This study investigates virtual community-building practices and discriminatory views in PAL NWS, a Dutch-speaking Belgian far-right alternative news medium, by examining discussions in the comments sections. Thematic analysis was applied to a total of 1,127 comments by 343 users in response to 50 articles about LGBTI topics. The findings show that far-right alternative news sites can function as virtual communities that facilitate polarization. The comments exhibited a high level of hostility towards LGBTI individuals, particularly toward transgender (...) people and public displays of LGBTI inclusion. Furthermore, Muslims were homogeneously perceived as homophobes, and LGBTI topics were understood as (woke) ideological suppression by a dogmatic minority. The results of this study have implications for understanding the dynamics of comments sections on alternative media and the potential for far-right news platforms to facilitate the spread of intolerance. (shrink)

After years of progress in terms of gender and sexual rights, since 2012 Europe is facing a so-called gender backlash – opposition directed to issues related to reproductive policies and abortion, violence against women, lesbian, gay, bisexual, transgender, intersex, and queer (LGBTIQ) rights and gay marriages, gender mainstreaming and sex education at schools as well as antidiscrimination policies. In this article, firstly, by taking the anti-gender developments as point of reference, I examine the emergence of anti-gender movement in Europe via (...) the use of what I call troll science. Troll science is based on (distorted) scientific arguments moulded into populist discourse, creating an alternative narrative on the conceptions of gender equality. Similar to troll accounts posting provocative, superfluous and even off-topic messages on social media to start arguments and quarrels aiming to distract, troll science, I argue, creates an alternative narrative opposing the scientific facts and discourses (i.e. climate change, evolution, vaccination and gender theory). Later, I discuss the emerging conservative troll-scientific discourses and the gendered public normative order of Adalet ve Kalkinma Partisi (AKP; Justice and Development Party) government, under the New Turkey. I previously argued that New Turkey and the society under the party’s rule perpetuated by a new set of standards create an alternative narrative on the conceptions of gender equality through troll-science narratives. I concluded by showing how such ideological discourses help create emotional echo chambers – enabling its fast distribution and acceptance by the ideologically conservative groups. Contribution: This paper contributes to the Special Collection Gender Justice, Health and Human Development with the theory of troll-science it introduces to discuss the alternative and anti-gender scientific discourse that is dominating academia. (shrink)

Disinformation poses a significant threat to democratic societies, particularly in the context of the Covid-19 health crisis. This study delves into the prevalence and nature of disinformation in social media by analyzing Facebook accounts of political actors and alternative media within the unique Swiss landscape during the first wave of the pandemic. Using standardized quantitative content analysis, we categorize posts as either accurate, reconfigured, or fabricated. Our findings reveal a disconcerting pattern: Disinformation was shared more frequently than (...) accurate information. Notably, right-wing politicians and parties, alongside alternative media sources, emerged as the most prolific disseminators of disinformation. Digging deeper, we discovered that the predominant form of disinformation shared on social media was reconfigured disinformation, signifying manipulated or contextually distorted information. This prevalence of reconfigured disinformation on social media platforms raises pressing concerns about the public’s ability to discern fact from fiction. Moreover, our study shines a spotlight on the inadvertent or perhaps deliberate contributions of right-wing politicians and parties and alternative media sources to the propagation of disinformation. By examining this phenomenon within the Swiss context during the initial wave of the pandemic, we provide valuable insights into the dynamics of disinformation and its implications for society during crisis situations. (shrink)

A 21st-century growth in prevalence of extreme right-wing nationalism and social conservatism in Australia, Europe, and America, in certain respects belies the positive impacts of online, new, and alternative forms of global media. Cross-national forms of ‘far-right activism’ are unconfined to their host nations; individuals and organisations campaign on the basis of ethno-cultural separatism, while capitalising on internet-based affordances for communication and ideological cross-fertilisation. Right-wing revolutionary ideas disseminated in this media, to this (...) end, embody politico-cultural aims that can only be understood with attention to their philosophical underpinnings. Drawing on a dataset of articles from the pseudo-news websites, XYZ and The Unshackled, this paper investigates the representation of different rightist political philosophical traditions in contemporary Australia-based far-right media. A critical discourse and content analysis reveal XYZ and TU’s engagement with various traditions, from Nietzsche and the Conservative Revolution, to the European New Right and neo-Nazism. (shrink)

The concept of metapolitics, originally seen as a novelty of the New Right in the 1970s, was developed in the 1950s and 1960s to expand the radical right’s influence post-National Socialism. Key figures like Hans Grimm, Arthur Ehrhardt and Herbert Böhme, along with organizations and magazines, created a radical right-wing cultural network to shape an alternative cultural canon in post-war Germany.

