course). A few protected Jewish artists hung on remarkably late in Nazi Germany, and the openly homosexual actor and director Gustav Gründgens remained active to the end.”

CultureFascismPrivate LifePublic Life
Book:The Anatomy of Fascism
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