Revolution and Other Writings: a Political Reader
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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
The Continuum Companion to Anarchism
The Continuum Companion to Anarchism 9781441172129_Pre_Final_txt_print.indd i 6/9/2001 3:18:11 PM The Continuum Companion to Anarchism Edited by Ruth Kinna 9781441172129_Pre_Final_txt_print.indd iii 6/9/2001 3:18:13 PM Continuum International Publishing Group The Tower Building 80 Maiden Lane 11 York Road Suite 704 London SE1 7NX New York, NY 10038 www.continuumbooks.com © Ruth Kinna and Contributors, 2012 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitt ed, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the permission of the publishers. E ISBN: 978-1-4411-4270-2 Library of Congress Cataloging-in-Publication Data A catalog record of this title is available from the Library of Congress. Typeset by Newgen Imaging Systems Pvt Ltd, Chennai, India Printed and bound in the United States of America 9781441172129_Pre_Final_txt_print.indd iv 6/9/2001 3:18:13 PM Contents Contributors viii Acknowledgements xiv Part I – Research on Anarchism 1 Introduction 3 Ruth Kinna Part II – Approaches to Anarchist Research 2 Research Methods and Problems: Postanarchism 41 Saul Newman 3 Anarchism and Analytic Philosophy 50 Benjamin Franks 4 Anarchism and Art History: Methodologies of Insurrection 72 Allan Antliff 5 Participant Observation 86 Uri Gordon 6 Anarchy, Anarchism and International Relations 96 Alex Prichard Part III – Current Research in Anarchist Studies 7 Bridging the Gaps: Twentieth-Century Anglo-American Anarchist Thought 111 Carissa Honeywell 8 The Hitchhiker as Theorist: Rethinking Sociology and Anthropology from an Anarchist Perspective 140 Jonathan Purkis 9 Genders and Sexualities in Anarchist Movements 162 Sandra Jeppesen and Holly Nazar v 9781441172129_Pre_Final_txt_print.indd v 6/9/2001 3:18:13 PM Contents 10 Literature and Anarchism 192 David Goodway 11 Anarchism and the Future of Revolution 212 Laurence Davis 12 Social Ecology 233 Andy Price 1 3 Leyendo el anarchismo a través de ojos latinoamericanos : Reading Anarchism through Latin American Eyes 252 Sara C. -
Thinkacting Through Liberatory Frames: (Re)Imagining the Academy Beyond by Michela Marie Pirruccio
Thinkacting through liberatory frames: (re)imagining the academy beyond by Michela Marie Pirruccio A thesis presented to the University of Waterloo in fulfillment of the thesis requirements for the degree of Master of Applied Health Science in Recreation and Leisure Studies Waterloo, Ontario, Canada, 2021 ©Michela Marie Pirruccio 2021 Author’s Declaration I herby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revision, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract After being burnt down by the liberal politics of the university, I call for a (re)imagining of its structure that can offer hope for those seeking a home in academia. This thesis asks the question, “how can we thinkact differently?” by engaging with a plurality of frames that offer grass-roots possibilities for the students, researchers, staff, and faulty members whose identities and politic are often targeted by the reproduction of status quo. I suggest a reaching out unto anarchist, abolitionist, and Indigenous liberatory frames as means of moving beyond the traditions of the neo liberal university, towards emotional, just, and actionable futurities. iii Acknowledgements I acknowledge that the work of this thesis is largely credited to the continuum of hearts that joined me in my ongoing process to becoming. Lisbeth, you are a shinning star. Thank you for housing me in your constellation with love for the last two years—you are a human I could not imagine doing this without. -
Human-Computer Insurrection
