This article explores the practical, ethical, and epistemological issues which arise when carrying out and sharing research in contexts of Italian migration, highlighting how greater reflexivity on our own geographic and historical location as researchers can productively inform and shape our understanding of sites of contact, exchange and confrontation in relation to contemporary Italy. Specifically, we write as researchers informed by ethnographic theories and practices, and who through our research have engaged in emplaced and embodied cultural encounters in sites which are identifiable as both transcultural and Italian. Drawing on vignettes from research in Italy and the UK, the article highlights some of the particular contradictions, opportunities and responsibilities generated by our respective positions. We address how our positionings as white, English and female scholars located within nationally-defined Italian Studies structures have raised pertinent questions of power, privilege and voice, as we place our own biographies and bodies, themselves shaped by specific colonial, national and local histories, into critical dialogue with those on and with whom we research. Through a discussion of these ‘irresolvable tensions’ of our research, we seek to practically engage with the broader imperative of finding new ways of studying and writing culture.

The Italian debate over gender inclusivity has recently been dominated by a ubiquitous term: ideologia del gender. This expression has been used extensively by a galaxy of reactionary forces to thwart the implementation of gender-mainstreaming policies. Recent research has shown that similar anti-gender manifestations have mushroomed across Europe, with discursive elements which recall the Italian anti-gender narrative. This article first sets Italian anti-genderism within a broader transnational movement. Second, through a feminist critical analysis of Italian anti-gender discourse, it shows that ideologia del gender should be interpreted as a new rhetorical device used to reaffirm gender-based prejudice in Italy and other European countries. Third, drawing on the work of Wolfgang Welsch (1999), the paper discusses whether this movement can be interpreted as a transcultural phenomenon, and suggests a transcultural model of culture as the antidote to the anti-gender backlash.

Set in contemporary Palermo, Emma Dante's Via Castellana Bandiera (2013) offers a powerful exploration of the South as a site of cultural contact, interaction and confrontation by focusing on a western-like showdown between two women whose lives are differently marked by mobility and migration. In Dante's film, the simultaneous articulation of queerness and southernness is a way to queer the traditional image of the frontier and to offer an evocative elaboration on how identities are constructed, mobilised and played off against each other in the neoliberal context.

The 1930s saw an explosion in the publication of crime writing in Italy, but initially readers’ appetite for crime fiction was fed almost entirely by translated imports from the US, Britain and France. Even as publishers began promoting crime writing by Italians, foreign models and settings remained important, and several early Italian writers set their work in foreign countries. This article, which draws on both textual analysis and archival research, examines some foreign-set novels produced by Italian authors during the Fascist years, and seeks to identify the function and appeal of foreign settings in the depiction of criminality in that period. These books, peopled by exotic ‘Others’, comment on corruption, freedom of the press, cultural diversity, racial difference, policing, criminality, as much at home as abroad. The distant settings offered safety and freedom, as well as escapism or distraction, and the opportunity to experiment with genre.

Comics are an increasingly popular medium in the twenty-first century. Combining words and images, comics enable the expression of individual and collective histories that straddle languages and cultures, reflecting the multimodality of the cognitive and narrative processes in a multilingual, globalising world. This article proposes an original framework to understand the power of comics as a transcultural medium by exploring the production of Takoua Ben Mohamed, a graphic journalist and comics author born in Tunisia and raised in Rome. These comics visualise histories of migration and translation in Italy and the Mediterranean, questioning notions of homogeneity, authenticity and canonicity of Italian memory and culture. The article engages with the theoretical and methodological framework of the Transnationalizing Modern Languages (TML) research project, exploring the interconnected linguistic and cultural dimensions of memory and translation. The analysis identifies a series of processes termed mediation-translation in Ben Mohamed's comics, which illuminate the constitutive nature of memory and translation in contemporary processes of identification.

Hip hop, reggae/raggamuffin, and fusions between these genres, emerged in the Italian island of Sardinia in the 1980s and 1990s. In this article, we examine the ways in which these transnational music forms have found fertile terrain in post-colonial Sardinia across generations and cultures through the music of the historic hip hop crew, Sa Razza, the next generation ‘rappamuffin’ artist, Randagiu Sardu, and the Senegalese-Sardinian Afro-reggae musician, Momar Gaye. Through the analysis of selected tracks and video clips we explore how overlapping cultural, social, and political discourses of decolonisation are framed and narrated through language, music, and images as a means of expressing cultural and political agency, critiquing the impacts of exploitation and colonisation, and consciously and self-reflexively reinterpreting and celebrating marginality.

The linguistic and cultural identity of transnational writers who choose to write in an adopted language or to self-translate, has gained increasing interest among researchers over the last decade. Approaches to the topic have ranged from textual analyses of translingual narratives and language memoirs to more ontological investigations of the processes of identity-formation in transcultural frameworks. Acknowledging that there is no one-to-one correspondence between linguistic units and ethnic, social or cultural formations, this paper considers the relationship between the literary practices of contemporary translingual writers and the role of language both in the formation of personal identities and in the reconfiguration of constructions of national identity and literary belonging. Specifically, I examine how two contemporary women writers, Francesca Marciano and Jhumpa Lahiri, who each represent a remarkable case of self-conscious linguistic transformation, interrogate the traditional construct of a monolingual, mono-ethnic and mono-cultural national identity. I argue that their autofictions reflect the multilingual and transcultural reality of contemporary transnational literature and instantiate broader issues connected with the definition, categorisation and consequent evaluation of literary canons and literary citizenship.