Contemporary debates in anarchism, particularly the conceptual debates sparked by the development of post-anarchism and those surrounding the emergence of the anti-globalization movement, have brought an old question back to the table: what is anarchism? This study analyzes the canonical representations of anarchism as a political movement and political philosophy in order to reflect on the ways in which that critical question, 'what is anarchism?' has been answered in mainstream literature. It examines the way that the story of anarchism has been told and through a critical review, it discusses an alternative approach. For this purpose, two seminal canon-building texts, Paul Eltzbacher's The Great Anarchists, and George Woodcock's Anarchism have been identified and their influence is discussed, together with the representations of anarchism in textbooks describing political ideologies. The analysis shows how assumptions, biases, and hidden ideological perspectives have been normalized and how they have created an official history of a political movement. In challenging the official account, this study highlights the exclusions and omissions (third world anarchists, women anarchists, queer anarchism and artistic anarchism) that have resulted in the making of the core. The question of how to tell the story of anarchist past carries us to the shores of postmodern history where theoreticians have been discussing the relationship between past and history and the politics of representation. The anarchism offered in this study demands an engagement with a network-like structure of information rather than a linear, axial structure. Consequently, this study aims to show several layers of problems in the existing dominant historical representation of one of the richest political ideologies, anarchism; and then to discuss ways of representing the past and especially the anarchist past, to seek an answer to a principal question: what is anarchism?

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / A partir do final da década de 1960, no mundo e no Brasil, o fenômeno de crítica sociopolítica com arte tem se desenvolvido expressivamente e apresentado um considerável conjunto em termos de quantidade, mas também de qualidade de produções. De meados da década de 1990 até a presente data, esse fenômeno se apresenta de maneira mais acelerada, e em torno de coletivizações artísticas. Tais coletivizações caracterizam-se por desenvolver ainda mais as aproximações entre a arte, o sociopolítico e o cultural, e também por revelar lugares outros para o desenvolvimento de expressões artísticas e de formas variadas de atuação artística no e sobre o espaço público no sentido de subversão e de crítica sobre os sistemas sociais. A presente dissertação observa o desenvolvimento do fenômeno em suas diferentes nuances ao longo do tempo, bem como faz uma análise apreciativa e investigativa sobre algumas obras individuais e de coletivos. Visa apontar e percorrer as diferentes produções artísticas presente e passado aqui elencadas, dado que incorporam uma visada de crítica sociopolítica com arte, o que nos possibilita observar a potência da arte para tratar questões que emergem dos ambientes sociopolítico e cultural; sua reincidência, variedade, conexões e diferenças / Since the 1990's until the present date, in the world and in Brazil, the phenomenon of sociopolitical critic through art has been evolving expressively and presenting a considerable set of productions. In a more accelerated manner, and surrounding artistic collectivizations, is characterized by developing even further the approximations between art, the sociopolitical and the cultural, and also for revealing other places for the development of artistic expressions and and various forms of artistic acting on and over the public space in the sense of subversion and critic over the social systems. The present dissertation observes the development of said phenomenon in its different nuances throughout historical time, as well as does an investigative analysis over some of the individual and collective works. Aims to point and go over the different artistic productions present and past here presented, given that they incorporate an aim of sociopolitical critic through art, what makes possible, in this dissertation, our observation of the potency of art for dealing with questions which emerge in the social, political and cultural environments, its re-incidence, variety, connections and differences