Human-Computer Insurrection Notes on an Anarchist HCI Os Keyes∗ Josephine Hoy∗ Margaret Drouhard∗ University of Washington University of Washington University of Washington Seattle, WA, USA Seattle, WA, USA Seattle, WA, USA [email protected] [email protected] [email protected] ABSTRACT 2019), May 4–9, 2019, Glasgow, Scotland, UK. ACM, New York, NY, The HCIcommunity has worked to expand and improve our USA, 13 pages. https://doi.org/10.1145/3290605.3300569 consideration of the societal implications of our work and our corresponding responsibilities. Despite this increased 1 INTRODUCTION engagement, HCI continues to lack an explicitly articulated "You are ultimately—consciously or uncon- politic, which we argue re-inscribes and amplifies systemic sciously—salesmen for a delusive ballet in oppression. In this paper, we set out an explicit political vi- the ideas of democracy, equal opportunity sion of an HCI grounded in emancipatory autonomy—an an- and free enterprise among people who haven’t archist HCI, aimed at dismantling all oppressive systems by the possibility of profiting from these." [74] mandating suspicion of and a reckoning with imbalanced The last few decades have seen HCI take a turn to exam- distributions of power. We outline some of the principles ine the societal implications of our work: who is included and accountability mechanisms that constitute an anarchist [10, 68, 71, 79], what values it promotes or embodies [56, 57, HCI. We offer a potential framework for radically reorient- 129], and how we respond (or do not) to social shifts [93]. ing the field towards creating prefigurative counterpower—systems While this is politically-motivated work, HCI has tended to and spaces that exemplify the world we wish to see, as we avoid making our politics explicit [15, 89]. -
Black Flag White Masks: Anti-Racism and Anarchist Historiography
Black Flag White Masks: Anti-Racism and Anarchist Historiography Süreyyya Evren1 Abstract Dominant histories of anarchism rely on a historical framework that ill fits anarchism. Mainstream anarchist historiography is not only blind to non-Western elements of historical anarchism, it also misses the very nature of fin de siècle world radicalism and the contexts in which activists and movements flourished. Instead of being interested in the network of (anarchist) radicalism (worldwide), political historiography has built a linear narrative which begins from a particular geographical and cultural framework, driven by the great ideas of a few father figures and marked by decisive moments that subsequently frame the historical compart- mentalization of the past. Today, colonialism/anti-colonialism and imperialism/anti-imperialism both hold a secondary place in contemporary anarchist studies. This is strange considering the importance of these issues in world political history. And the neglect allows us to speculate on the ways in which the priorities might change if Eurocentric anarchist histories were challenged. This piece aims to discuss Eurocentrism imposed upon the anarchist past in the form of histories of anarchism. What would be the consequences of one such attempt, and how can we reimagine the anarchist past after such a critique? Introduction Black Flag White Masks refers to the famous Frantz Fanon book, Black Skin White Masks, a classic in anti-colonial studies, and it also refers to hidden racial issues in the history of the black flag (i.e., anarchism). Could there be hidden ethnic hierarchies in the main logic of anarchism's histories? The huge difference between the anarchist past and the histories of anarchism creates the gap here. -
The History and Philosophy of the Postwar American Counterculture
The History and Philosophy of the Postwar American Counterculture: Anarchy, the Beats and the Psychedelic Transformation of Consciousness By Ed D’Angelo Copyright © Ed D’Angelo 2019 A much shortened version of this paper appeared as “Anarchism and the Beats” in The Philosophy of the Beats, edited by Sharin Elkholy and published by University Press of Kentucky in 2012. 1 The postwar American counterculture was established by a small circle of so- called “beat” poets located primarily in New York and San Francisco in the late 1940s and 1950s. Were it not for the beats of the early postwar years there would have been no “hippies” in the 1960s. And in spite of the apparent differences between the hippies and the “punks,” were it not for the hippies and the beats, there would have been no punks in the 1970s or 80s, either. The beats not only anticipated nearly every aspect of hippy culture in the late 1940s and 1950s, but many of those who led the hippy movement in the 1960s such as Gary Snyder and Allen Ginsberg were themselves beat poets. By the 1970s Allen Ginsberg could be found with such icons of the early punk movement as Patty Smith and the Clash. The beat poet William Burroughs was a punk before there were “punks,” and was much loved by punks when there were. The beat poets, therefore, helped shape the culture of generations of Americans who grew up in the postwar years. But rarely if ever has the philosophy of the postwar American counterculture been seriously studied by philosophers. -