The concept of the ‘infodemic’ has become a popular explanation for the rejection of anti-COVID-19 crisis governance measures. In this paper, we argue that infodemic is an inherent property of society under free institutions misused to pursue an epistemically vicious political epistemology. Furthermore, we provide an alternative account of political epistemology of COVID-19 governance and popular resistance to it. Namely, we argue that 1) pandemics represent a complex problem, and some level of resistance to governance which restricts liberties while (...) informed by ongoing scientific and political learning processes is inevitable, and 2) the resistance is exacerbated by the history of technocratization of governance and the exclusionary socio-economic inequalities which condition political and epistemic deficiencies easily exploitable by the political entrepreneurs of right-wing populism, particularly under the conditions of social media which gamifies public discourse. Thus, we argue, the correct response to the cultures of rejection of anti-COVID-19 measures is to change the underlying political and economic conditions and not to limit speech or restrict franchise as the infodemic diagnosis suggests. (shrink)

This article focuses on how leaders of new right-wing populist parties are portrayed in the mass media. More so than their established counterparts, new parties depend on the media for their electoral breakthrough. From a theoretical perspective, we expect prominence, populism, and authoritativeness of the party leaders' media appearance to be essential for their electoral fortunes. We used systematic content analyses of 17 Dutch media outlets during the eight weeks prior to the 2006 national (...) elections and compared the appearances of four right-wing populist and seven mainstream party leaders. This article makes two contributions to the existing literature: First, we develop valid and reliable indicators of authoritativeness and populism and apply them to a systematic content analysis. Second, we show that more successful right-wing populist leaders were more prominent during the election campaign and that the most successful right-wing populist leader also appears more authoritative in the news. (shrink)

Populism has become one of the most intensely discussed topics in both public debate and academic research. So far there has been no systematic argumentation theoretic analysis of populism, however. This paper is intended to provide first steps towards such an analysis by giving a full argumentation theoretic reconstruction of the political manifesto of the German right-wing populist party “Alternative for Germany” (AfD). This allows to draw preliminary conclusions about the AfD’s argumentative strategy as exemplary for (...) class='Hi'>right-wing populism. (shrink)

This paper argues that it is important for educators in democratic education to understand how the rise of right-wing populism in Europe, the United States and around the world can never be viewed apart from the affective investments of populist leaders and their supporters to essentialist ideological visions of nationalism, racism, sexism and xenophobia. Democratic education can provide the space for educators and students to think critically and productively about people’s affects, in order to identify the implications of (...) different affective modes through which right-wing populism is articulated. Furthermore, this paper points out that ‘negative’ critique of the affective ideology of right-wing populism is not sufficient for developing a productive counter politics. An affirmative critique is also needed to set alternative frames and agendas which endorse and disseminate alternative concepts and affective practices such as equality, love and solidarity. These ideas provide critical resources to democratic education for developing a culture and process of democracy that transcends the negativity of mere critique of either right-wing populisms or inadequate forms of democracy. (shrink)

Recent discourse research has examined the rise of right-wing populism. Yet the predominant focus on political parties and politicians means that we know less about how right-wing identities are performed among ordinary people with different degrees of political engagement. This paper examines reader comments pages in three British newspapers, analysing how participants perform, defend and reinforce their political identities in online fora. It traces how supporters of the far-right United Kingdom Independence Party perform collective identities (...) and enact political antagonisms. The conclusions emphasise how online media particularly propitiate the blending of personal and societal discourses, and suggest that the internal dynamics of affordances such as comments pages propel conflict escalation and heighten antagonism. (shrink)

‘New media’ information technologies were recently thought to be so intrinsically different from ‘old,’ mass media, technologies that fascism would no longer be possible. Through new media information and communication technologies, the political ‘mass’ was supposedly replaced by the ‘crowd’ or the ‘swarm,’ and an old mass media replaced by a new media serving individual ‘information needs.’ However, extreme right-wing political populism and encroaching fascism today are world-wide phenomena in developed countries, not only (...) despite new media, but partly because of it. How is this possible? (shrink)

This essay explores the mutual reinforcements between socioeconomic precarity and right-wing populism, and then envisions a politics that contests Trumpism through workers’ organizations that create alternatives to predominant patterns of subject formation through work. I first revisit my recent critique of precarity, which initiates a new method of critical theory informed by Paulo Freire’s political pedagogy of popular education. Reading migrant day laborers’ commentaries on their work experiences alongside critical accounts of today’s general work culture, this “critical-popular” procedure (...) yields a conception of precarity with two defining characteristics. First, precarity is socially bivalent: it singles out specific groups for especially harsh treatment even as it pervades society. Second, precarity constitutes subjects through contradictory experiences of time in everyday work-life, exacerbated by insoluble dilemmas of moral responsibility. Antonio Vásquez-Arroyo’s conception of “political literacy” and Bridget Anderson’s notion of “migrantizing the citizen,” in turn, help us understand how precaritization blocks workers from developing the critical dispositions toward time needed for democratic citizenship. This analysis then makes it possible to elucidate, in dialogue with Daniel Martinez-HoSang and Joseph Lowndes, how precaritized worker-citizenship facilitates the cross-class and multiracial appeal of Trumpism’s white supremacist discourse of national economic decline and resurgence, while normalizing the temporal affects of shock and violence characteristic of Trumpism, as theorized by Lia Haro and Romand Coles. Day laborers’ worker centers, I argue, refunction precaritized time, regenerate political literacy, and migrantize the citizen. A large-scale alternative to right-wing populism thus could emerge if the worker center network were expanded throughout the economy. (shrink)

Migration is a recurrent phenomenon of human history because it is a successful adaptive strategy of human beings. Although migration today is not of a greater magnitude than in the past, it attracts a great deal of media and academia attention. The present wave of non-Western immigrants into the United States and Europe caused, apart from myriad economic, social and political problems, an ideological dispute between globalism and right-wing populism. Both ideological approaches attract many zealots who spread (...) extreme opinions and poison the whole political life. Using the scholastic method, I examined some opposing points of view of globalists and right-wing populists on several topics regarding non-Western immigration: border control, illegal immigration, limitations of legal immigration, refugee relocation quotas and cultural integration of immigrants. The globalists’ and right-wing populists’ theses and arguments were checked in regard with established authorities, available factual data and human reason. Highlighting some important topics relating to immigration problem and weighing the main arguments used by globalists and right-wing populists, I also indicate several points of compromise that could help people to moderate their political opinions. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

This article is dedicated to the intersection between the literary politics and the educational ideas of the German New Right. Focusing on two authors from the context of Antaios publishing, the first part deals with New Right educational concepts and the second part with a New Right pedagogy of literature, mimetic reading practices, and the figure of the reading mother.