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / A partir do final da década de 1960, no mundo e no Brasil, o fenômeno de crítica sociopolítica com arte tem se desenvolvido expressivamente e apresentado um considerável conjunto em termos de quantidade, mas também de qualidade de produções. De meados da década de 1990 até a presente data, esse fenômeno se apresenta de maneira mais acelerada, e em torno de coletivizações artísticas. Tais coletivizações caracterizam-se por desenvolver ainda mais as aproximações entre a arte, o sociopolítico e o cultural, e também por revelar lugares outros para o desenvolvimento de expressões artísticas e de formas variadas de atuação artística no e sobre o espaço público no sentido de subversão e de crítica sobre os sistemas sociais. A presente dissertação observa o desenvolvimento do fenômeno em suas diferentes nuances ao longo do tempo, bem como faz uma análise apreciativa e investigativa sobre algumas obras individuais e de coletivos. Visa apontar e percorrer as diferentes produções artísticas presente e passado aqui elencadas, dado que incorporam uma visada de crítica sociopolítica com arte, o que nos possibilita observar a potência da arte para tratar questões que emergem dos ambientes sociopolítico e cultural; sua reincidência, variedade, conexões e diferenças / Since the 1990's until the present date, in the world and in Brazil, the phenomenon of sociopolitical critic through art has been evolving expressively and presenting a considerable set of productions. In a more accelerated manner, and surrounding artistic collectivizations, is characterized by developing even further the approximations between art, the sociopolitical and the cultural, and also for revealing other places for the development of artistic expressions and and various forms of artistic acting on and over the public space in the sense of subversion and critic over the social systems. The present dissertation observes the development of said phenomenon in its different nuances throughout historical time, as well as does an investigative analysis over some of the individual and collective works. Aims to point and go over the different artistic productions present and past here presented, given that they incorporate an aim of sociopolitical critic through art, what makes possible, in this dissertation, our observation of the potency of art for dealing with questions which emerge in the social, political and cultural environments, its re-incidence, variety, connections and differences

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-11-26T12:45:18Z No. of bitstreams: 2 Dissertação - Lucília Chaves de Oliveira - 2018.pdf: 2197156 bytes, checksum: 45ae66af2b0c281712a86670e6b7b5e0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-11-26T12:46:31Z (GMT) No. of bitstreams: 2 Dissertação - Lucília Chaves de Oliveira - 2018.pdf: 2197156 bytes, checksum: 45ae66af2b0c281712a86670e6b7b5e0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-26T12:46:31Z (GMT). No. of bitstreams: 2 Dissertação - Lucília Chaves de Oliveira - 2018.pdf: 2197156 bytes, checksum: 45ae66af2b0c281712a86670e6b7b5e0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-09-28 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This dissertation proposes to investigate the formative processes in the educational scope, with a view to understanding how aesthetics may or may not contribute to teacher training and performance. The purpose is to think about the relations between aesthetics and human formation as a socio-historical and cultural process in the specificity of the contemporary context and the challenges that arise from it. It seeks to analyze the interrelation of the sensible with the intelligible, considering them constituent elements of the human being in its totality. It also deals with art in its political potential, as a questioning element that favors reflection on the dominations imposed by the capitalist system, which imposes aesthetic standards aiming at the maintenance of powers and privileges of class, race and gender. Aesthetics is analyzed from a perspective of resistance with an emphasis on the feminist movement, taking as reference the contemporary feminine artistic movement. In this sense, education is understood as a non-neutral political field, a space of disputes, negotiations and interests, supported by epistemological conceptions which, if considered in their critical perspectives, can deconstruct sexist educational practices, constructing practices that consider the human in all its diversity. / Essa dissertação se propõe a investigar os processos formativos no âmbito educacional, com vistas a compreender como a estética pode contribuir, ou não, na formação e atuação docente. O propósito é pensar as relações entre estética e formação humana como processo socio-histórico e cultural na especificidade do contexto contemporâneo e os desafios que dele advém. Busca-se analisar a interrelação do sensível com o inteligível, considerando-os elementos constituintes do ser humano em sua totalidade. Aborda também a arte em seu potencial político, como elemento questionador que propicia a reflexão sobre as dominações impostas pelo sistema capitalista, que impõepadrões estéticos visando a manutenção de poderes e privilégios de classe, raça e gênero. A estética é analisada a partir de uma perspectiva da resistência com ênfase no movimento feminista, tomando como referência o movimento artístico feminino contemporâneo. Nesse sentido, a educação é compreendida como um campo político, portanto, não neutro, um espaço de disputas, negociações e interesses, sustentado por concepções epistemológicas as quais, se consideradas em suas perspectivas críticas, podem desconstruir práticas educativas sexistas, edificando práticas que considerem o humano em toda a sua diversidade.

This study focuses on the rhetorical and political conditions for answering the question 'what is kulturpolitik?'. The most common translation of kulturpolitik is 'cultural policy', but 'cultural politics' is an alternative - perhaps policies must al­ways involve broader notions of politics. Here, politics is understood as struggles and conflicts in community, struggles that take place between rules and practical cases, between law and freedom. It is argued that language is a key to an awareness of political conditions, although politics also might involve aesthetics and violence. According to Aristode and Ricoeur, language is something that occurs 'when somebody says something to somebody about something' - and, as added in the dissertation: 'for a certain purpose and in a certain manner'. The general conditions for saying what kulturpolitik is, can thus be studied with reference to the interplay between six aspects: author; utterance, audience, reference, purpose and manner These rhetorical aspects can be used differendy in different cases. Four particular cases are examined in the dissertation. These are chosen pardy because they allow a gen­eral overview of the connections between politics and the arts, or policy and cul­ture, mainly in Western Europe; and pardy because they allow a demonstration of the importance of rhetoric. The cases are: (1) a comparison between two major Government Bills to the Swedish Parliament, concerning the general formulation of state cultural policy; (2) an analysis of the meaning of goals in policy, with particular reference to the Council of Europe's evaluations of cultural policies in France, Sweden, Austria, the Netherlands, and Finland; (3) an overview of the political uses of the concept of culture in Germany between 1800 and 1932; (4) a study of the French state's effort to engage the arts in the service of the republic between 1789 and 1983. It is, furthermore, argued that a rhetorical 'manner' can be understood as a way of employing the faculty of judgement. Following Aristode and Kant, and es­pecially according to Arendt and Lyotard, it is shown that judgement is a pre- eminendy political faculty. It allows those who use language - authors as well as audiences — to reflect upon the conditions of agreement in the absence of precon­ceived rules, but with the help of aesthetical awareness and imagination. / Digitalisering@umu

Thesis (M.A.)--Carleton University, 2007. / Includes bibliographical references (p. 109-115).

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-04-27T12:27:22Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TESE_RaizaCavalcanti_CORRIGIDA.pdf: 5743490 bytes, checksum: 87d18151012b2adc39764cb6898d446c (MD5) / Made available in DSpace on 2017-04-27T12:27:22Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TESE_RaizaCavalcanti_CORRIGIDA.pdf: 5743490 bytes, checksum: 87d18151012b2adc39764cb6898d446c (MD5) Previous issue date: 2016-06-21 / CNPQ / Esta tese é uma proposta de estudo sociológico dos trabalhos artísticos, situando-os no centro da análise. A partir do conceito de agenciamentos artísticos, se investigará a ação que os trabalhos realizam no interior do campo da arte. Em termos metodológicos, se observará como os trabalhos operam práticas artístico-discursivas em sua presença no campo da arte. A ideia de que a crítica realizada pelos trabalhos artísticos pode ser completamente neutralizada ou mercantilizada por instâncias como os museus ou o mercado da arte será posta em questão a partir da observação de como estes seguem atuando discursivamente no interior do campo. Para tal propósito foram escolhidos oito artistas cuja produção é reconhecidamente crítica no campo da arte. O objetivo será o de observar a ação dos trabalhos por eles produzidos quando participam das instituições legitimadoras do campo (bienais, feiras de arte, exposições). Os artistas escolhidos são Carla Zaccagnini, Lourival Cuquinha, Marcelo Cidade, Yuri Firmeza, Artur Barrio, Paulo Bruscky, Antonio Manuel e Cildo Meireles. O teor estético e discursivo dos trabalhos desses artistas - que inserem sentidos que geram conflitos ou ruídos no interior do campo da arte e do campo social mais amplo -, são apaziguados quando entram em contato com o circuito institucional ou mercadológico da arte? A análise dos agenciamentos artísticos dos trabalhos destes oito artistas tentará responder a essa questão. O conceito de agenciamento artístico utilizado neste estudo está baseado na teoria da democracia agonística de Chantal Mouffe, mais especificamente em sua formulação sobre as práticas artísticas agonistas no interior da esfera pública. O conceito de campo da arte de Pierre Bourdieu também será usado para auxiliar a teorização do ambiente estrutural, simbólico, institucional e discursivo onde esses trabalhos se constituem e no qual realizam sua performance artístico-discursiva. / This thesis is a proposal for a sociological study of the artwork, placing them at the center of the analysis. From the concept of agenciamentos artísticos, the investigation will analyze the action that the artwork performs within the field of art. In methodological therms, it will be observerd how the art works operate artistic-discoursive practices when they appear as part of the art field. The idea that the criticism made by the artwork can be completely neutralized or commodified by institutions such as the museums or the art market will be called into question by the observation of how the artwork continues to act discursively within the field. For this purpose there were chosen eight artists whose production is known to be critical in the field of art. The goal will be to observe the action of the artworks when these participate in the legitimating institutions of the art field (biennials, art fairs, exhibitions). The artists chosen are Carla Zaccagnini, Lourival Cuquinha, Marcelo City, Yuri Firmeza, Artur Barrio, Paulo Bruscky, Antonio Manuel and Cildo Meireles. Are the aesthetic and discursive contents of the work of these artists - which generate conflicts or noise from inside of the art field and wider social field -, appeased when they get in contact with institutional or marketing art circuit? The analysis of the agenciamentos artísticos of the work of these eight artists will try to answer this question. The concept of artistic agency used in this study is based on agonistic democracy theory of Chantal Mouffe, more specifically in its formulation of the agonists artistic practices within the public sphere. Bourdieu's art field concept will also be used to support the theorization of the structural, symbolic, institutional and discursive enviroments where these works are constituted and in which they carry out their artistic and discursive performance.

