Durante a Guerra Civil Espanhola (1936-1939), operou-se um intenso debate ideológico entre as forças políticas que se confrontavam nos campos de batalha. Canções e cartazes de guerra foram eficientes instrumentos de divulgação das idéias de anarquistas, comunistas e nacionalistas. Tal debate, porém, já se havia anunciado nas duas primeiras décadas do século XX, quando esses grupos políticos veicularam suas ideologias através de textos ficcionais dirigidos às massas. Naquele contexto, o pensamento defendido pelos anarquistas circulou em mais de seiscentas novelas da série Novela Ideal, que visavam sobretudo à conscientização de seus leitores. O núcleo deste trabalho é a análise da ética libertária dessa produção ficcional que se constituiu como outro pólo de interlocução coerente com as demais formas de expressão usadas pelos anarquistas. Apesar da repressão a essa utopia, ela continua mobilizando, em outros lugares e tempos históricos, representações artísticas que atestam a permanência dos ideais ácratas como se observa, por exemplo, no texto O curto verão da anarquia e no filme Terra e Liberdade. / During the Spanish Civil War (1936-1939) an intense ideological debate was staged among the political forces that confronted each another on the battlefields. War songs and posters served as efficient tools for the disclosure of the ideas of anarchists, communists and nationalists. Said debate, however, had already been announced in the first decades of the 20th century, when these political groups transmitted their ideologies through fictional texts targeting the masses. In that context, the line of thought defended by anarchists circulated in over six hundred titles of the Novela Ideal series, which pursued the awareness of their readers above all. The core of this study is the analysis of the libertarian ethics of this fictional production, which constituted another point of dialogue in line with the other means of expression used by the anarchists. In spite of the repression of this utopia, it continues mobilizing, in other places and historic times, artistic representations that attest to the permanence of anarchists ideas as seen, for example, in the text entitled The short summer of anarchy and in the movie Land and Freedom.

L’histoire du mouvement libertaire italien en exil en France est un sujet faiblement étudié. Il convient de la replacer dans le cadre des migrations politiques de l'antifascisme et du fuoruscitismo. L’historiographie s’est concentrée sur les partis de masses occultant ainsi les formations politiques minoritaires que sont les giellistes et les anarchistes. Les historiens ont surtout privilégié les portraits des « ténors » de l’antifascisme des personnages les plus connus au détriment des « obscurs ». À travers le parcours d’un militant secondaire du mouvement libertaire italien, Pio Turroni, cette étude retrace l’histoire des anarchistes italiens exilés en France et plus particulièrement dans le sud-est de la France entre les deux guerres. Après un bilan historiographique et l’inventaire des sources mobilisées pour mener à bien cette étude, nous avons décidé d’écrire la biographie de l’un d’entre eux pour étudier le parcours du groupe entier. Le changement d’échelle, le passage du portrait de groupe à l’étude d’une trajectoire individuelle permet enfin d’appréhender l’engagement individuel d’un acteur et le réseau de ses relations au sein du mouvement anarchiste en exil comme au sein des autres familles de l’antifascisme italien. Cette étude analyse enfin, la culture politique, les pratiques et les stratégies d’un ensemble de militants à partir d’un des maillons de la chaîne. Nous avons tenté de faire de la biographie de Pio Turroni une entrée permettant de comprendre l’histoire des réseaux anarchistes en exil en France et au-delà contribuer à une meilleure connaissance de l’antifascisme. / The History of Italian libertarian movement in exile to France, is a faintly studied topic . It is important to situate this study in link with an another wide topic: the politics migration of the Anti-fascism in France. Firstly, historiography is focused on the masses parties eclipsing the creation of politics minorities groups like Giustizia e libertà movement and anarchist. Secondly, historians favored particularly portraits of « ténors » to deal with anti-fascisme of the most famous figures to the detriment of « obscurs ». This study traces the history of Italians anarchists who were exiled in France and particularly in South-east France during interwar, through the path of a secondary militant from Italian libertarian movement, Pio Turroni. After a historiographic assessment and an inventory of sources mobilized to complete this study, we decided to write the biography of one amongst themselves to work on the history of the entire group. Change at scale, passage from the group’s portrait to the study of an individual trajectory enables to understand the role of a character played by an individual commitment and galloping network of his relations within anarchist movement in exile like others Italian anti-fascism groups.Finally, this study analyses cultural politics, practices and strategies of a militants group from the link plays by Pio Turroni. From the biography of Pio Turroni, we tried to create a way to understand the History of anarchists network in exile to France, and above all contributes to a better knowledge about antifascism and its insertion into the political and social fabric of receiving countries.