Populism is on the rise, especially in Western Europe. While it is often assumed that populist actors have a tendency for fallacious reasoning, this has not been systematically investigated. We analyze the use of informal fallacies by right-wing populist politicians and their representation in the media during election campaigns. We conduct a quantitative content analysis of press releases of right-wing populist parties and news articles in print media during the most recent elections in the (...) United Kingdom and Switzerland in 2015. The results show that fallacies are used in more than a third of all analyzed texts and overwhelmingly co-occur with populist key messages. Moreover, fallacies occur more often in populist parties’ press releases than in news articles and are more common in Switzerland compared to the United Kingdom. This study confirms the argument that populist actors use fallacies in combination with populist claims. (shrink)

The rise of regional identities in Europe is a process largely welcomed by liberals and especially applauded by radical democratic and postcolonial theorists. Yet this trend towards post-nation-state identity is not only attractive to democratic and postcolonial theories, but is also an integral part of current neo-fascist ideologies. This article examines the intellectual origins of rightwing ethnoregionalism and the idea of ‘exclusionist multiculturalism’ through the works of Pierre Drieu La Rochelle and Alain de Benoist. It also compares the idea of (...) exclusionist ‘regional’ multiculturalism with liberal multiculturalism and defends a democratic, civic republicanism as an alternative to both. (shrink)

Populist leaders and their radical policies attract the interest of the media across borders. The aim of the current article is to uncover whether interviews centered on one populist leader, but involving interviewers located in different European countries, lead to the same production of populist equivocation across the EU. In addition, two types of journalistic elements that can explain potential differences are investigated: the broad interactions between the media and politicians in a given country, or the reporters belonging (...) to a specific media segment such as the tabloid press or public broadcasters. The research is based on interviews given by Viktor Orbán during the 2019 EU election campaign. Critical discourse analysis is carried out to investigate the equivocal populist narratives produced. (shrink)

The purpose of this article is to systematize and generalize information about the political right-conservative movement in modern Poland. In the course of the study, the potential for support for right-wing parties exists in every society. It can grow due to two groups of factors. The first concerns issues related to the difficult economic situation, the modernization of societies or cultural aspects, which are called demand-related in the literature. The second large group consists of supply factors: factors (...) of possible political success (structure of political opportunities), electoral rules, inter-party competition, the role of the mass media, the structure of political divisions or the role of the winning ideology. Polish right-wing conservatism and nationalism is characterized, both in the past and in the present, by a powerful influence on the social and political life of the Republic of Poland, acting as a fundamental element of the unification of the Polish people. This movement retains its traditional features, which are reflected in the ideology of the Polish ruling party “Law and Justice”, which adheres to a national-conservative orientation with elements of clericalism, maintains close ties with the Catholic Church and organizations close to it. In the period after coming to power (2015), “PiS” slowly but steadily lost its Christian-democratic character and evolved into a conservative political force. This allowed “PiS” to win elections for a long time, and in 2023, it allows it to maintain leading positions in public opinion polls regarding support for political parties. In the field of international relations, supporters of “PiS” operated with judgments that expressed the ideas of nationalism, presenting the Poles as a strong nation that should occupy an important place among other countries. The process of creating right-wing conservative political parties and associations in Poland continues on an ongoing basis. The strengthening of nationalist movements in Poland takes place with the support of the state authorities of the Republic of Poland and is accompanied by a gradual shift of emphasis on controversial historical issues in the direction of nationalist ideology. Despite official Warsaw providing political support to Kyiv in the international arena in connection with the Russian military threat, the authorities of the Republic of Poland have no intention of blocking anti-Ukrainian activities carried out by Polish national-patriotic right-wing movements. This is due to the preparation of the ruling elite for the celebration of the 80th anniversary of the tragic events in Volyn in 2023, as well as the parliamentary election campaign. In the future, the activation of radical right-conservative formations on the territory of the Polish-Lithuanian Commonwealth may lead to protest actions in Poland, the purpose of which will be the dissemination of information unfavorable to our state in the Polish information space, which will have a negative impact on the formation of the foreign policy vector of the Polish-Lithuanian Commonwealth in the Ukrainian direction. (shrink)