Esta dissertação analisa as primeiras associações de artistas na cidade de São Paulo, no início dos anos 1930. Tem como foco principal o Clube de Artistas Modernos (CAM), uma agremiação que se manteve ativa desde fins de 1932 até janeiro de 1934, dissidente da Sociedade Pró-Arte Moderna (SPAM), formada por artistas e intelectuais da elite. Em uma tentativa de adequação às tendências culturais e políticas do período, o grupo visava, primordialmente, a divulgação da arte moderna e a expansão do seu público para, como conseqüência, obter tanto a liberdade ideológica como financeira, afastando-se, assim, dos mecenas e do jogo de interdependência existente entre eles. Para tanto, criou um projeto cultural amplo, abrangendo sessões musicais, danças, bailes, conferências e apresentações teatrais. A grande diversidade dos eventos baseou-se em dois eixos fundamentais: as experimentações dentro da estética modernista (novas linguagens) e a união da arte à política, visando a divulgação da ideologia de esquerda. / This work discusses the first artistic associations created in the city of São Paulo in the early 1930\'s. Its main focus is the Clube de Artistas Modernos (CAM) an association active between the end of 1932 and January 1934, a dissidence of the Sociedade Pró-Arte Moderna (SPAM), formed by local artists and the Paulista intellectual elite. Trying to adapt to the cultural and political tendencies of the period, the group wanted, above all, to propagate modern art and to broaden its audience in order to obtain ideological and financial freedom. CAM tried to end its dependency on the Maecenas tradition dependency, thus it created a large cultural project which included musical and dance sessions, balls, lectures, and plays. The great variety of events was based on two fundamental axis: the modernist experience (new languages) and the connection between art and politics, in order to spread the gospel of the leftist ideology.

Fundação de Amparo a Pesquisa no Estado do Rio Grande do Sul / The presented dissertation reflects upon artistc proposals wich confronted the artist with his practice, making him think about it over two different perspectives: the practice of the "street artist" and the "artist IN the street". It's about thinking the artistic practice related to the work "Portraits $1" (Retratos $1), made in the public context of the city streets, making portrait-drawings with a sfereographic pen on paper and duplicated-portrait with carbon paper on paper.The street is where the portrait-drawing takes place and is exchanged for R$1,00 (UM Real) while the duplicated-portrait created with the carbon paper is archived by the artist. This artistic project brings up "Key" questions to think about art today: where is the artists place, the production of art and the public? The research focuses on the artistic production wich takes place with the contact of the public, when acting like a street artist, the work blurs the value codes and legitimation towards what is produced, to both art context and street context. / A presente dissertação reflete sobre as propostas artísticas que confrontaram o artista com a sua prática, fazendo-o pensar como essa se dá sob os diferentes enfoques: a prática do artista DE rua e a prática do artista NA rua. Trata-se de pensar a prática artística a partir do trabalho Retratos $1 , realizada no contexto público das ruas da cidade, produzindo retratos desenhos com caneta esferográfica sobre papel e retratos-duplicata de papel carbono sobre papel. A rua é o lugar onde o retrato-desenho é trocado com o transeunte retratado por R$ 1,00 (Um Real) enquanto o retrato-duplicata gerado com o papel carbono é arquivado pelo artista. Este projeto de artista ressalta questões chaves para se pensar a arte hoje: qual o lugar do artista, da produção da arte e do público? A pesquisa foca na produção artística que se dá no contato direto com o público, quando atuando como um artista de rua, o trabalho borra os códigos de valor e legitimação para o que é produzido, tanto no contexto da arte, quanto no contexto das ruas.

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