The thesis' aim is to explore the changes of the anarchofeminist zine Bloody Mary and how it was influenced by the Internet, as well as by the specific blogging platform and computer graphics software used in the zine's production. The chief sources of data used in my research are the specific issues of the zine, articles and archived documents published on the blog. Moreover, I have undertaken several interviews with the zine's authors and readers, giving me insight into the zine's production. The theoretical section of the thesis focuses on the function of zines as alternative media, as well as describing zines within the larger context of the key feminist views on the media industry and the history of independent feminist publications. The following section describes the formation of the Riot Grrrl movement, which has led the proliferation of zines within feminist discourse, as well as serving as a chief inspiration to Bloody Mary's authors. The next chapter describes the context of Czech anarchist activism and names some of the key groups such as the "Feminist Group of the 8th March" or the "Anarcho-feminist Group", which Bloody Mary's authors belonged to. The empirical section of the thesis focuses on the changes within Bloody Mary as a publication. The developments and transformation of the...

The theme of this thesis is the Czechoslovak Anarchist Federation (CSAF), specifically its development, the transformation it has undergone during its existence and what position the CSAF holds today. The CSAF was founded in 1995 (its original name was the Czech Anarchist Federation) and it is the longest active anarchist organization in modern Czech history. The aim of this thesis is to capture the transformation of the CSAF based on the examination of their themes and activities, through which we can see how it has progressed and what specific developments have undergone. The aim of this thesis is to therefore answer the following questions: What specific developments have occurred within the CSAF? What changes have arisen within it, both in individual themes and within the membership? How has its position changed over the years and what is the position of the CSAF today? The thesis will in part be based on specialized publications, which are necessary for the theoretical definition of anarchism, but mostly will come from journals, which the CSAF has previously published and continues to publish today as well as information from their website. Finally, personal research conducted based on further exploratory evidence will be used in the analysis and evaluation of this thesis.

This thesis considers Michel Foucault’s understanding of friendship as a way of life and its relationship to anarchist models of affinity based organizing. I argue that Foucault’s interviews on friendship, his understanding of power structures as simultaneously individualizing and totalizing, and his notion of the care of the self all help us to rethink what friendship means today. Further, friendship can be a guide towards experimental and aesthetic forms of political resistance. Friendship for Foucault is not utopian, however, and I examine its use as a technique of police surveillance and intelligence gathering in the context of the G20 protests in Toronto in 2010. If friendship can play an important role in the regime of what Foucault termed governmentality, it can also be a site of struggle whereby an alternative vision for politics is elaborated. I argue that this has particular resonance with anarchism, and that while friendship has the danger to becoming an invisible form of power, anarchism responds to this by proposing a culture of solidarity. Overall, I argue that Foucault offers an original account of friendship that fundamentally shifts our understanding of the relationship between friendship and politics. / Graduate

