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Zápas proti chaosu ve světě i v českém prostoru. Rio Preisner a jeho chápání anarchismu

100%
Hanuš J.
Slovanský přehled: historická revue pro dějiny střední, východní a jihovýchodní Evropy (Slavonic Review: Review for Central, Eastern and Southeastern European history)
|
2018
|
vol. 104
|
issue 3
569-579
EN
This article on the understanding of anarchism in the work of Rio Preisner (1925-2007), theoretician, Germanist, translator and poet, wants to point out the character and scope of his production and focus on the question of how Preisner understood anarchy and anarchism, first in the background of his translation of the work of Hermann Broch and later in his analysis of totalitarianism.
2
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O tym, dlaczego żołnierzowi nie należy się szacunek

63%
Miernik P.
Estetyka i Krytyka
|
2016
|
issue 1(40)
55-70
EN
The essay presents existential attempt to analyze the figure of soldier from the point of view of philosophical egoism and anarcho-individualism of Max Stirner’s The Ego and its Own. Possible interrelations between a soldier (or a person considering enrolment to the army) and the institution of state both during the war and peace will be considered. It will be argued that there are no premises supporting rationality of service in the army. Restricting itself to purely pragmatic arguments Stirner’s nihilistic position grants objectivity of the discourse, beyond any political or ethical doctrines.
3

Hercen i Bakunin. Analiza kontekstualna

63%
Uglik J.
Nowa Krytyka
|
2013
|
issue 30/31
195-208
EN
The presented article is a comparative study of the output of the two nineteenth century Russian thinkers, Alexander Herzen and Mikhail Bakunin. The author indicates the similarities and differences between theoretical concepts elaborated by both of them, trying to prove – sometimes at odds with other scholars – that the views of Herzen and Bakunin reveal more convergence than divergence.
4
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Nadine de Louise Michel et de Jean Winter : une approche anarchiste du théâtre de contestation sociale, ou comment contourner la censure

51%
Kaczmarek T.
Academic Journal of Modern Philology
|
2023
|
issue 20
233-241
EN
This study focuses on the play Nadine (directed in 1882), which is a free adaptation of the novel Le Bâtard imperial [The Imperial Bastard] written by Louise Michel in collaboration with Jean Winter. The dramatic text fits perfectly into the aesthetics of the theater of social protest, which, at the turn of the 20th century, enjoyed an undeniable reputation with the popular public, above all thanks to its subversive message. The analysis of the drama, which repeatedly alludes to the days of the Paris Commune (1871), reveals certain strategies implemented by the author in order to thwart the vigilance of power. First of all, Michel places the action of the play in Poland during the Cracow Uprising in 1846. Evoking an episode in a remote country that remained subject to the three great powers should not, therefore, immediately arouse the suspicions of the police. The former communard seems to be using this revolt of the Poles as a pretext to revive the grand gestures of the Parisian people. It is for the same reasons that Michel writes this play in accordance with melodramatic aesthetic because the focus on the emotional conflict in the background of the revolution was supposed to dispel mistrust authorities.
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