The Nature of the Alt-Right

<p>The presidential campaign and eventual election of president Donald Trump emboldened and highlighted the existence of a fringe group known as the alt-right, short for alternative right. While the term was coined in 2008 by white nationalist Richard Spencer, it was the campaign rhetoric of Trump which brought national and global attention to an internet fringe group which ideologically aligned with the president’s often racist and hyper-nationalist agenda. This study aims to explain the nature of the alt-right and ask to what degree it can be considered as fascist. An ideal type of fascism has been constructed drawing on authors such as Michael Mann, Robert Paxton and Roger Eatwell and I aim to use this to explore the connections between twentieth century fascism and the alt-right. I argue that the alt-right should be viewed as fascist, acting within a period of history which is reminiscent of the proto-fascist era of interwar Europe. Although independent of Trump, the alt-right’s white nationalist/neo-Nazi agenda is explicitly and implicitly supported and encouraged by the new president.</p>

The Nature of the Alt-Right

<p>The presidential campaign and eventual election of president Donald Trump emboldened and highlighted the existence of a fringe group known as the alt-right, short for alternative right. While the term was coined in 2008 by white nationalist Richard Spencer, it was the campaign rhetoric of Trump which brought national and global attention to an internet fringe group which ideologically aligned with the president’s often racist and hyper-nationalist agenda. This study aims to explain the nature of the alt-right and ask to what degree it can be considered as fascist. An ideal type of fascism has been constructed drawing on authors such as Michael Mann, Robert Paxton and Roger Eatwell and I aim to use this to explore the connections between twentieth century fascism and the alt-right. I argue that the alt-right should be viewed as fascist, acting within a period of history which is reminiscent of the proto-fascist era of interwar Europe. Although independent of Trump, the alt-right’s white nationalist/neo-Nazi agenda is explicitly and implicitly supported and encouraged by the new president.</p>

Malinowski and Mauss Exchanging Knowledge in Interwar Europe

Bronisław Malinowski sought throughout his career to make a scientific contribution to understanding and reforming the international order by making analogies with ‘primitive’ societies. His ethnographic material was important to Marcel Mauss’s internationalist project in The Gift, and can still provide lessons in internationalism. This article examines Malinowski’s ethnographic figuration of ‘the evolution of primitive international law’, and documents a set of intellectual exchanges between him and Mauss. This illuminates an unexpected avenue of Durkheimian influence on British social anthropology and situates Malinowski in contemporary imperial and internationalist debates. Despite Malinowski’s early criticism of Émile Durkheim’s account of ‘collective ideas’, his later writing shows the (unacknowledged) influence of Mauss’s understandings of obligation and intersocial exchange. Unearthing the terms of this exchange between Malinowski and Mauss helps to recover the central normative lesson of the former’s final book and his ethnographic work as a whole – namely, that sovereignty should be dethroned as an organising principle of international order in favour of intersocial exchange and the obligations it produces.

By the waters of the Tiber: Viacheslav Ivanov, Aleksandr Grechaninov and Russian culture in interwar Europe

In Russia, the impact of the end of World War I was subsumed under the far greater impact of the October Revolution, which led to a bifurcation of Russian culture into Soviet and émigré branches. This article examines a hybrid literary and musical work from the interwar period: Viacheslav Ivanov’s nine Roman Sonnets ( Rimskie sonety, 1924) and the musical settings that the composer Aleksandr Grechaninov made of five of these as his Sonetti Romani in 1939. Here, both poet and composer seek to convey the experience of finding oneself in one of Europe’s most evocative historical and cultural locations. At the same time, their evocation of Rome forges a powerful historical narrative of the city’s prior inhabitants. Accordingly, Rome emerges as an intertextual palimpsest of literary and artistic references, which together create a powerful sense of cultural continuity to offset the loss of the artist’s original homeland.

Paul Rosenstein-Rodan and the Birth of Development Economics

This article, based on previously untapped archival sources, offers an assessment of the life and thought of Paul Rosenstein-Rodan, a pioneer of development economics and one of the first articulators of both the “Big Push” and “balanced growth” theories. In addition to documenting the early life of Rosenstein-Rodan, this article discusses two critical junctures in the history of development economics, namely, the birth of the discipline in the late 1940s, and its decline approximately a quarter century later. Rosenstein-Rodan was a fundamental player in both instances. Through the lens of his experience it is possible to understand the eclectic beginnings of development economics and locate some of its most important roots in the intellectual milieu of interwar Europe, from Vienna to London via Eastern and Southern Europe. What is more, Rosenstein-Rodan’s subsequent career epitomizes the arc of development economics, casting new light on the debates and practices that shaped the discipline during its rise, and on the unresolved issues that help explain its decline.

The Transatlantic Dynamics of European Cultural Diplomacy: Germany, France and the Battle for US Affections in the 1920s

The article explores the role of cultural diplomacy in Weimar Germany and France's competing efforts to win the sympathies and support of the United States after the First World War. In the post-war United States, both France and Germany used cultural initiatives to pursue their opposing visions of the new international order: France to maintain and extend wartime cultural alliances beyond the armistice and implement the provisions of the peace treaty; Germany to overturn these very alliances and build a desirable transatlantic ‘friendship’ in line with its efforts to revise the Versailles Treaty. By focusing on the Franco–German rivalry for US affinities, the article calls attention to the transatlantic dynamics of interwar cultural diplomacy. It shows that the emergence of German cultural diplomacy was strongly shaped by French competition for the affections of politically isolationist Americans and that, in general, the rapid expansion of cultural diplomacy in interwar Europe arose from mutual feelings of crisis, starkly competing ambitions as well as the rapid circulation of ideas and practices.

The Transnational Co-production of Interwar ‘Fascism’: On the Dynamics of Ideational Mobility and Localization

Interwar fascism achieved sensational international reach through the appeal and circulation of a set of generic ideological norms and political practices. Therefore, models of analysis must accommodate alternative local interpretations, adaptations, and a wide range of varied outcomes in the process of its diverse local translations. In this article, I propose the new trans-disciplinary mobility paradigm as a productive methodological extension of the transnational approach in fascism studies. I focus on the fluid dynamics of transnational circulation of ‘fascist’ ideas and political innovations, as well as on how these were perceived, (re-)interpreted, adopted/adapted by a wide set of local agents in interwar Europe. I employ a decentred, anti-literalist, and multi-directional mobility approach that analyses the history of interwar ‘fascism’ as the messy net force of diverse, multivalent agencies, of interactions and frictions, in the end of creative translation and trial-and-error. I argue that a focus on this mobility dynamic offers three advantages: first, it promotes the re-integration of diverse fragmented histories of interwar fascism; second, it is capable of exposing the dynamic co-production of the political history of ‘fascist’ over time and space; and third, it fosters a far better understanding of the reasons for the ideological travel and political traction of radical ideas and politics in interwar years.

"Us" vs. "Them". Communist Dialectical Images from Interwar Europe and Soviet Russia

Brawny male workers vs. bulging bourgeois men. Working-class mothers burdened by the hardship of poverty and childcare vs. elegant upper-class women enjoying a lifestyle of privilege. Such juxtaposed images of workers and the rich were prevalent in the visual culture of communism throughout the twentieth century, appearing on posters, illustrations, and other genres of political propaganda across countries and continents. Although these didactic propaganda images have rarely been considered in histories of modernism and the avant-garde, this article argues that they were among the key visual inventions of twentieth-century communist visual culture given their highly innovative aesthetics and juxtaposed structure that provided them a potential to become dialectical. Drawing on examples from interwar Europe and Soviet Russia, this article examines how didactic juxtapositions could become dialectical images, triggering political transformations while also making revolutionary class consciousness visible for the viewer.

Visual Music and Kinetic Ornaments

This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.