Analysing feminist responses to the (mainstream) media coverage of the sexual assaults of New Year’s Eve 2015 in Cologne, this article shows how a theoretical concept that is used to frame feminist arguments can influence the strength of those arguments. German-speaking media extensively reported on the large number of sexual assaults against women that happened during that night in Cologne. The dominant narrative in those media reports dwells on the circumstance that the arrested suspects all had a (...) refugee or migrant background, which assisted right-wing politics in re-creating a racist stereotype about male refugees and migrants being a threat to western women. Feminist responses to that media discourse insisted that rape culture was a cross-cultural phenomenon and that media as well as political analyses of the assaults need to take into account an understanding of intersectionality. Based on a content analysis of twenty-five feminist texts about the events of ‘Cologne’, I argue that the application of the concept of intersectionality created contradictions and argumentative voids within the – otherwise strong – feminist arguments because it conflated sexist and racist dynamics, which were both present in the context of ‘Cologne’ but not always intersecting. I further argue that these contradictions unintentionally aided the right-wing co-option of feminist demands concerning ‘Cologne’ and I suggest that the theoretical concept of femonationalism is better equipped to analyse events like ‘Cologne’. (shrink)

Bras armés de la mondialisation néo-libérale, la communication, l'information et les médias sont aussi un levier puissant des mouvements qui tentent de promouvoir des alternatives aux logiques dominantes. Dans le cadre des Forum sociaux mondiaux, des alternatives aux pratiques hégémoniques des médias traditionnels sont portées par des médias communautaires, alternatifs et activistes, et par les mouvements de l'Internet solidaire et du logiciel libre. Ces mouvements défendent les droits à la communication et entendent faire reconnaître que l'information est un bien commun (...) qui doit être accessible à tous.Armed wing of the neo-liberal globalization, communication, information and media is also a powerful movement trying to promote alternatives to the dominant logics. Within the framework of the World Social Forum, alternatives to the hegemonic practices of traditional media are supported by community media, alternative and activists, and movements of solidarity Internet and free software. These movements to defend human communication and intend to recognize that information is a public good that should be accessible to all. (shrink)

Without a doubt, Hajo Funke is one of Germany’s foremost experts on the AfD (Alternative for Germany) party. His most recent book, AfD-Masterpläne, is divided into five parts. The introduction exam...

Many on the contemporary Left assume that the Right has irrevocably taken control of cyberspace. Many believe that the terrain of online memetic discourse, from 4chan to Russian interference in the 2016 election via social media, is now the domain of trolls, fascists, and neo-Nazis. In this article, Gabriel Keehn argues against that assumption, tracing the ways in which the Right won the meme war and arguing for the educative and liberatory potential of a left counteroffensive in (...) this still contested space. (shrink)

In October 2019, the Belgian government announced the opening of an asylum center in a former retirement home, leading to civic and political protest that escalated into arson. We examine the construction of the events before, on, and after the arson by analyzing 135 articles from Flemish newspapers, the public broadcaster’s news website, and alternative media between October 25 and November 30, 2019 using qualitative content analysis. Our analysis emphasizes journalists’ role as gatekeepers, deciding which actors get access (...) and legitimation in media coverage. Focus is on the dynamic process of how events become discursively constructed through the interventions of journalists and their sources attempting to gain primary definer status. Our analysis confirms that institutional sources remain more likely to achieve primary definer status in legacy news media. Alternative media perform similar discursive interventions as legacy news media but utilize them to provide access and legitimacy to different actors and standpoints. In the first days of news coverage, in particular, the narratives developed in right-leaning alternative media seemed to spread in legacy news media. In the following days, governmental actors and experts, through their interventions in legacy news media, were able to steer the discourse in a different direction. (shrink)

The vertiginous rise of right-wing populism, especially in its “nationalist, xenophobic and conservative form”, and some “racist, anti-Semitic, homophobic and sexist” drifts associated with this phenomenon – whether real or perceived as such – make the mainstream media play a double role. On the one hand, the mainstream media reflect the struggle for political hegemony between different vested interests; on the other hand, they engage in the fight against right-wing populism blasting both right- (...) class='Hi'>wing populist candidates and their voters or supporters. Many mainstream journalists ask citizens to realize a “sanitary cordon”, a “wall” or a “republican front” to block far-right populism and preserve liberal democracy. Moreover, they urge people to be wary of all attempts to “dediabolize” or “normalize” some tokens of right-wing populism. The main idea of this article is that right-wing populism is more harmless than is generally believed and, if excessive, negative media coverage doesn’t baffle but feed it. Populism is essentially a latent side effect of liberal democracy. Populism rises and becomes obtrusive only if a significant part of society perceives a regime of illiberal majoritarianism instead of one of liberal democracy. Right-wing populists are chiefly frustrated “ci-devants” who feel dispossessed of their past, identity, properties, qualities, privileges or titles. Inasmuch as the causes of collective frustration are many and varied (e.g. the real or just perceived corruption of the elites, the “system”, the deep state, the relocation of jobs, immigration, national sovereignty, national identity, communitarianism, radical Islamism, the status of some traditional institutions, some chapters of official history, etc.), there will always be right-wing populists, whether they are self-declared or covert. By adopting David G. Hackett’s thesis that the media are “agents of hegemony”, we applied the critical analysis of discourse to a set of 346 media articles in order to reveal the discursive sources of power, domination, inequality and partiality. The articles appeared in The New York Times and Le Monde during the period 2016-2017, at the time when the presidential elections took place in the United States and France. The articles were selected according to the occurrence of the keywords “Donald Trump” – “populism” and “Marine Le Pen” – “populisme” within the titles. The analysis of these articles reveals a divisive discursive structure that correspond to a real political cleavage in society. It is true that populism presents a “Manichean outlook”, in which there are only friends and foes” and no compromise is possible. It is also true that mainstream media reinforce this Manichean perspective on society and make populists feel marginalized and politically disempowered. The mainstream media may appease right-wing populism if they treat its followers as legitimate and equal political actors. For this, they have to give up the narrative structures that underscore insurmountable divergences and irreconcilable interests. In a liberal democracy, mass media should chiefly play the role of mediator. They may not aim to defeat or re-educate certain categories of citizens just because they advocate “wrong” political solutions. (shrink)

