Maria Bonaria Urban

Monica Jansen

Reindert Dhondt

This volume brings together leading international experts in politics, discourse, memory, and culture to examine the complex entanglements of populism(s) and fascism(s) in political thought and cultural productions. The starting point is Argentine historian Federico Finchelstein’s assertion that the dynamics of transnational fascism and populist movements become clearer when viewed from the margins. Indeed, it was in Latin America – not Europe – where fascism and populism first intersected, with Argentine Peronism as the paradigmatic case. Building on this perspective, the volume explores Europe’s political and cultural legacy of fascism within the context of globalised mobilities, linking its totalitarian roots to the Latin American genealogies of populism(s). Adopting an interdisciplinary transnational and transhistorical approach, and cultural transfer as a method, it investigates cultural representations and practices that both reflect and challenge the divisive “Us” versus “Them” rhetoric central to fascist and populist discourses. Particular attention is given to how cultural artefacts and practices memorialise, remediate, and oppose narratives of fascism(s) and populism(s), with the assumption that (anti)fascist art and activism still move along transatlantic trajectories. This book will be of interest to researchers of fascism, populism, social and cultural history, European and Latin American history, literature, art, and activism.

The Cultural Politics of “Us” versus “Them”

Transatlantic Practices of Fascism(s) and Populism(s) from the Margins

This volume explores how Sardinians and Sardinia have been portrayed in Italian cinema from the beginning of the 20th century until now, starting from the examination of Sardinian tropes in a wide range of texts – travel writing, fictional sources, essays and academic works. The purpose is to shed light on the cultural construction of the Sardinian character and to reveal the ideology that is behind this process. Hence the volume challenges topics such as the dynamics between verbal and visual imagery, and the intertwining between discourse, images and audience. It addresses the following questions: how was the Sardinian character translated from texts into films? Which strategies were developed to define Sardinian images on screen? For whom were these images intended? Which ideology lies behind the images? Focusing on cultural images within film and literature, this volume is of interest to those working in imagology, comparative, cultural and Italian studies.

Maria Bonaria Urban

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