Made available in DSpace on 2016-04-27T19:30:35Z (GMT). No. of bitstreams: 1 Eduardo Gramani Hipolide.pdf: 4472166 bytes, checksum: 0daee78ca7dc1096d784138a561820ad (MD5) Previous issue date: 2012-06-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This master dissertation is about the Anarchist Theater in Rio de Janeiro and São Paulo, between 1901 and 1922. The main objective to conduct this study is to analyze theater as a social practice of the libertarian movement occurred in those important Brazilian cities. The clip shown here chronologically covers the period when libertarian segments of the working class directly influenced the labor movement. In an attempt to reconstruct the trajectories of different amateur groups who played in worker s parties, we seek in this research to find out about some of the subjects involved in those dramatic activities. Sure that the anarchist theater established dialogues with numerous libertarian segments in the working class, we analyze the relationships between the activities of amateur theater groups with other social practices of the anarchist labor movement trend, or socialist revolutionary, who also constituted the movement in that period. The focus of the approach to the plays that were staged in the worker s parties was not confined to mere structural analysis of that. Our focus was to face the political meaning of such plays and the possible resonance of the specific content of these texts on the pages of the Press Working. In addition to the theater texts, we also investigate the fragmentary evidences of what the Press working brought about the theater practices and about the ideas-images conveyed by the works that comprise the corpus of this research. Our continuous effort was not to lose sight of the focus in this research that is the analysis of Anarchist Theater as constituent part of the complex labor movement in the early 20th Century. From this perspective, the activities around that theater acquired a dynamic and active character. Thus, both, scenarios and plays were discussed here as direct interventions within the organized movement of the working class / Esta pesquisa tem como principal objetivo analisar o teatro anarquista como prática social do movimento libertário nas cidades do Rio de Janeiro e de São Paulo. Utilizamos como recorte cronológico os anos entre 1901 e 1922, quando os segmentos anarquistas e sindicalistas revolucionários da classe trabalhadora influenciaram diretamente o movimento operário. Além de tentar reconstituir as trajetórias dos diferentes grupos amadores que atuaram nas festas operárias, buscamos conhecer melhor alguns dos sujeitos sociais envolvidos nas atividades daquela dramaturgia. Convencidos de que aquele teatro estabelecia inúmeras interlocuções com os segmentos libertários da classe trabalhadora, pretendemos analisar as atividades dos grupos amadores em suas relações com outras práticas sociais que também constituíam o movimento operário de cunho anarquista e/ou sindicalista revolucionário. Portanto, a abordagem que fizemos das peças encenadas nas festas operárias buscou sempre ir além de um enfoque meramente estrutural. Nosso objetivo foi encarar o sentido político daquelas obras e as possíveis ressonâncias de seus conteúdos específicos nas páginas da imprensa operária. Além dos textos teatrais, tivemos de investigar os indícios fragmentários que aquela imprensa traz sobre as práticas teatrais e sobre as ideias-imagens veiculadas pelas obras que compõem o corpus de nossa pesquisa. Buscamos o tempo todo analisar o teatro anarquista como parte constituinte do complexo movimento libertário no início do século XX. Nessa perspectiva, as atividades em torno daquele teatro adquiriram um caráter ativo e dinâmico. Sendo assim, tanto as peças quanto as encenações foram aqui abordadas como intervenções diretas no seio do movimento organizado da classe trabalhadora

Made available in DSpace on 2016-04-27T19:32:01Z (GMT). No. of bitstreams: 1 Walter da Silva Oliveira.pdf: 1261888 bytes, checksum: 6b43d6e68524912a8e15214b5625cd92 (MD5) Previous issue date: 2008-12-12 / Secretaria da Educação do Estado de São Paulo / The objective of this dissertation is to reflect on the presence of short stories and romances in the Feuilleton section of the periodical A Lanterna, in the period between 1909 and 1916. It looks at the uses that were made of this anticlerical literature, at times more explicitly doctrinaire anarchist, in the sense of propagating libertarian ideas. It takes into consideration the playful aspect of these narratives, as a strategy for the diffusion of anarchist propaganda, making it possible to observe the practices and social experiences of the editorial group of the periodical in question. Also, it attempts a reading of the messages conveyed, focusing the reflection on anarchism, on anticlericalism, on the representations of masculinity and femininity and on the sensibilities conveyed in these short stories and romances / Esta dissertação tem por objetivo refletir sobre a presença de contos e romances na seção Folhetim do periódico A Lanterna, no período entre 1909 e 1916. Lança um olhar sobre os usos que se fizeram dessa literatura anticlerical, por vezes, mais explicitamente doutrinária anarquista, no sentido da divulgação das idéias libertárias. Leva em consideração o aspecto lúdico dessas narrativas, como estratégia de divulgação da propaganda anarquista, possibilitando observar as práticas e experiências sociais do grupo editor do periódico em questão. Busca-se, ainda, fazer uma leitura sobre as mensagens veiculadas, centrando a reflexão no anarquismo, no anticlericalismo, nas representações de masculino e feminino e nas sensibilidades veiculadas nestes contos e romances

