After the two world wars, numerous Germans were forcibly removed or fled their homelands in eastern Europe, resettling in Germany. In both postwar periods, the Weimar Republic and the Federal Republic of Germany established compensation systems to indemnify the material losses and damages suffered by these refugees: the Gewaltschädengesetze (Violent Damages Laws) of 1921 and the Lastenausgleichsgesetz (Equalization of Burdens Law) of 1952. The article offers a unique comparative insight into the functioning of the two compensation mechanisms, examining six cases of applicants (or their heirs) who lost their homes twice in their lives and applied for compensation twice: first after the end of the First World War and then following the Second World War. The diachronic comparison reveals the complex nature of German national belonging, the persistence of the term Volksgemeinschaft in modern German history, and the role of class status in the context of compensation after both wars.

The aim of this article is to analyse the Italian Nuova Destra. The first part examines the birth of the Nuova Destra within the current of the Movimento Sociale Italiano (MSI), referring particularly to Pino Rauti, a founder and leader. Following the experience of the magazine La Voce della Fogna and the Hobbit Camps, the first publishing initiatives of the Nuova Destra – Diorama letterario and Elementi, influenced by Alain de Benoist and the French Nouvelle Droite – were established. The second part analyses the path of the Nuova Destra as an autonomous cultural current. After Marco Tarchi’s expulsion from the MSI in 1981, the Nuova Destra launched an aggressive publishing strategy that failed to make the necessary organisational leap and came to an end around 1994. Nevertheless, the Nuova Destra has created a recognisable current, culturally eclectic and capable of ranging over different fields of knowledge with ‘metapolitics’ and ‘right-wing Gramscism’.

This article draws upon archival documents from Mexico's Nationalist Campaign to argue that the rise of radio, advertising, and consumer culture significantly shaped Mexican musical nationalism in the early 1930s. The Nationalist Campaign, led by Rafael Melgar, sought to promote the consumption of national products as a patriotic act to secure the nation's future amid the growing economic dominance of the United States during the interwar period. The campaign utilized radio broadcasts of speeches, slogans, and national music concerts to publicize a unified brand of national identity, aligning with the needs of modernizing the state economy and centralizing political authority through the newly formed PNR (Partido Nacional Revolucionario). This research seeks to explore the role of media, popular music, and consumer culture as an alternative track to Mexican musical nationalism, which has primarily been studied through art music.