Nathan Jun

Cinema, like art more generally, is both an artistic genre and a politico-economic institution. On the one hand there is film, a medium which disseminates moving images via the projection of light through celluloid onto a screen. Individual films or "movies," in turn, are discrete aesthetic objects that are distinguished and analyzed vis-à-vis their form and content. On the other hand there is the film industry-the elaborate network of artistic, technical, and economic apparatuses which plan, produce, market, and display films to audiences. Since its inception, both the aesthetic and political aspects of cinema have been subject to various forms of theoretical analysis which have been subject to critique in turn. In this paper I offer a brief survey of these analyses and critiques followed by a sketch of an alternative approach to film theory. Drawing upon the ideas of Foucault and Deleuze, this "anarchist" film theory seeks to present a viable critical methodology while at the same time elucidating the liberatory potential of film.

How we define the anarchist canon—let alone how we decide which thinkers, theories, and texts should count as canonical—depends very much on what we take the purpose of the anarchist canon to be. In this essay, I distinguish between thinkers, theories, or texts that are “anarchist,” by virtue of belonging to actually-existing historical anarchist movements, and those which are “anarchist” in virtue of expressing “anarchistic” (or “anarchic”) ideas. I argue that the anarchist canon is best conceived as a repository of historically-expressed anarchistic ideas and, for this reason, should include both kinds of theories, thinkers, and texts.

In this essay, I argue that there are two more or less distinct theories of the State in Hegel. The first, and better known, is developed in the Philosophy of Right, wherein Hegel endorses the notion of a coercive, centralised, and hierarchical 'Ideal State'. This is precisely the theory which certain radical Hegelians of the nineteenth century (e.g., Marx and Bakunin) viewed with such deep suspicion. The second, which has not received as much attention by commentators, appears in the Phenomenology and other early writings. Although this theory introduces many of the key components of Hegel's later political philosophy, it is nonetheless far more radical in its political implications--most important, in its gesturing toward a society which makes room for the realisation of the stateless, classless vision of anarchist communism. The point is not to demonstrate that Hegel is inconsistent or self-contradictory, but show that there are elements of creative tension within his political theory which are not only sufficient to vindicate him from the criticisms of Marx and Bakunin, but also to re-contextualise him as a radical precursor. As I shall argue, the kind of society that emerges in the final chapters of the Phenomenology need not contain the elements of coercion and class struggle which appear in the Philosophy of Right and repulse Marx and Bakunin. On the contrary, such a society may be understood as prefiguring the classless, stateless society which both Marx and Bakunin ultimately endorse.

In Naturalizing the Mind, Fred Dretske articulates and defends a naturalistic theory of the mind which he calls «the Representation Thesis.» In brief, this thesis states that «(1) All mental facts are representational facts, and (2) All representational facts are facts about information functions.» From this it follows that introspective knowledge, the mind's direct knowledge of its own states, is a case of «displaced perception»-that is, knowledge of mental (i.e., representational) facts through an awareness of external (i.e., physical) objects. In an earlier work, Dretske presents a general account of knowledge which is intended to circumvent Gettier-type counterexamples. According to this view, S knows that P if and only if: (1) S believes, without doubt, reservation, or question, that P is the case; (2) P is the case; (3) S has a reason, R, for believing that P such that, if P were not the case, then S would not have R (i.e., S has a conclusive reason, R, for believing that P). In this paper, my aim is to explore the relation between these two theories. After summarizing both in brief detail, I argue that Dretske's account of introspective knowledge cannot be reconciled with his account of knowledge broadly construed.

This essay critically examines one of the dominant tendencies in recent theoretical discussions of anarchism, postanarchism, and argues that this tradition fails to engage sufficiently with anarchism’s history. Through an examination of late 19th-century anarchist political thought—as represented by one of its foremost exponents, Peter Kropotkin—we demonstrate the extent to which postanarchism has tended to oversimplify and misrepresent the historical tradition of anarchism. The article concludes by arguing that all political-theoretical discussions of anarchism going forward should begin with a fresh appraisal of the actual content of anarchist political thought, based on a rigorous analysis of its political, social, and cultural history.

Many anarchists of the late 19th and early 20th expressed a deeply anti-romantic – one might even say chauvinistic – attitude marked by hostility toward artists, intellectuals, bohemians, and other “sentimentalists”; an unwavering commitment to austerity and personal self-denial; and contempt for non-political feelings and relationships, including family relationships. To this extent, many anarchists were simultaneously “romantic” (in the sense of being idealistic) as well as “anti-romantic” (in the sense of being austere, pragmatic, and opposed to sentimentality). In this essay, I argue that the “anti-romantic” tendency exemplified by some anarchists – which I will call “Romantic asceticism” – is actually profoundly Romantic (upper-case ‘R’) insofar as it draws upon various political and philosophical ideas associated with 19th-century Romanticism. At the same time, I will explore the existence of an alternative and countervailing tendency – which I will call “Romantic aestheticism” – which, although it is at least as indebted to Romanticism, stands in fundamental opposition to the former tendency. Further, I will argue that the latter tendency is not only more prevalent among the anarchists of this period but also more influential and significant in the history of anarchist thought and practice.