<p>This essay is called ”<em>The hunt for anarchists- a study</em> <em>about the police in Stockholm's collection of bandit portrait during the turn of the century 1900</em>”<em> </em>and it is about the criminal category ”Anarchists” who the police in Stockholm used at the turn of the century 1900.  In the archive from the police in Stockholm during the essays time perspective, 1899-1909,  there are about one hundred photographs in the category ”Anarchists”, about half of these pictures have no information besides the names of the people, but the other half, 48 persons, have some information about age, work title and where the person come from. The information showed that the people in the pictures where not from Sweden, and after controlling them in all different kinds of archives I found only ten of them have left any traces in Stockholm. What I realized then was that the people on the pictures are anarchists from different countries in Europe, mostly from Italy, and that the police in Stockholm had these pictures because different police stations around Europe had sent them to the police in Stockholm. The police in Stockholm where on the lookout for fugitive anarchists.</p><p>The literature about the anarchist movement in Italy during this time describe the hard situation for Italian anarchists. The police had persecuted, arrested and executed manyof them so many anarchists had fled abroad. The same was for Russian anarchists after the unsuccessful revolution in 1905. Eight of the ten anarchists of the police photographs who had been in Stockholm where Russians. They were a group who was accused of trying to kill the Russian czar visiting Stockholm in 1909.</p><p>None of the anarchists on the pictures have ever in Stockholm committed a political crime so to find out what a anarchist crime is have not been possible. But the general picture of the anarchists in the photographs is of a man in his 30’s with a working class job, in short: an everyday man.</p>

This essay is called ”The hunt for anarchists- a study about the police in Stockholm's collection of bandit portrait during the turn of the century 1900” and it is about the criminal category ”Anarchists” who the police in Stockholm used at the turn of the century 1900.  In the archive from the police in Stockholm during the essays time perspective, 1899-1909,  there are about one hundred photographs in the category ”Anarchists”, about half of these pictures have no information besides the names of the people, but the other half, 48 persons, have some information about age, work title and where the person come from. The information showed that the people in the pictures where not from Sweden, and after controlling them in all different kinds of archives I found only ten of them have left any traces in Stockholm. What I realized then was that the people on the pictures are anarchists from different countries in Europe, mostly from Italy, and that the police in Stockholm had these pictures because different police stations around Europe had sent them to the police in Stockholm. The police in Stockholm where on the lookout for fugitive anarchists. The literature about the anarchist movement in Italy during this time describe the hard situation for Italian anarchists. The police had persecuted, arrested and executed manyof them so many anarchists had fled abroad. The same was for Russian anarchists after the unsuccessful revolution in 1905. Eight of the ten anarchists of the police photographs who had been in Stockholm where Russians. They were a group who was accused of trying to kill the Russian czar visiting Stockholm in 1909. None of the anarchists on the pictures have ever in Stockholm committed a political crime so to find out what a anarchist crime is have not been possible. But the general picture of the anarchists in the photographs is of a man in his 30’s with a working class job, in short: an everyday man.

Thesis (M.A.)--Miami University, Dept. of Spanish and Portuguese, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 81-87).