Politicians and philosophers presenting themselves as the ultimate bearers of truth and reality have created unprecedented technological, cultural, and political framings. This new order conspires to undermine the interpretive practices of open-ended critique, normalizing a sense of threat to preserve control. The greatest emergency has become the absence of emergencies. Tracing an intellectual alliance between academics such as Jordan Peterson and Christina Hoff Sommers and right-wing populist politicians such as Donald Trump and Marine Le Pen, this book denounces (...) framings that make a claim to objectivity. With the help of contemporary thinkers including Bruno Latour, Judith Butler, and Giorgio Agamben, as well as discussion of the Cambridge Analytica whistleblower Christopher Wylie and the emergency of biodiversity loss due to climate change, Santiago Zabala illustrates that the twenty-first-century question is not whether we can be free, but how to be at large - unconstrained by the new realist order. Being at Large demonstrates the anarchic power of hermeneutics, calling for interpretive disruptions of the authoritarian narrative as a way of reclaiming freedom in the age of alternative facts. (shrink)

PurposeThere are a lot of discussions about privacy in relation to contemporary communication systems (such as Facebook and other “social media” platforms), but discussions about privacy on the internet in most cases misses a profound understanding of the notion of privacy and where this notion is coming from. The purpose of this paper is to challenge the liberal notion of privacy and explore foundations of an alternative privacy conception.Design/methodology/approachA typology of privacy definitions is elaborated based on Giddens' theory (...) of structuration. The concept of privacy fetishism that is based on critical political economy is introduced. Limits of the liberal concept of privacy are discussed. This discussion is connected to the theories of Marx, Arendt and Habermas. Some foundations of an alternative privacy concept are outlined.FindingsThe notion of privacy fetishism is introduced for criticizing naturalistic accounts of privacy. Marx and Engels have advanced four elements of the critique of the liberal privacy concept that were partly taken up by Arendt and Habermas: privacy as atomism that advances; possessive individualism that harms the public good; legitimizes and reproduces the capitalist class structure; and capitalist patriarchy.Research limitations/implicationsGiven the criticisms advanced in this paper, the need for an alternative, socialist privacy concept is ascertained and it is argued that privacy rights should be differentiated according to the position individuals occupy in the power structure, so that surveillance makes transparent wealth and income gaps and company's profits and privacy protects workers and consumers from capitalist domination.Originality/valueThe paper contributes to the establishment of a concept of privacy that is grounded in critical political economy. Owing to the liberal bias of the privacy concept, the theorization of privacy has thus far been largely ignored in critical political economy. The paper contributes to illuminating this blind spot. (shrink)

This paper compares different normative and institutional paradigms of journalism with respect to peaceful conflict resolution and democratic communication. It begins with the problematic but still dominant 'regime of objectivity,' and then considers three contemporary challengers: peace journalism, alternative media, and media democratization/communication rights movements. The paradigms are compared in terms of such factors as public philosophy, epistemological assumptions, characteristic practices, institutional entailments, relationship to dominant institutions and power structures, allies and opponents, and antagonisms and synergies between (...) them. I conclude that while peace journalism is a promising initiative, it could gain traction by exploring synergies with the other challenger paradigms. (shrink)

Male piglets in Belgium are still castrated unanesthetized in the first week of life, but animal rights organizations, supermarkets, and some consumers no longer accept this method in terms of animal welfare, and are pushing the pig industry to apply available alternative methods. This major change in pig husbandry will increase production costs without a guarantee for return of investment by consumers. Therefore, it is important to know the opinion of consumers on this matter. A questionnaire was used to (...) collect data from 1,018 people through face to face interviewing in Flanders. A Chi-square test and Fisher’s exact test were used to analyze the data. Results show that in spite of several media campaigns of animal welfare organizations over the past few years, still half of the Flemish respondents were not aware of the problem of unanesthetized piglet castration. However, after being informed, the majority wanted unanesthetized castration to be banned. Although the concern about animal welfare implications was very high, the willingness to pay extra for alternatives was low. (shrink)

The impeachment of Brazilian President Dilma Rousseff in 2016 was the result of a coup of the economically dominant conservative oligarchy against the leftist Partido dos Trabalhadores, in power since 2003. The right wing Brazilian media played a crucial role in this coup by manipulating public opinion as well as the politicians who voted against Dilma. In particular, the media of the powerful Globo Corporation, such as O Globo newspaper, and especially Globo’s Jornal Nacional, the pervasive (...) TV news program, systematically demonized and delegitimized Dilma, as well as ex-President Lula and the PT, in their news reports and editorials by selectively associating them with pervasive corruption and attributing the serious economic recession to them. After a summary of this sociopolitical context, and a brief theoretical definition of manipulation, this article examines some of the manipulative strategies of O Globo’s editorials during March and April 2016. (shrink)