This chapter draws upon Michael Freeden’s morphological theory of ideology to examine diverse conceptions of the State within the anarchist tradition. Its principal aim in so doing is twofold: first, to determine how and to what extent these conceptions serve to distinguish anarchism from other libertarian ideologies, and second, to explore the role they play in the formulation of diverse anarchist tendencies. As I shall argue, the particular meaning and degree of relative significance that a given conception assigns to the State depends on the internal arrangement of its ‘micro-components’ and/or on its relation to other concepts within the ideological morphology. Both of these factors must be taken into account in order to understand anarchism’s internal diversity as well as its distinctiveness among ideologies.

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.

In this chapter, the author draws on ideas from Michael Freeden’s theory of ideology to show that the so-called anarchist tradition is best regarded as a constellation of diffuse and evolving concepts rather than a bounded historical reality. This, in turn, allows one to distinguish between what he calls “anarchist” thought (i.e., thought that emerges within and in response to historical anarchist movements) and “anarchistic” thought (i.e., thought that emerges outside historical anarchist movements but is conceptually harmonious with various fundamental “anarchist” commitments).

Sinema, genel olarak tüm sanat dalları, aynı anda hem bir sanat dalı ve politik-ekonomik bir kurumdur. Bir yanda elimizde hareketli imgeleri ışıkla selüloidden geçirerek ekrana yansıtan mecra film vardır. Tek tek filmler ise biçim ve içeriklerine göre birbirlerinden ayrılan ve analiz edilen münferit estetik objelerdir. Öte yanda ise film endüstrisi yer alır - filmleri planlayan, üreten, pazarlayan ve kitlelere izleten sanatsal, teknik ve ekonomik araçların oluşturduğu komplike ağ. Doğumundan bu yana sinemanın estetik ve politik açıları farklı formlarda birçok teorik analize maruz kalmış, karşılığında bu analizler de çeşitli eleştirilerle irdelenmiştir. Bu metin bu analizlerin ve onlara yöneltilen eleştirilerin kısa bir incelemesini ve ardından film teorisine farklı bir yaklaşımın ana hatlarını sunacağım. Foucault ve Deleuze'ün fikirlerinden yola çıkan bu "anarşist" film teorisi, geçerli bir eleştirel metodoloji oluşturmanın yanısıra filmin özgürleştirici potansiyeline ışık tutmayı amaçlamaktadır.

What does syndicalism want? was first published in 1909, when the syndicalist revolt was growing worldwide. Baginski is clear in his call for working class rebellion: the task is not to fight simply for better conditions but ‘to break the chains of wage labor and at the same time the shackles of servitude to the state.’ At the same time, Baginski is no joyless martyr to ‘the cause’: personal freedom joins collective struggle at the core of his anarchism. Max Baginski (1864-1943) was a German-born American anarchist activist and writer. Rudolf Rocker called him “one of the most outstanding human beings I have met in my life”. Nathan Jun’s introduction puts Baginski in his political and intellectual context as writer and anarchist.

Anarchism is by far the least broadly understood ideology and the least studied academically. Though highly influential, both historically and in terms of recent social movements, anarchism is regularly dismissed. Anarchism: A Conceptual Approach is a welcome addition to this growing field, which is widely debated but poorly understood. Occupying a distinctive position in the study of anarchist ideology, this volume, authored by a handpicked group of established and rising scholars, investigates how anarchists often seek to sharpen their message and struggle to determine what ideas and actions are central to their identity. Moving beyond defining anarchism as simply an ideology or political theory, this book examines the meanings of its key concepts, which have been divided into three categories: Core, Adjacent, and Peripheral concepts. Each chapter focuses on one important concept, shows how anarchists have understood the concept, and highlights its relationships to other concepts. Although anarchism is often thought of as a political topic, the interdisciplinary nature of Anarchism: A Conceptual Approach makes it of interest to students and scholars across the social sciences, liberal arts, and the humanities.

In this, the first published collection of writings by Hippolyte Havel (1871–1950), Nathan Jun brings a crucial, yet largely forgotten revolutionary figure back into historical focus. Havel was a Czech anarchist at the center of New York’s political and artistic circles at the turn of the twentieth century. He was an editor of numerous publications, including Emma Goldman’s Mother Earth and his influence on several writers, artists, and intellectuals (including Eugene O’Neill, Joseph Stieglitz, and Sadakichi Hartmann) helped shape American modernism. Proletarian Days provides an illuminating introduction to the man and his times.

