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AbstractThis article uses the FrenchRassemblement National(RN) as a case study to examine how the populist radical right (PRR) prepares for a world after COVID-19 dominated by climate change concerns. Research suggests that certain measures introduced to contain the virus – such as the establishment of strict border and travel restrictions – may legitimize the PRR’s protectionist and anti-immigration agendas, yet few have examined whether or how PRR parties have used COVID-19 to promote their environmental agenda. If anything, the expectation has been that the pandemic would hurt the PRR precisely because its effects, unlike climate change, cannot be dismissed as a “hoax.” This view overlooks not only the “environmental turn” recently taken by several PRR parties but also the possibility that public awareness of the causal link between climate change and COVID-19 may work to their advantage. The analysis presented in this article highlights this possibility, showing that the RN used COVID-19 not only to capitalize on anti-immigrant sentiment but also to bolster its self-image as a champion of environmental protection.

AbstractThe nationwide prominence of Russian oppositional artists has inspired a fair number of studies analyzing the political aspects of their creative output. We argue that the new generation of Russian musicians, whose art became popular in the end of 2010s, brings political engagement to a qualitatively new level. Following Jacques Rancière, we reject the assumption that critical art can bring about political mobilization by exposing social evils. Instead, we juxtapose politics and police, distinguishing between transformative moments of discursive confrontation and the mundane activity centered on distributing places and roles. In this article, we look at three popular Russian musical collectives – IC3PEAK, Shortparis, and Monetochka – whose art disrupts the police order in a novel and subversive manner. Some of their works became even more timely with the outbreak of Russia’s large-scale aggression against Ukraine. We have performed multimodal discourse analysis of their audio and video clips, aimed at identifying the ways in which these artworks create the conditions of possibility for new politics by re-articulating the connection between the political and the universal.

AbstractWhat factors influence the formation of threat perception among the masses? Can the public perceive that external threats exist yet also feel safe? This article investigates both how threat perceptions form, as well as what factors influence security perceptions, in ethnically diverse countries and societies. While drawing on data from two nationally representative surveys, this article inquires to what extent the views of the government and society align regarding whether Russia represents a security threat to Latvia. We find that the determinants of threat and security perceptions differ. Above all else, the views of our respondents are shaped by their ethnic identities and regional effects. Consumption of different forms of media also influence threat perception. Perceived asymmetry of power is an additional important variable shaping security perception. Importantly, there is a correlation between seeing Russia as a security threat and Russophobia or fear of Russians living in Latvia. Overall, this article demonstrates that threat perceptions differ between Russian-speakers and Latvians, shows that it is important to differentiate between perceptions of threat and security, and identifies key explanatory variables influencing development of these perceptions in ethnically diverse societies.

Abstract This article looks at different strategies in which authoritarianism operated in relation to the redesign of Skopje during the rule of the conservative party VMRO-DPMNE and its leader Nikola Gruevski. It argues that the promoters of the urban project called “Skopje 2014” relied on a set of nondemocratic mechanisms and involvement and coordination of various individuals and institutions on all levels to implement and legitimize the project and expand its political dominance. These ranged from state-driven mechanisms and urban design strategies to contributions of non-state groups, thus demonstrating a systematic effort behind the makeover of Skopje. Examining the project through the concept of authoritarianism, the article goes beyond (methodological) nationalism to understand the complexity of the revamp of North Macedonia’s capital. It also demonstrates how the party used its ideological principles to leave its enduring mark on Skopje’s urban environment. Additionally, the article points out the need to study urban space politics in the context of hybrid and competitive authoritarian regimes.

Abstract This article contributes to discussions on culture wars, memory politics, and the politics of dead bodies. It uses the example of the annual celebration of the liberation of the city of Pilsen by the American army in 1945 to demonstrate the use of the concept of “political necromancy.” The Pilsen celebrations are one of the events during which participating politicians use fallen (or suffering) soldiers as an argument to support current political goals. Metaphorically, the politician as a necromancer brings the fallen back to life and sends them as an army of the dead to fight in culture wars and memory wars. The article focuses on introducing the different strategies used in this process (depersonalizing the fallen or creating a ghost hero) and shows how dead bodies and the appropriate use of memory politics are used to bolster foreign policy ties to the US and to lash out against Russia and communism.

AbstractScholars have treated images from the golden age of Transylvanian photography, recently elevated to prominence through the digitization of archives, as “authentic” portrayals of peasant culture. However, Hungarian, Romanian, and Saxon nationalists in Transylvania utilized photographs to brand place and nation in the global market, as well as to make claims to territory and assert competing national hierarchies. I examine here Saxon historian, folklorist and travel writer Emil Sigerus’ Durch Siebenbürgen: eine Touristenfahrt in 58 Bildern (Through Transylvania: a Tourist Trip in 58 Pictures), published repeatedly between 1905 and 1929. Sigerus’ photographic survey of Transylvania’s natural landscape, built environment and diverse populations branded Transylvania in general and Transylvanian Saxons in particular as a tourist destination unspoiled by the passage of time. Sigerus also projected an ethnically stratified social hierarchy on Transylvania’s heterogeneous population, with Saxons at the apex; asserted Saxon ownership of urban centers, thereby reinforcing Saxon claims to a “civilizing mission” in Transylvania; and laid claim to territory, simultaneously redirecting tourism from other parts of Transylvania to Saxon nationalists’ benefit. By careful curation, then, Sigerus projected a strong nationalist message often overlooked in the analysis of individual images as “objective” sources of evidence.