Left-wing authoritarianism remains far less understood than right-wing authoritarianism. We contribute to literature on the former, which typically relies on surveys, using a new social media analytic approach. We use a list of 60 terms to provide an exploratory sketch of the outlines of a political ideology – tribal equalitarianism – with origins in 19th and 20th century social philosophy. We then use analyses of the English Corpus of Google Books (n > 8 million books) and (...) scraped unique tweets from Twitter (n = 202,582) to conduct a series of investigations to discern the extent to which this ideology is cohesive amongst the public, reveals signatures of authoritarianism and has been growing in popularity. Though exploratory, our results provide some evidence of left-wing authoritarianism in two forms: (1) a uniquely conservative signature amongst ostensible liberals using measures derived from Moral Foundations Theory and (2) a substantial prevalence of anger, relative to anxiety or sadness, in tweets analyzed for sentiment. In general, results indicate that this worldview is growing in popularity, is increasingly cohesive, and shows signatures of authoritarianism. (shrink)

This study considers cultural crowdfunding as a heterogeneous system that allows money and attention to flow from backers to founders of cultural projects in diverse cultural sectors and focuses on the nature of the standards governing it. It analyzes Kickstarter’s corporate blog since the platform’s launch and finds indications that social media practices are increasingly naturalized as integral to crowdfunding and that social media architectures are increasingly adopted by the crowdfunding platform. This, I argue, has a potential exclusionary (...) effect. At the same time, the analysis finds evidence that Kickstarter is striving to develop an independent capacity to set aesthetic standards, which might moderate that effect and help constitute crowdfunding as an alternative decentralized arena for the funding of culture. (shrink)

Based on a major research project funded by the European Commission,_ Populism, Media and Education_ studies how discriminatory stereotypes are built online with a particular focus on right-wing populism. Globalization and migration have led to a new era of populism and racism in Western countries, rekindling traditional forms of discrimination through innovative means. New media platforms are being seen by populist organizations as a method to promote hate speech and unprecedented forms of proselytism. Race, gender, disability (...) and sexual orientation are all being used to discriminate and young people are the preferred target for populist organizations and movements. This book examines how media education can help to deconstruct such hate speech and promote young people’s full participation in media-saturated societies. Drawing on rich examples from Austria, Belgium, Bulgaria, France, Italy, Slovenia, and the UK - countries characterized by different political and cultural contexts – _Populism, Media and Education_ addresses key questions about the meaning of new populism, the nature of e-engagement, and the role of education and citizenship in the digital century. With its international and interdisciplinary approach, this book is essential reading for academics and students in the areas of education, media studies, sociology, cultural studies, political sciences, discrimination and gender studies. (shrink)

Male piglets in Belgium are still castrated unanesthetized in the first week of life, but animal rights organizations, supermarkets, and some consumers no longer accept this method in terms of animal welfare, and are pushing the pig industry to apply available alternative methods. This major change in pig husbandry will increase production costs without a guarantee for return of investment by consumers. Therefore, it is important to know the opinion of consumers on this matter. A questionnaire was used to (...) collect data from 1,018 people through face to face interviewing in Flanders. A Chi-square test and Fisher’s exact test were used to analyze the data. Results show that in spite of several media campaigns of animal welfare organizations over the past few years, still half of the Flemish respondents were not aware of the problem of unanesthetized piglet castration. However, after being informed, the majority wanted unanesthetized castration to be banned. Although the concern about animal welfare implications was very high, the willingness to pay extra for alternatives was low. (shrink)

A great deal of recent academic writing claims—but, more often, assumes—that the American news media have a predominantly conservative bias, slanting and shaping their coverage in ways that favor right‐wing foreign, economic, cultural, and social policies. Two major books pioneered this position and have gone largely uncriticized, despite their immense influence. A detailed examination of Herbert Gans's Deciding What's News and Ben Bagdikian's The Media Monopoly shows, however, that they fall far short of proving their claims (...) about media bias. The logic of many of their arguments is highly problematic, but especially glaring is the almost complete lack of solid evidence in either book as to the purportedly conservative nature of media content. (shrink)

This article discusses the definition of and relationship between two political views of the state: the rule of law of the liberal political tradition, which had its origins in the realm of the political philosophy of modern legal naturalism, and the Hegelian view of the state, which influenced the right-wing and left-wing alternatives to the liberal state in the 19th and 20th centuries. Freedom and equality, political democracy and social democracy, liberalism and socialism are the central thematic (...) poles of this debate. After the end of Nazism after World War II and the fall of the Berlin wall in 1989, the state of law appears as the hegemonic and dominant political theory in the present. However, the reemergence of the debate between libertarians and communitarians, mainly in the Anglo-Saxon world, shows that the issues of the previous debate have not been solved yet and that they reappear, although in different contexts and with different meanings, in their whole complexity and dramatic character. This article attempts to define, using the human rights language, some of these crucial issues for contemporary political theory and to make proposals for the construction of a “republican” ethics and politics. Key words: Liberalism, Socialism, Democracy, Rule of law, Ethical state. (shrink)

This edited collection uses critical theory in order to understand the rise of the Alt-Right and the election of Donald Trump—and, in doing so, to assert the necessity and value of various disciplines within the humanities. While neoliberal mainstream culture has expressed shock at the seemingly expeditious rise of the Alt-Right movement and the outcome of the 2016 United States presidential election, a rich tradition of theory may not only explain the occurrence of this “phenomenon,” but may also (...) chart an alternative understanding of the movement, revealing the persistence of right-wing populism throughout the twentieth and twenty-first centuries. Though the humanities have seen themselves undervalued and under attack in recent years, the historical and cultural contextualization of the current moment via theory is a means of reaffirming the value of the humanities in teaching the ever-important and multifaceted skill of critical literacy. This book re-affirms the humanities, particularly the study of literature, theory, and philosophy, through questions such as how the humanities can help us understand the here and now. (shrink)

This work attempts to deconstruct Jair Bolsonaro’s hostile policy vis-à-vis the Brazilian media during his presidency by applying Zygmunt Bauman’s description of “liquid modernity” and its aversion to “strangeness” as the sociological-philosophical apparatus combined with the presidential-press relationship and the enemy construction dynamics of the communication research. The explorative qualitative empirical analysis of three-dimensional anti-media categories traditionally associated with right-wing populists—the discrediting and blaming of the press and detaching it from the people—throughout the “honeymoon” period of (...) Bolsonaro’s presidency confirmed the decoupling of the traditional presidential-press and media-public relationships. Besides validating the primacy of the logic of consumption over morality, it further corroborated the fiercely adversarial populist policy designed for strangeness rhetoric construction of the media as distrusted “outsider” and “enemy.”. (shrink)

‘DU bist Radio’ (DBR) is an award winning [DBR has been awarded with the “Catholic Media Award of the German Bishops Conference, Prädikat WERTvoll” (2011), the Suisse “Media Prize Aargau/Solothurn” (2010), the German “Alternative Media Award” (2009) and was nominated for the “Prix Europa” (2009)] monthly radio format that goes on air on three Swiss radio stations. The purpose of this program which was first broadcast in 2009 is the development of a new media format (...) which—without applying any journalistic (or other) filter and influence—conveys authenticity of expression amongst society’s most vulnerable fellow citizens such as patients, clients and the socially deprived. So-called marginal groups are encouraged to speak for themselves, as a possible paradigm case for encouraging the inclusion of patients’ and relatives’ “unfiltered” voices in general and in clinical ethics as well. Before handing over the microphone to the groups in focus, a team of journalists, educated in medical ethics, over a period of 4 days, teaches them on-site radio skills and craft. Once this task is completed and the actual production of the broadcast begins, the media crew does not exert any influence whatsoever on the content of the 1-h program. Thus, the final product is solely created and accounted for by the media-inexperienced participants, leading to unforeseen and often surprising results. It is discussed that the DBR approach of fostering authenticity of expression can serve as an enhancement to today’s respect and autonomy oriented field of medical ethics. (shrink)

Taboos restrict what could but should not be done or said in relation to topics such as bodies and their effluvia, disease, death and killing, or food consumption (Allan & Burridge, 2006, p. 1). In...

Far-Right Ecologism explains how the ongoing mainstreaming of the far right has prompted greater engagement with a range of topics, including the environment. Behind the façade of vote-winning strategies, the far right has provided a substantive ideological engagement with the natural environment. Building on the nationalist bent of early green thought and the perceived nexus of pristine nature and cultural purity, Far-Right Ecologism has ideologically adopted the green elements of other ideologies, such as conservatism and fascism, (...) but also of those considered to be 'thin-centred', such as nationalism and populism. Through an authentic experience of learning from the Eastern European, post-socialist realms, this book explores the ideology, ecological discourse, and policy proposals behind the increasing impact of far-right actors on environmental politics in Hungary and Poland. Each chapter begins with stories from the interviewees to illustrate how the far right in Hungary and Poland attempts to permeate environmental politics and even forge partnerships with green actors through specific, local-based policy contributions. Drawing on the findings from a range of sources, such as electoral programs, ideological texts and manifestos, social media and public speeches, policy proposals, and more than forty in-depth interviews with far-right representatives, this book also assesses epistemological and methodological challenges in examining the environmental dimension of far-right, post-socialist politics. The book will be valuable reading for researchers with an interest in the far right, environmental politics and Central Eastern Europe. (shrink)

In this paper, I argue that the Alt-Right needs to be taken seriously by the liberal establishment, the general public, and leftist cultural elites for five main reasons: 1) its ‘right-wing Gramscianism’ borrows from the French New Right and the French and pan-European Identitarian movement. This means that it is engaged in the continuation of a larger Euro-American metapolitical struggle to change hearts and minds on issues related to white nationalism, anti-Semitism, and racialism; 2) it is (...) indebted to the metapolitical evolution of sectors of the violent neo-Nazi and earlier white nationalist movements in the USA; 3) this metapolitical orientation uses the mass media, the internet, and social media in general to reach and influence the masses of Americans; 4) the ‘cultural war’ means that the Alt-Right’s spokesman Richard Spencer, French ND leader Alain de Benoist, and other intellectuals see themselves as a type of Leninist vanguard on the radical right, which borrows from left-wing authors such as Antonio Gramsci and their positions in order to win the metapolitical struggle against ‘dominant’ liberal and left-wing political and cultural elites; and 5) this ‘cultural war’ is intellectually and philosophically sophisticated because it understands the crucial role of culture in destabilizing liberal society and makes use of important philosophers such as Friedrich Nietzsche, Carl Schmitt, Julius Evola and others in order to give credence to its revolutionary, racialist, and anti-liberal ideals. (shrink)

