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Flirting with anarchism

Class, state, and anthropology

Frederick Schulze

Graeber, David. 2004. Fragments of an anarchist anthropology. Chicago: Prickly Paradigm Press. 105 pages.

Schmidt, Michael, and Lucien van der Walt. 2009. Black flame: The revolutionary class politics of anarchism and syndicalism. Vol. 1, Counter-Power. London: AK Press. 395 pages.

Scott, James. 2012. Two cheers for anarchism: Six easy pieces on autonomy, dignity, and meaningful work and play. Princeton, NJ: Princeton University Press. 198 pages.

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Steven Ungar

The four films Jean Vigo made between 1930 and 1934 bridged transitions from silent to sound formats and from avant-garde experiments to what he called a social cinema grounded in a documented point of view. This article studies traces of this social cinema in Vigo's 1930 documentary A propos de Nice (Regarding Nice) and his 1934 feature L'Atalante (1934). Links to Parisian surrealism and to leftwing anarchism marked these films as inspiration for postwar filmmakers and critics including André Bazin, François Truffaut, Alain Resnais, and Chris Marker. The government censorship imposed on his Zéro de conduite (Zero for Conduct, 1933) was a test case for similar suppression of postwar films by Resnais, Marker, and René Vautier. Ongoing myths surrounding Vigo and his work persist in the forms of a film prize and research institute, both of which bear his name.

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Amotz Giladi

The trajectory of the writer and critic Camille Mauclair (1872–1945) was marked by two ruptures: having begun his career within the internationalized avant-gardes, oriented toward Symbolism and Anarchism, he moved away from these circles at the turn of the century. Indeed, the crisis that Symbolism and Anarchism underwent during these years led Mauclair toward Neo-Classicism. To his new esthetic vision was added, during the Great War, a nationalist positioning that led him to virulent xenophobia in the interwar period. Foreign artists were henceforth denounced by Mauclair as being the cause of France's so-called cultural decadence. The turnaround in Mauclair's esthetic and political vision reflects the “return to order” tendencies that grew stronger in French culture from the end of the nineteenth century, attaining their summit during World War II. The propagation of these tendencies was largely due to the influence that the esthetic and ideological reflections of Charles Maurras exerted in intellectual circles.

French La trajectoire de l'écrivain et critique Camille Mauclair (1872–1945) fut marquée par deux ruptures: ayant commencé sa carrière au sein des avant-gardes internationalisées, orientées vers le symbolisme et l'anarchis me, il s'éloigna de ces milieux au tournant du siècle. En eff et, la crise subie par le symbolisme et l'anarchisme durant ces années amena Mauclair vers le néo-classicisme. À cette nouvelle vision esthétique s'ajouta, durant la Grande Guerre, un positionnement nationaliste qui déboucha, dans l'entre-deux-guerres, sur une xénophobie virulente. Dès lors, les artistes étrangers furent étiquetés par Mauclair comme les responsables d'une prétendue décadence culturelle de la France. Le revirement esthétique et politique de Mauclair reflète les tendances de “retour à l'ordre,” qui se renforçaient dans la culture française depuis la fin du dix-neuvième siècle et atteignirent leur sommet durant la Seconde Guerre mondiale. La propagation de ces tendances était due, en grande partie, à l'influence que la réflexion esthétique et idéologique de Charles Maurras exerçait dans les milieux intellectuels.

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John Gillespie, Kyle Shuttleworth, Nik Farrell Fox, and Mike Neary

long overdue. The issue of Sartre's political anarchism has been somewhat of an elephant in the room in Sartre scholarship, overlooked, ignored or given only fleeting mention in favour of his Marxist proclivities, despite the fact that Sartre declared

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Melissa Feinberg

sexual identities, including militant suffragism, sexology, eugenics, nudism, anarchism, communism, and fascism. As the very list suggests, Bucur is quite aware that radical views are not necessarily progressive ones. But, by putting together these very

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Fern Thompsett

’, The Review of Education, Pedagogy, and Cultural Studies 29 : 317 – 336 . 10.1080/10714410701291129 DeLeon , A. ( 2008 ) ‘ Oh no, not the “A” word! Proposing an “Anarchism” for education ’, Educational Studies 44 , no. 2 : 122 – 141 . 10

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Lionel Blue

twentieth century was not Marxism or anarchism but nationalism, J. J. Rousseau and German Wandervogel style. I appreciated its constructive and creative side. For me it had replaced a dying Yiddish culture with a living Hebrew one and I rejoiced in its

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‘William Le Queux, Master of Misinformation’

Ailise Bulfin and Harry Wood

and growing internal agitation for social change within Britain. While these related sets of fears of external hostility, war and invasion and internal anarchism and decay were prominent in factual discourse and debate, they were given particularly

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Never Mind the Ballots

The Edible Ballot Society and the Performance of Citizenship

Matthew Hayes

or change is often difficult to avoid. The Edible Ballot Society as a Movement Anarchism The 8 October 2001 issue of the Alberta Report ran a short article about the 2000 general election and the edible balloters charged the next year, stating : As

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For or against commoning?

Ida Susser

University Press . 10.1093/oso/9780199283262.001.0001 Harvey , David . 2012 . Rebel cities: From the right to the city to the urban revolution . London : Verso . Kalb , Don . 2014a . Mavericks: Harvey, Graeber, and the reunification of anarchism and