Patrick D. Anderson – författare

Highlights the persuasive devices most common to fascist appealsFascism has resurfaced as one of the most pressing problems of our time. The rise of extremist parties and candidates in Europe, the United States, and around the globe has led even mainstream political commentators to begin using the term “fascism” to describe dangerous movements that have revived and repackaged many of the strategies long thought to have been relegated to the margins of political rhetoric. No longer just confined to the state regimes of the past, fascism thrives today as a globally self-augmenting, self-propagating rhetorical phenomenon with a variety of faces and expressions.The Rhetoric of Fascism defines and interprets the common persuasive devices that characterize fascist discourse to understand the nature of its enduring appeal. By approaching fascism from a rhetorical perspective, this volume complements established political and sociological understandings of fascism as a movement or regime. A rhetorical approach studies fascism less as a party one joins than as a set of persuasive strategies one adopts. Fascism spreads precisely because it is not a coherent entity. Instead, it exists as a loosely bound and often contradictory collection of persuasive trajectories that have attained enough coherence to mobilize and channel the passions of a self-constituted mass of individuals.Introductory chapters focus on general theories of fascism drawn from twentieth-century history and theory. Contributors investigate specific historical figures and their relationship to contemporary rhetorics, focusing on a specific rhetorical device that is characteristic of fascist rhetoric. A common thread throughout every chapter is that fascist devices are appealing because they speak to us in the familiar language of our culture. As we are seduced by one device at a time, we soon find ourselves part of a movement, a group, or a campaign that makes us act in ways we might never have imagined. This volume reveals that fascism may be closer to home than we think.CONTRIBUTORSPatrick D. Anderson / Rya Butterfield / Nathan Crick / Elizabeth R. Earle / Zac Gershberg / Stephen J. Hartnett / Marie-Odile N. Hobeika / Sean Illing / Jacob A. Miller / Fernando Ismael QuiÑones Valdivia / Patricia Roberts-Miller / Raquel M. Robvais / Bradley A. Serber / Ryan Skinnell

Decoding the discourse: Rhetorical foundations of authoritarian power. Fascism has resurfaced as one of the most pressing problems of our time. The rise of extremist parties and candidates in Europe, the United States, and around the globe has led even mainstream political commentators to begin using the term "fascism" to describe dangerous movements that have revived and repackaged many of the strategies long thought to have been relegated to the margins of political rhetoric. No longer just confined to the state regimes of the past, fascism thrives today as a globally self-augmenting, self-propagating rhetorical phenomenon with a variety of faces and expressions. The Rhetoric of Fascism defines and interprets the common persuasive devices that characterize fascist discourse to understand the nature of its enduring appeal. By approaching fascism from a rhetorical perspective, this volume complements established political and sociological understandings of fascism as a movement or regime. A rhetorical approach studies fascism less as a party one joins than as a set of persuasive strategies one adopts. Fascism spreads precisely because it is not a coherent entity. Instead, it exists as a loosely bound and often contradictory collection of persuasive trajectories that have attained enough coherence to mobilize and channel the passions of a self-constituted mass of individuals. Introductory chapters focus on general theories of fascism drawn from twentieth-century history and theory. Contributors investigate specific historical figures and their relationship to contemporary rhetorics, focusing on a specific rhetorical device that is characteristic of fascist rhetoric. A common thread throughout every chapter is that fascist devices are appealing because they speak to us in the familiar language of our culture. As we are seduced by one device at a time, we soon find ourselves part of a movement, a group, or a campaign that makes us act in ways we might never have imagined. This volume reveals that fascism may be closer to home than we think. Contributors Patrick D. Anderson / Rya Butterfield / Nathan Crick / Elizabeth R. Earle / Zac Gershberg / Stephen J. Hartnett / Marie-Odile N. Hobeika / Sean Illing / Jacob A. Miller / Fernando Ismael Quiñones Valdivia / Patricia Roberts-Miller / Raquel M. Robvais / Bradley A. Serber / Ryan Skinnell

Cypherpunk Ethics explores the moral worldview of the cypherpunks, a movement that advocates the use of strong digital cryptography—or crypto, for short—to defend individual privacy and promote institutional transparency in the digital age. Focusing on the writings of Timothy May and Julian Assange, two of the most prolific and influential cypherpunks, the book examines two competing paradigms of cypherpunk philosophy—crypto anarchy and crypto justice—and examines the implications of cypherpunk ethics for a range of contemporary moral issues, including surveillance, privacy, whistleblowing, cryptocurrencies, journalism, democracy, censorship, intellectual property, and power. Rooted in theory but with very real applications, this volume will appeal not only to students and scholars of digital media, communication, journalism, philosophy, political science, critical data studies, sociology, and the history of technology but also to technologists and activists around the world.

Cypherpunk Ethics explores the moral worldview of the cypherpunks, a movement that advocates the use of strong digital cryptography—or crypto, for short—to defend individual privacy and promote institutional transparency in the digital age. Focusing on the writings of Timothy May and Julian Assange, two of the most prolific and influential cypherpunks, the book examines two competing paradigms of cypherpunk philosophy—crypto anarchy and crypto justice—and examines the implications of cypherpunk ethics for a range of contemporary moral issues, including surveillance, privacy, whistleblowing, cryptocurrencies, journalism, democracy, censorship, intellectual property, and power. Rooted in theory but with very real applications, this volume will appeal not only to students and scholars of digital media, communication, journalism, philosophy, political science, critical data studies, sociology, and the history of technology but also to technologists and activists around the world.

Anticolonialism, Ontology, and Semiotics places anticolonial theory, semiotic analysis, and contemporary Hollywood film into conversation. Synthesizing Algirdas Greimas' semiotic square with the theories of anticolonial philosophers like Frantz Fanon, Eldridge Cleaver, and Sylvia Wynter, Anderson reconstructs an anticolonial social ontology for use as a method of film analysis. Using this ontology to interpret a wide range of films, the book defies the assumptions and challenges the conclusions of postcolonial and intersectional approaches. Reaching beyond the application of anticolonial theory for the purpose of film criticism, the book uses theory to interpret film while using film to illustrate and interpret theory. Along the way, readers are challenged to reconsider class, race, gender, sexuality, violence, and liberation not only in the cinematic world but also in the worlds we all inhabit.This concise yet broad-reaching work will interest scholars and students of film studies, film philosophy, anticolonialism and postcolonialism, race and gender studies.

Anticolonialism, Ontology, and Semiotics places anticolonial theory, semiotic analysis, and contemporary Hollywood film into conversation. Synthesizing Algirdas Greimas' semiotic square with the theories of anticolonial philosophers like Frantz Fanon, Eldridge Cleaver, and Sylvia Wynter, Anderson reconstructs an anticolonial social ontology for use as a method of film analysis. Using this ontology to interpret a wide range of films, the book defies the assumptions and challenges the conclusions of postcolonial and intersectional approaches. Reaching beyond the application of anticolonial theory for the purpose of film criticism, the book uses theory to interpret film while using film to illustrate and interpret theory. Along the way, readers are challenged to reconsider class, race, gender, sexuality, violence, and liberation not only in the cinematic world but also in the worlds we all inhabit.This concise yet broad-reaching work will interest scholars and students of film studies, film philosophy, anticolonialism and postcolonialism, race and gender studies.