To Örebro University

Ecofascism-the union of fascist ideas and ecological notions-is a rising global issue. Ecofascism in the online sphere often encompasses imaginaries of utopia, love and nostalgia in concert with militarism and violence. This article examines cuteness as a strategic tool used to arouse culturally deemed "positive" emotions like joy, love and pleasure. The study draws on findings from an affective-discursive analysis of visual propaganda in the form of ecofascist memes. The analysis shows that cuteness softens fascist ideology and remasculinises and humanises fascism. Cuteness as a rhetorical tool lessens the needs for ideological defence, since cute signifiers condense structures of meaning into binaries of good and evil. Hence, the article argues that cuteness is a powerful affective political communication strategy that serves to reproduce masculine dominance by mobilising gendered and racialised imaginaries of nature, protection, empathy and belonging.

Masculinity in far-right visual media is often portrayed through intimidating images of dominant, militant men. However, this study of affect in Nordic ecofascist visual communication shows that men are also depicted in meditative stillness surrounded by spectacular nature. Such 'positive' representations contrast with the typical far-right depictions of militant masculinity. This paper examines how positive affective communication shapes far-right masculinity, focusing on the trope we call 'the contemplative man'. Inspired by affect theory and social semiotics, we analyse images from ecofascist Telegram channels that show men alone and together in nature participating in meditative and nature-connected practices. We demonstrate how the 'contemplative man' trope broadens the range of available far-right masculine identities and connects men with nature through nativism. We argue that nature in ecofascist discourse allows for 'quieter' expressions of masculinity, providing a space for men to experience intimacy, spirituality and pleasure, alongside the traditional militant persona. Such forms of masculinity visualize the 'blood and soil' complex through natural imagery depicting outdoor activities such as cooking, hiking, and resting in peaceful solitude. This discourse fosters a special bond between white, Nordic men and the land, offering them a place in the social hierarchy and a role within ecology on both sensory and ideological levels.

This article examines the discursive trope of "the wheat girl" in Nordic radical nationalist Telegram channels, exploring how white femininity is constructed within far-right ecologist imaginaries. The wheat girl-typically depicted as a conventionally attractive white woman in grain fields-embodies a paradoxical blend of feminine passivity and political agency. Drawing on feminist theory, affect theory, and scholarship on far-right ecologism, the study situates this trope within broader historical narratives where women symbolize both nation and nature. In the Nordic context, where gender equality is often framed as a cultural value, the wheat girl offers insight into how radical nationalists may mobilize gendered imagery to advance ecofascist ideologies. Through visual analysis and discourse studies, the article contributes empirically by highlighting the role of gender in far-right ecological communication, and theoretically by expanding discussions on affect, ideology, and constructions of white femininity in digital far-right spaces. The findings underscore how seemingly benign representations of women and nature serve exclusionary nationalist agendas, shaping how radical nationalist actors attract and engage audiences through constructions of beauty, spirituality and tradition.