Post-modernism offers a revolutionary approach to the study of society: in questioning the validity of modern science and the notion of objective knowledge, this movement discards history, rejects humanism, and resists any truth claims. In this comprehensive assessment of post-modernism, Pauline Rosenau traces its origins in the humanities and describes how its key concepts are today being applied to, and are restructuring, the social sciences. Serving as neither an opponent nor an apologist for the movement, she cuts through post-modernism's often (...) incomprehensible jargon in order to offer all readers a lucid exposition of its propositions. Rosenau shows how the post-modern challenge to reason and rational organization radiates across academic fields. For example, in psychology it questions the conscious, logical, coherent subject; in public administration it encourages a retreat from central planning and from reliance on specialists; in political science it calls into question the authority of hierarchical, bureaucratic decision-making structures that function in carefully defined spheres; in anthropology it inspires the protection of local, primitive cultures from First World attempts to reorganize them. In all of the social sciences, she argues, post-modernism repudiates representative democracy and plays havoc with the very meaning of "left-wing" and "right-wing." Rosenau also highlights how post-modernism has inspired a new generation of social movements, ranging from New Age sensitivities to Third World fundamentalism. In weighing its strengths and weaknesses, the author examines two major tendencies within post-modernism, the largely European, skeptical form and the predominantly Anglo-North-American form, which suggests alternative political, social, and cultural projects. She draws examples from anthropology, economics, geography, history, international relations, law, planning, political science, psychology, sociology, urban studies, and women's studies, and provides a glossary of post-modern terms to assist the uninitiated reader with special meanings not found in standard dictionaries. (shrink)

In a recent contribution to this journal Paolo Gerbaudo has argued that an ‘elective affinity’ exists between social media and populism. The present article expands on Gerbaudo’s argument and examines various dimensions of this affinity in further detail. It argues that it is helpful to conceptually reframe the proposed affinity in terms of affordances. Four affordances are identified which make the social media ecology relatively favourable to both-right as well as left-wing populism, compared to the pre-social (...) media ecology. These affordances are neither stable nor uniquely fixed: they change in concordance with ongoing technological developments and in response to political events. Even though these dynamics can be quick-moving, a fairly stable alliance of interests between social media and populism seems to have emerged over the last decade. This raises the plausibility that as long as the current social media ecology persists, populist tendencies will remain prevalent in politics. (shrink)

The paper discusses the normative grounds for recognizing a watchdog role to the news media as concerns the dissemination of information about an institutional failure menacing a well-ordered society. This is, for example, the case of the news media’s role in the diffusion of whistleblowers’ disclosures. We argue that many popular justifications for the watchdog role of the news media (as a ‘fourth estate’; a trustee of the people’s right to know; expert communicator) fail to ground (...) that role in some unique feature that makes the news media special as concerns the performance of the role. We offer an alternative argument that shows how the watchdog role of the news media shares a justificatory ground with the role that any member of a well-ordered society has in terms of a general duty of answerability in the face of institutional failures. Although this duty does not bear only on the news media, we concede that in some contingent circumstances the news media might be better positioned to discharge it and, therefore, to initiate corrective actions of institutional failures effectively and conscientiously. However, the establishment of the news media’s responsibility in this sense is an empirical, not a conceptual or a normative matter. (shrink)

Since the 2010s, popular YouTube channels have used derogatory humour at the expense of gendered and racialised others. Founded upon the perception of an influx of ‘wokeness’ in comedy, these videos mock the mythologised ‘unfunny, angry SJW’ and teach the audience to laugh at enemies of the alt-right. Although empirical research has analysed the algorithmic radicalisation of viewers, few have addressed the role of cultural discourses in disseminating alt-right ideology through online media. Here, the right-wing (...) ‘pipeline’ is understood as a tool of radicalisation that weaponises laughter as a tool of regulations and oppression. This paper analyzes the production of derogatory laughter by studying a network of North American content creators including Russell Peters, Lilly Singh, Jordan Peterson, Steven Crowder, and Matt Walsh, using critical tools from psychoanalysis, social psychology, and critical humour studies. Contrary to the alt-right rhetoric that ‘edgy’ humour is harmless, this paper posits derogatory humour as a tool of marginalisation and domination that reinforces white supremacist and cisnormative patriarchal value systems. (shrink)

This article conceptualises the role of audience agency in the performance of American conservative identities within a hybridised outrage media ecology. Audience agency has been under-theorised in the study of outrage media through an emphasis on outrage as a rhetorical strategy of commercial media institutions. Relatively little has been said about the outrage discourse of audiences. This coincides with a tendency to consider online political talk as transparent and "earnest," thereby failing to recognise the multi-vocality, dynamism, and (...) ambivalence—i.e., performativity—of online user-generated discourse. I argue the concept of recontextualisation offers a means of addressing these shortcomings. I demonstrate this by analysing how the users of the American right-wing partisan media website TheBlaze.com publicly negotiated support for Donald Trump in a below-the-line comment field during the 2016 US presidential election. These processes are situated with respect to the contested, dynamic, and creative construction of partisan identities in the contemporary United States. (shrink)

The article examines strategies of new-right publishing policy. In response to boycotts of the online book trade since 2014, small-scale collaborations have been formed. The heterogeneous milieu builds networks via curated programs. At the same time, publishers are appropriating non-right-wing contemporary and pop literature, which is advertised and distributed alongside their own publications.