Lifestyle Politics and Radical Activism
Lifestyle Politics and Radical Activism LLifeife sstyle.indbtyle.indb i 66/28/2013/28/2013 110:41:060:41:06 AAMM CONTEMPORARY ANARCHIST STUDIES A series edited by Laurence Davis National University of Ireland, Maynooth Uri Gordon Arava Institute for Environmental Studies, Israel Nathan Jun Midwestern State University, USA Alex Prichard London School of Economics, UK Contemporary Anarchist Studies promotes the study of anarchism as a framework for understanding and acting on the most pressing problems of our times. The series publishes cutting edge, socially-engaged scholarship from around the world — bridging theory and practice, academic rigor and the insights of contemporary activism. The topical scope of the series encompasses anarchist history and theory broadly construed; individual anarchist thinkers; anarchist- informed analysis of current issues and institutions; and anarchist or anarchist-inspired movements and practices. Contributions informed by anti-capitalist, feminist, ecological, indigenous, and non-Western or global South anarchist perspectives are particularly welcome. So, too, are manuscripts that promise to illuminate the relationships between the personal and the political aspects of transformative social change, local and global problems, and anarchism and other movements and ideologies. Above all, we wish to publish books that will help activist scholars and scholar activists think about how to challenge and build real alternatives to existing structures of oppression and injustice. International Editorial Advisory -
Rancour's Emphasis on the Obviously Dark Corners of Stalin's Mind
Rancour's emphasis on the obviously dark corners of Stalin's mind pre- cludes introduction of some other points to consider: that the vozlzd' was a skilled negotiator during the war, better informed than the keenly intelli- gent Churchill or Roosevelt; that he did sometimes tolerate contradiction and even direct criticism, as shown by Milovan Djilas and David Joravsky, for instance; and that he frequently took a moderate position in debates about key issues in the thirties. Rancour's account stops, save for a few ref- erences to the doctors' plot of 1953, at the end of the war, so that the enticing explanations offered by William McCagg and Werner Hahn of Stalin's conduct in the years remaining to him are not discussed. A more subtle problem is that the great stress on Stalin's personality adopted by so many authors, and taken so far here, can lead to a treatment of a huge country with a vast population merely as a conglomeration of objects to be acted upon. In reality, the influences and pressures on people were often diverse and contradictory, so that choices had to be made. These were simply not under Stalin's control at all times. One intriguing aspect of the book is the suggestion, never made explicit, that Stalin firmly believed in the existence of enemies around him. This is an essential part of the paranoid diagnosis, repeated and refined by Rancour. If Stalin believed in the guilt, in some sense, of Marshal Tukhachevskii et al. (though sometimes Rancour suggests the opposite), then a picture emerges not of a ruthless dictator coldly plotting the exter- mination of actual and potential opposition, but of a fear-ridden, tormented man lashing out in panic against a threat he believed to real and immediate. -
Things Are Nothing to Me: the Unique Philosophy of Max Stirner'
