¿El fin del fascismo?

Modern Italy: Journal of the association for the study of Modern Italy, Vol. 30 no. 2, https://doi.org/10.1017/mit.2024.73

Autor: Rosario Forlenza, Department of Political Science, Luiss University, Rome, Italy.
 rforlenza@luiss.it

 https://orcid.org/0000-0003-2939-6654

Keywords: fascism; transcendence; trickster; political form; enemy; politics of time. 

Abstract: When did fascism end? Did it end in July 1943, with the fall of Mussolini from power, or in April 1945, with Liberation Day? The argument of this article is that fascism was not simply a historical experience but a political form that attempted to transcend Italy’s social and political fractures with fantasies and unrealistic but nevertheless captivating expectations. Its hypnotic contagious power cast a mimetic spell that can be continuously reloaded: by blurring the boundaries between truth and lies; by exploiting crowd irrationality; by establishing boundaries between outsiders and insiders; by perpetuating negative sentiments of hostility, fear and envy within society; and by manipulating time. The argument, therefore, is that fascism has never ended, not merely in the sense of political and cultural continuity, but in the deeper sense of immanency within the body politic of Italy’s democracy. As such, it is meaningless to wonder whether fascism might come back. It is here and now, in the only form that current historical circumstances allow it to exist – and yet it might be countered by a process of rejection that individuals and political communities can and should exercise in their everyday life, adopting the political form generated by the Resistance.

Idioma: Inglés. 

Publicación: March 12, 2025

Volumen: Modern Italy: Journal of the association for the study of Modern Italy, Vol. 30 no. 2.

Enlace Permanente 

The AI turn in journalism: Disruption, adaptation, and democratic futures.

 

Journalism: Theory, practice and critcism. Vol 27 n° 3 (March 2026); ISSN 1464-8849; DOI https://doi.org/10.1177/14648849251343518 

Autor: 

1. Tomás Dodds, Leiden University, Netherlands; Harvard University, Cambridge, MA, USA.
    oddsrojas@wisc.edu; t.dodds.rojas@hum.leidenuniv.nl
    https://orcid.org/0000-0003-4724-5307
   
   
2. Rodrigo Zamith, University of Massachusetts Amherst, Amherst, MA, USA. 
    rzamith@umass.edu
   https://orcid.org/0000-0001-8114-1734
   
   
3. Seth C Lewis, University of Oregon, Eugene, OR, USA. 
    sclewis@uoregon.edu
   https://orcid.org/0000-0001-7498-0599
   
   

Keywords: Artificial intelligence, automated journalism, AI turn, journalism, robot journalism. 

Abstract: In this essay, we argue that, unlike previous changes in digital media technologies over thepast few decades, this AI “turn” in journalism forces us to rethink journalism’s identity andits relationship with audiences. While AI complicates and challenges some existingprofessional, social, political, and economic structures, it also offers new ways to realizedesired journalistic objectives that were previously considered to be impractical, if notimpossible. Drawing on four orienting ideas—adoption and hype, power and dependency,audiences and democratic implications, and education and empowerment—we unpackthe implications of this AI turn in journalism and the consequences for the future of thejournalistic field.  

Idioma: English. 

Publicación: Marzo 2026. 

Volumen: Vol. 27, número 3.  

Enlace Permanente

Queer Cinema and Melodrama: A Perspective from Queer Directors

Cinej Cinema Journal, Vol. 13, no. 2 (2025): Fall. https://doi.org/10.5195/cinej.2025.744 

Autor: 

• Esra Yılmaz, Independent Researcher, 
  yilmazesra13@gmail.com
  https://orcid.org/0000-0002-5185-5485
  
  
• Çiğdem Tanyel Başar, İzmir Democracy University
  cigdemtanyel@gmail.com
  https://orcid.org/0000-0001-5740-336X 
  
  

Keywords: Queer cinema; melodrama; queer theory; Rainer Werner Fassbinder; Todd Haynes; Ümit Ünal.

Abstract: This article examines the relationship between queer cinema and melodrama through the works of queer directors like Rainer Werner Fassbinder, Todd Haynes, and Ümit Ünal. It explores the intersections of gender, sexuality, and queer identities, focusing on conflicts between feminist and queer theories. The study examines the historical context, aesthetic elements, and evolution of melodrama in relation to queer cinema. Through case studies and qualitative methods, including semi-structured interviews and document analysis, the findings reveal how melodrama highlights queer experiences, critiques social norms, and serves as a transformative force in queer cinema.

Idioma: English. 

Publicación: 12 de marzo del 2025. 

Volumen: Cinej Cinema Journal, Vol. 13, no. 2 (2025): Fall. 

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