This volume of collected essays brings together conversations, papers, and debates from the Third Annual North American Anarchist Studies Network Conference in San Juan, Puerto Rico. Nathan Jun and Jorell A. Meléndez aspire to go beyond a simple collection of papers and instead aim to maintain a dialogue among different academic fields with the sole task of comprehending and re-thinking anarchist studies. With over twenty-one chapters written by a diverse range of activists, organizers, musicians, artists, poets, and academics, this book transgresses the apparent simplicity of the study of anarchism with a dynamic and interdisciplinary approach that crystallizes and emulates the heterogeneous nature of the anarchist ideal. From theory and philosophy to historical analyses, methodologies, and perspectives, from different manifestations in the arts, media, and culture to religion, ethics, and spirituality, from the intersectionality of animal liberation and queer struggles to contemporary praxis and organizing, the authors explore different topics from a critical perspective that is often lacking in their respective academic fields. This book is a must-buy for critical teachers, students, and activists interested in studying anarchism and the different ways in which we can transform our reality.

In this essay I argue that what has been called “philosophical anarchism” in the academic literature bears little to no relationship with the historical anarchist tradition and, for this reason, ought not to be considered a genuine form of anarchism. As I will demonstrate, the classical anarchism of the nineteenth and early twentieth centuries is to be distinguished from other political theories in regarding all hierarchical institutions and relationships—including, but not limited to, the state—as incorrigibly dominative or oppressive and, for this reason, immoral. Lastly, I argue that defenders of such institutions and relationships must take the challenge posed by classical anarchism seriously by engaging substantively with actual anarchist positions.

This chapter is concerned with three specific questions. First, has there ever been a distinctive and independent ‘anarchist’ political philosophy, or is anarchism better viewed as a minor sect of another political philosophy — for example, socialism or liberalism — which cannot claim any critical and conceptual resources of its own? Second, if there has been such a distinctive and independent philosophy, what are its defining characteristics? Third, whether there is a distinctive and independent anarchist political philosophy or not, should there be?

When central authority fails in socially crucial tasks, mutual aid, solidarity, and grassroots organization frequently arise as people take up slack on the basis of informal networks and civil society organizations. We can learn something important about the possibility of horizontal organization by studying such experiments. In this paper we focus on the rationality, care, and effectiveness of grassroots measures to respond to the pandemic and show how they illustrate core elements of anarchist thought. We do not argue for the correctness of any version of anarchist politics, nor claim that the bulk of this grassroots work was done with anarchist ideas explicitly in mind. Nonetheless, the current pandemic, like many social crises before it, serves as a sort experiment in political implementation. Two things have been striking in the US response to the COVID-19 pandemic: the chaos, incompetence, irrationality, and often cruel misguidedness of the centralized government response; and the rationality, care, and effectiveness of grassroots measures in many parts of the country. In this paper we focus on the latter—especially the case of Washington, DC—to illustrate core features of anarchist politics. We do not argue for the correctness of any version of anarchist politics here, but merely illustrate guiding ideas that have been a part of anarchist theory and practice for well over a century. We also do not claim that the bulk of this grassroots work was done with anarchist ideas in mind, or explicitly out of a commitment to anarchist politics. Some was, and some arises out of related ideological commitments, but most simply functions out of no more than a desire to support one another. The current pandemic, like many social crises before it, rather than providing a stand-alone argument or functioning as an implementation of any political theory, serves as a sort of laboratory experiment. When central authority fails in socially crucial tasks, mutual aid, solidarity, and grassroots organization frequently arise as people take up slack on the basis of informal networks and civil society organizations. We can learn something important about the possibility of horizontal organization by studying such experiments, including how it arises through spontaneous action. If political thought is best illustrated through its implementation in practice, the functioning of grassroots individuals and organizations in a time of crisis is one way to understand the political mechanisms core to anarchist thought.

Eleven top Deleuze scholars reclaim Deleuzian philosophy as moral philosophy Ethics plays a crucial, if subtle, role in Gilles Deleuze's philosophical project. Michel Foucault claimed that Anti-Oedipus was `a book of ethics, the first book of ethics to be written in France in quite a long time'. But what is the nature of the immanent ethics that is developed in Deleuze's thought? How does it differ from previous conceptions of ethics? And what paths does it open for future thought, given the ethical challenges facing humanity in so many domains? Each of the eleven essays in this collection explores the ethical dimension of Deleuze's thought along a new and singular trajectory, and in so doing, attempts to reclaim his philosophy as an ethical philosophy.