H-Socialisms Price on Blumenfeld, 'All Things Are Nothing to Me: The Unique Philosophy of Max Stirner' Review published on Monday, December 14, 2020 Jacob Blumenfeld. All Things Are Nothing to Me: The Unique Philosophy of Max Stirner. Winchester: Zero Books, 2018. 155 pp. $17.46 (paper), ISBN 978-1-78099-663-9. Reviewed by Wayne Price (Independent Scholar) Published on H-Socialisms (December, 2020) Commissioned by Gary Roth (Rutgers University - Newark) Printable Version: https://www.h-net.org/reviews/showpdf.php?id=56060 Self and Others: Max Stirner and Revolutionary Anarchism Max Stirner was the pen name of Johann Kasper Schmidt (1806-56). He was part of a milieu of young philosophers who sought to develop further the philosophy of the great German thinker Georg W. F. Hegel, who had died in 1831. This milieu has been referred to as the Young Hegelians or Left Hegelians. While Hegel’s system had solidified into a reactionary form, they mainly tried to rework it in more humanistic, naturalistic, and democratic directions. The most well-known of these young men today (there were women in the grouping, but their names have dropped out of history) are Karl Marx and Friedrich Engels. (Engels had been a personal friend of Stirner’s for a time.) Michael Bakunin—later a founder of revolutionary socialist-anarchism—also studied Hegel and was in contact with this milieu. Stirner wrote his masterwork, Der Einzige und sein Eigentum, in 1844. In 1907 it was translated into English as The Ego and His Own, although a current translation by Wolfi Landstriecher (2017) more correctly has it as The Unique and Its Property. -
Decorative Art in America Oscar Wilde Decorative Art in America
DECORATIVE ART IN AMERICA OSCAR WILDE DECORATIVE ART IN AMERICA A LECTURE BY OSCAR WILDE TOGETHER WITH LETTERS REVIEWS AND INTERVIEWS EDITED WITH AN INTRODUCTION BY RICHARD BUTLER GLAENZER NEW YORK BRENTANO'S MCMVI Copyright, 1906, by BRENTANO'S THE DE VlNNE PRIOSS CONTENTS PAGE INTRODUCTION • • VII DECORATIVE ART IN AMERICA • 1 JOAQUIN MILLER, THE GOOD SAMARITAN • 17 MRS. LANGTRY AS HESTER GRAZEBROOK 23 " VERA" AND THE DRAMA 3 1 MR. WHISTLER'S" TEN O'CLOCK" 39 THE RELATION OF DRESS TO ART · 47 THE TOMB OF KEATS 55 KEATS' SONNET ON BLUE · 63 ENGLISH POETESSES • LONDON MODELS • "DORIAN GRAY" AND ITS CRITICS 101 RUDYARD KIPLING AND THE ANGLO-INDIANS. 117 "A HOUSE OF POMEGRANATES" • 121 THE RELATION OF THE ACTOR TO THE PLAY 127 THE CENSURE AND "SALOME" 135 PARIS, THE ABODE OF ARTISTS 145 SARAH BERNHARDT AND " SALOME" • • • • 149 THE ETHICS OF JOURNALISM 153 DRAMATIC CRITICS AND "AN IDEAL HUSBAND" • • 161 NOTES Introduction . 175 Decorative Art in America • 181 Joaquin Miller, the Good Samaritan • 187 V vi CONTENTS PAGE Mrs. Langtry as Hester Grazebrook • • 193 "Vera" and the Drama . • 195 Mr. Whistler's" Ten O'Clock" • • 197 The Relation of Dress to Art . • • • • 201 20 The Tomb of Keats • 5 21 Keats' Sonnet on Blue • 9 English Poetesses • • • • 229 London Models . • 241 "Dorian Gray" and its Critics • 245 Mr. Kipling and the Anglo-Indians • 25 1 "A House of Pomegranates" . 253 The Relation of the Actor to the Play . 255 The Censure and "Salome" • 257 Paris, the Abode of Artists . · 261 Sarah Bernhardt and" Salome" • 263 The Ethics of Journalism • 265 Dramatic Critics and"An Ideal Husband" · 269 INDEX . -
Conrad Von Hötzendorf and the “Smoking Gun”: a Biographical Examination of Responsibility and Traditions of Violence Against Civilians in the Habsburg Army 55
1914: Austria-Hungary, the Origins, and the First Year of World War I Günter Bischof, Ferdinand Karlhofer (Eds.) Samuel R. Williamson, Jr. (Guest Editor) CONTEMPORARY AUSTRIAN STUDIES | VOLUME 23 uno press innsbruck university press Copyright © 2014 by University of New Orleans Press, New Orleans, Louisiana, USA All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without prior permission in writing from the publisher. All inquiries should be addressed to UNO Press, University of New Orleans, LA 138, 2000 Lakeshore Drive. New Orleans, LA, 70119, USA. www.unopress.org. Printed in the United States of America Design by Allison Reu Cover photo: “In enemy position on the Piave levy” (Italy), June 18, 1918 WK1/ALB079/23142, Photo Kriegsvermessung 5, K.u.k. Kriegspressequartier, Lichtbildstelle Vienna Cover photo used with permission from the Austrian National Library – Picture Archives and Graphics Department, Vienna Published in the United States by Published and distributed in Europe University of New Orleans Press by Innsbruck University Press ISBN: 9781608010264 ISBN: 9783902936356 uno press Contemporary Austrian Studies Sponsored by the University of New Orleans and Universität Innsbruck Editors Günter Bischof, CenterAustria, University of New Orleans Ferdinand Karlhofer, Universität Innsbruck Assistant Editor Markus Habermann -
Interpreting Race and Difference in the Operas of Richard Strauss By
Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler.