In April 1848, a proclamation of friendship to the Germans sent by the Provisional Government of Milan to the Fünfzigerausschuss (Committee of Fifty) in Frankfurt was rejected by the latter, creating widespread outrage in Italy. Concurrently, a parallel controversy over the possession of South Tyrol arose between the two revolutions. This article provides an exploratory analysis of these two episodes, examining the role they played in shaping relations between the two revolutions, and in influencing the image Italians had of the revolution in Germany. Shedding light on an episode until now overlooked by historiography, this article seeks to contribute to the salient debate on the peculiar relationship between internationalist ideals and nationalist claims during the 1848 revolution. It argues that the disillusioning impact on revolutionary audiences of specific ‘episodes of friction’, such as those examined in this article,was greater than the ‘natural convergence of goals’ of the various national revolutions in 1848.

Considered by many scholars to be principally a catch-all or a useless concept, populism has rarely gone hand-in-hand with historical reflection. Building upon ‘the need to return populism to history’, this article offers an overview of the reasons why populism as a concept and as a potential sequence of historical events seems to fit well in post-Second World War Italy, and aims to suggest areas for further research. At the intersection between conceptual history, democratic theory and discourse-historical analysis, the article explores the continuities and discontinuities of Italian populisms, focusing on the resemioticisation of the concept of civil society and its legacy within historical Italian Fascism, especially during the transition to the so-called Second Republic.

This article consists of interviews with five world experts on the memory of Fascism. Taking the centenary of the March on Rome as an opportunity to rethink the development of Italian collective memory, the five interviewees were asked to reflect on different aspects of the Italian memory of Fascism, addressing the dominant conceptualisations, limits, and transformations of the discourses used to narrate Fascism in Italian culture. The result of these conversations, which touch upon issues related to the memory of the Resistance, the Second World War, the Holocaust, and colonialism, is a rich overview of the main trends and current trajectories of Italian memory culture, which can help us imagine the future directions of the Italian memory of Fascism and enhance interventions in this field by memory scholars and memory activists.

Through the comparative reading of Italian literature of the Great War (letteratura di guerra) published between 1915 and 1940, it will be shown that both among veterans of the conflict and civilian writers there existed a standardised image of falling ‘beautifully’ in combat that entailed specific components relating to location, time, final gestures and last invocations, and which aimed to make death in battle more militarily and culturally palatable for Italian audiences. At the same time, the letteratura di guerra presented naturalistic descriptions of the anonymous mass death of peasant soldiers and, thereby, created a pathos of beauty and suffering that made the Italian literature of the Great War prototypical for a new kind of spiritual realism that became one of the mainstreams of cultural expression in Fascist Italy.

By the end of the 1930s in Italy, ambitious winter and summer camps or colonie cimatiche for the young had been erected along Italy's coastline and in its Alpine resorts. Here, thousands of Italian children from the country's urban centres were sent to experience a regime of fresh air, exercise and Fascist propaganda. The small village of Fai in the autonomous province of Trento in the Italian Alps was home to the first such Alpine colonia managed by the Italian Fascist youth organisation, the Opera Nazionale Balilla. Through an examination of a range of contemporary Italian publications, this article will reveal how the Alpine colonia climatica went beyond its official remit of ‘climatic assistance to childhood’. It offers evidence of the Fascist regime's exploitation of these establishments in newly-annexed Trentino as a tool to unify and italianise, and argues that they were used to promote a militarised view of the national landscape.

In this special issue of Modern Italy, four early-career scholars examine how the study of objects and images rooted in Fascist imperialist history enables a sustained interrogation of Italy's colonial imaginary. Their articles explore the diverse possibilities offered by the study of visual and material culture for scholars of imperialism, as it is precisely this realm of visual and material culture that emerges as a site of negotiation in which different individuals and constituencies contended with the regime's ideology.

Over the last two years, the metaphor of war has often been used in Italy when discussing the fight against the pandemic, to describe the restrictions that have been introduced as a result, from lockdown to the Green Pass. Paradoxically, once the state of emergency ended, just as we were on the cusp of the long-awaited return to normality (to ‘peace’ in a sense), Russia's sudden invasion of Ukraine meant that war truly became part of Italians’ lives through the media. In this context, I have analysed the positions taken by the major Italian periodicals (Avvenire, Corriere della Sera, Il Fatto Quotidiano, Il Foglio, La Repubblica, La Stampa, Il Mattino di Napoli, Il Messaggero and Il Tempo di Roma) between 20 February and 5 March. What becomes clear through examination of the main articles is that the themes that would characterise the subsequent Italian debate – from a strategic, humanitarian, political, and economic point of view – were already present in the two weeks from the end of February to the beginning of March 2022.

This paper argues that, in terms of their view of the ‘people’, leaderistic plebiscitarism and corporative organicism are two sides of the same coin, which resulted in aspirational fascist totalitarian democracy. The binary – and intrinsically ambiguous – view of the ‘people’ is examined first in the passive and indeterminate qualities attributed to the Italian population, then in the institutional device designed to lead it. The resulting twofold paradigm of corporative populism is reviewed with reference to the model put together and popularised by Giuseppe Bottai, which is presented in three different forms.

The essay investigates the occupation of the city of Rijeka (1919–20) by an irregular army led by Italian poet Gabriele d'Annunzio, focusing on the concepts of sovereignism and populism. While people with different mentalities and ideological horizons took part in the endeavour, it was d'Annunzio that gave the occupation its profound meaning. The poet attempted to put into practice his political vision centered around a ‘noble people’, composed of warriors and producers, opposed to the liberal elites and in competition with revolutionary socialist movements. In this sense, the Free State of Rijeka grew into the prototype of a new society based on the integration of racial, plebiscitary, corporate, aesthetic, and political themes. At the same time, the city became a beacon of opposition to the new international order proposed by US president Woodrow Wilson, since it advocated and worked towards the birth of sovereignty for small countries resisting new supranational bodies such as the League of Nations.

For the last 20 years, research on European colonialism has addressed private photo collections. Prior to that, interest was focused specifically on propaganda photography. In the hope that privately kept material could offer new, more ‘authentic’ insights into colonial everyday life, researchers have so far mostly ignored the mass-produced images which are often part of such private collections, too. But especially when the question arises of how mass-produced images functioned as consensus-building tools, of what impact they had on the ground, they seem to be a promising source. Therefore, this paper on mass-produced images of the 1935–41 Italo-Ethiopian War in private photography collections probes how ‘ordinary’ soldiers used images, what meanings they created in the process, and, thereby, how they positioned themselves relative to the Fascist regime's dominant colonial discourse. This article answers these questions by drawing on the private collections of four so-called ‘allogeni’, German-speaking Italian citizens from the province of Bozen/Bolzano, who took part in the 1935–41 Italo-Ethiopian War.

The socio-cultural and environmental shifts that have taken place in southern Italy over the last 30 years can usefully be traced by their impact on folkloric texts which present modifications that tend to emerge progressively over time. An analysis of such modifications to a body of southern Italian folkloric texts – as used in practice over the last three decades – finds that these reflect and are driven by changes in the people's living environment denoting a cultural dilution and a growing distance between people and the natural world, particularly the land. These modifications also expose a shift of emphasis from ends (e.g. food) to means (e.g. money), indicating increased commercial dependence driven by socio-economic changes. These changes are also reflected in folkloric texts which demonstrate a decline of direct, physical experience of some aspects of the natural world while including references relating to the local environment. Understanding these processes allows us to gauge the extent to which verbal folklore connects contemporary societies to past knowledge.

In 1806 the antiquarian Francesco Cancellieri wrote a treatise on the new bells fabricated for the campanile of the Capitoline palaces, replacing earlier ones destroyed during the Roman Republic of 1798-9. Cancellieri's text, and the story of those bells which it contains, offers important insights into the significance of bells in early nineteenth-century Italian Catholicism and also about clerical responses to trauma and loss. Close reading shows how Cancellieri used historical techniques to reconstruct an auditory community around the bells, part of the wider programme of ‘resacralisation’ which took place in Rome at this time. His words also hint at a complex and nuanced perspective on how to reconcile Rome's papal and republican traditions, which contrasts to later, more reactionary endeavours.

In Il serpente, Luigi Malerba's first novel, the writer moves from the objectifying perspective, working-class protagonists, and themes of neorealism to a subjective realism that sets aside the direct dialogue of his first book (La scoperta dell'alfabeto, a collection of brief narratives) in favor of the exterior monologue. The narrating voice of Il serpente feels compelled to relive the guilt, shame, and humiliation of his youth. He prevaricates habitually because he is anxious as to how he appears, primarily to himself: he is caught between the need to express himself and the fear of being punished for having done so. The changes in narrative strategy, along with the psychological plausibility of the narrative and Malerba's analysis of Italy's ‘grey zone’, populated by those who did not actively participate in the civil war following the fall of Fascism, make Il serpente worthy of our close attention.

This article focuses on Italian schools in Scotland during the Fascist ventennio. The Italian-Scottish case study will be helpful to understand one of the principal means, the schools, that the Fascist regime used from the early 1920s in order to preserve the Italian identity of second-generation Italians. From the first half of the 1930s, the schools also became one of the key channels for spreading Fascist ideology and propaganda. Nevertheless, in Scotland, the schools also had a social significance, as Italians began to gather and socialise through them as a community. Accordingly, the foundations and educational, social and political roles of the schools will be examined. The article offers an insight into a topic neglected by Italian and British scholars, despite the second biggest Italian diasporic community in Britain residing in interwar Glasgow.

The aim of this article is to illustrate some key points that will hopefully encourage further reflection on the cinematic representations and meanings of populism in both an Italian and international context. Firstly, we attempt a definition of populism as applied to cinema, drawing on both political science and the literature on film history. Secondly, we turn to film critics and directors, discussing the views some of them hold on populism and film in relation to the Italian cinema of recent years. Thirdly, we discuss how the star system provides a useful point of convergence for our analysis of cinema and populism, looking in particular at postwar commedia all'italiana and the role of Totò in this context. Finally, we draw some conclusions and suggest what directions future research on the issue of populism and Italian cinema could take.

This study analyses the essential question of the role of visual and material culture in the construction of a mass racial ideology during the Fascist colonial empire. The hypothesis behind this essay is that representations of the facial features of colonised populations may be understood as agents that transform what are in fact inconsistent and vague notions of identity and race into concrete and effective ontologies, both in the scientific field and in the popular imaginary. The facial casts made by the anthropologist Lidio Cipriani and exhibited in the race pavilion of the very popular Mostra triennale delle Terre italiane d'Oltremare (1940) in Naples, the anthropological photographs and illustrations of the infamous journal La Difesa della razza (1938–43), and the advertising images representing African women's bodies, both gave consistency to the notion of race and incarnated its protean nature made up of narratives, metaphors, fantasies, and prejudices constructed and accumulated over time.