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"Anarchism and the Crisis of Representation is intended to provide readers of literary criticism, art history, political philosophy, and the social sciences with a fresh perspective from which to revisit dead-end theoretical debates over concepts such as "agency," "essentialism," and "realism" - and, at the same time, to offer a new take on anarchism itself, challenging conventional readings of the tradition. The anarchism that emerges from this reinterpretation is neither a musty rationalism nor a millenarian irrationalism, but a living body of thought that points beyond the sterile antinomies of post-modern and Marxist theory."--BOOK JACKET.
Is it possible to abolish coercion and hierarchy and build a stateless, egalitarian social order based on non-domination? There is one political tradition that answers these questions with a resounding yes: anarchism. In this book, Carissa Honeywell offers an accessible introduction to major anarchist thinkers and principles, from Proudhon to Goldman, non-domination to prefiguration. She helps students understand the nature of anarchism by examining how its core ideas shape important contemporary social movements, thereby demonstrating how anarchist principles are relevant to modern political dilemmas connected to issues of conflict, justice and care. She argues that anarchism can play a central role in tackling our major global problems by helping us rethink the essentially militarist nature of our dominant ideas about human relationships and security. Dynamic, urgent, and engaging, this new introduction to anarchist thought will be of great interest to both students as well as thinkers and activists working to find solutions to the multiple crises of capitalist modernity.
An exhaustive study of the richly textured "resistance culture" anarchists create to sustain their ideals and identities amid everyday lives defined by capital and the state, a culture prefiguring a post-revolutionary world and allowing an escape from domination even while enmeshed in it. Whether discussing famous artists like Kenneth Rexroth, John Cage, and Diane DiPrima, or relatively unknown anarchist writers, Jesse Cohn clearly links aesthetic dynamics to political and economic ones. This is cultural criticism at its best. Jesse Cohn is the author of Anarchism and the Crisis of Representation: Hermeneutics, Aesthetics, Politics, and an associate professor of English at Purdue University North Central in Indiana.
Anarchists are not just political thinkers, but also vibrant cultural actors who have contributed to every artistic medium available. With a philosophy usually so deeply at odds with their societies, anarchists have often felt alienated and lost in contradiction - and these powerful feelings have found a voice in artistic productions. Expertly skirting the tired, distracting debates about lifestyle' versus 'political' anarchism, Cohn examines the work of anarchist artists that have gained popular appeal over the past century.'
This book explores the unsettling ties between colonialism, transnationalism, and anarchism. Anarchism as prefigurative politics has influenced several generations of activists and has expressed the most profound libertarian desire of Southern Mediterranean societies. The emergence of anarchist and anti-authoritarian movements and collective actions from Morocco to Palestine, Algeria, Tunis, Egypt, Lebanon, Syria and Jordan has changed the focus of our attention in the last decade. How have these anarchist movements been formulated? What characteristics do they share with other libertarian experiences? Why are there hardly any studies on anarchism in the South of the Mediterranean? In turn, the book critically reviews the anti-authoritarian geographies in the South of the Mediterranean and reassesses the postcolonial status of these emancipatory projects. Colonialism, Transnationalism, and Anarchism in the South of the Mediterranean invites us to revisit the necessity of decolonizing anarchism, which is enunciated, in many cases, from a privileged epistemic position reproducing neocolonial power relations.
Dani Spinosa takes up anarchism’s power as a cultural and artistic ideology, rather than as a political philosophy, with a persistent emphasis on the common. She demonstrates how postanarchism offers a useful theoretical context for poetry that is not explicitly political—specifically for the contemporary experimental poem with its characteristic challenges to subjectivity, representation, authorial power, and conventional constructions of the reader-text relationship. Her case studies of sixteen texts make a bold move toward politicizing readers and imbuing literary theory with an activist praxis—a sharp hope. This is a provocative volume for those interested in contemporary poetics, experimental literatures, and the digital humanities. Case Studies Jim Andrews Christian Bök Mez Breeze John Cage Andy Campbell Robert Duncan Kenneth Goldsmith Susan Howe Jackson Mac Low Erín Moure [Erin Mouré] Harryette Mullen bpNichol Vanessa Place Juliana Spahr Brian Kim Stefans W. Mark Sutherland Darren Wershler
Despite the recent proliferation of scholarship on anarchism, very little attention has been paid to the historical and theoretical relationship between anarchism and philosophy. Seeking to fill this void, Brill’s Companion to Anarchism and Philosophy draws upon the combined expertise of several top scholars to provide a broad thematic overview of the various ways anarchism and philosophy have intersected. Each of its 18 chapters adopts a self-consciously inventive approach to its subject matter, examining anarchism’s relation to other philosophical theories and systems within the Western intellectual tradition as well as specific philosophical topics, subdisciplines and methodological tendencies.
Situated at the intersection of anarchist and democratic theory, Anarchism and Art focuses on four popular art forms—DIY (Do It Yourself) punk music, poetry slam, graffiti and street art, and flash mobs—found in the cracks between dominant political, economic, and cultural institutions and on the margins of mainstream neoliberal society. Mark Mattern interprets these popular art forms in terms of core anarchist values of autonomy, equality, decentralized and horizontal forms of power, and direct action by common people, who refuse the terms offered them by neoliberalism while creating practical alternatives. As exemplars of central anarchist principles and commitments, such forms of popular art, he argues, prefigure deeper forms of democracy than those experienced by most people in today's liberal democracies. That is, they contain hints of future, more democratic possibilities, while modeling in the present the characteristics of those more democratic possibilities. Providing concrete evidence that progressive change is both desirable and possible, they also point the way forward.