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Journal articles on the topic 'Anarchist subcultures'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Ivanov, Dmitrii I. "“The Dying Criminal”: The Image of the Anarchist Shlioma Asnin and the Political Struggle in Petrograd, June 1917." Historia provinciae – the journal of regional history 4, no. 3 (2020): 884–928. http://dx.doi.org/10.23859/2587-8344-2020-4-3-6.

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The paper considers the process of forming political authority during the 1917 Russian Revolution on the example of anarchist Shlioma Asnin. The importance of belonging to a subculture for building a political figure’s image and an enemy image is demonstrated. Various options of participation in a revolutionary subculture are considered, and mutual influence between common-criminal and revolutionary subcultures is described. Hard labor created “counter-mores” shared by both groups of criminals but social capital accumulated within political-prison subculture could not necessarily be translated

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2

Fajri, Muhammad Faris Al. "“Nilai-nilai Bawah Tanah:” Tinjauan Antropologis Tentang Anarkisme Dalam Paradigma Cultural Studies di Kalangan Anak Muda Kota Makassar." Emik 7, no. 1 (2024): 1–16. http://dx.doi.org/10.46918/emik.v7i1.2257.

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The anarchist punk subculture started with a spirit of resistance, but unfortunately the popular culture that absorbed this subculture has caused it to lose its resistance essence. Despite its spirit, the subculture has been integrated into the very system it previously resisted. This article focuses on the ways in which young people in Makassar City consume "underground values" and their anarchic forms of expression in adopting these values through creativity, especially in the form of music. This research uses Critical Ethnography as a cultural research approach that uses a critical paradigm

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3

Williams, Dana M., and Matthew T. Lee. "Aiming to Overthrow the State (Without Using the State): Political Opportunities for Anarchist Movements." Comparative Sociology 11, no. 4 (2012): 558–93. http://dx.doi.org/10.1163/15691330-12341236.

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Abstract The anarchist movement utilizes non-statist and anti-statist strategies for radical social transformation, thus indicating the limits of political opportunity theory and its emphasis upon the state. Using historical narratives from present-day anarchist movement literature, we note various events and phenomena in the last two centuries and their relevance to the mobilization and demobilization of anarchist movements throughout the world (Bolivia, Czech Republic, Great Britain, Greece, Japan, Venezuela). Labor movement allies, failing state socialism, and punk subculture have provided

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4

Nikishin, Vladimir, and Elena Galyashina. "Columbine Subculture as a Threat to Information Security." SHS Web of Conferences 134 (2022): 00082. http://dx.doi.org/10.1051/shsconf/202213400082.

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This study is based on the analysis of law enforcement practice, monitoring of social networks, analysis of media materials and theoretical works of Russian and foreign scholars on the topic of school shooting. The paper presents characteristics of the columbine subculture at the present stage of its development in the Russian-speaking segment of the Internet. The authors describe the main provisions that form the basis of the ideology of school shooting, substantiates that this ideology has an expressed political essence and has signs of a terrorist ideology. The authors analyse the relations

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5

Abrosimov, Viktor Viktorovich. "Is punk not dead?: retrospective analysis of the Russian subcultures." Политика и Общество, no. 3 (March 2021): 48–54. http://dx.doi.org/10.7256/2454-0684.2021.3.36712.

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The object of this research is the punk subcultures, while the subject is the genesis of punk subcultures.&nbsp;The goal lies in retrospective analysis of punk subcultures for compiling an objective image of subcultural space and advancing the hypotheses for further development of the spiritual and material elements of subcultures.&nbsp;Methodological framework consists of the genesis of punk culture, taking into account the currently observed changes observed today over time to the period of its emergence in the cultural space.&nbsp;Retrospective analysis allows determining all ch

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6

Daniel, Ondřej. "Music Subculture versus Class Revolutionaries: Czech Antifascism in the Postsocialist Era." Fascism 9, no. 1-2 (2020): 56–74. http://dx.doi.org/10.1163/22116257-09010008.

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Abstract With its roots in the political, economic and social changes of 1989/1990, the Czech antifascist movement was initially characterized by its young supporters, who came mostly from subcultural and anarchist circles. When violent far-right skinheads increased their attacks in the country between 1990 and 1992, local antifascists were the main group to physically confront them. Three decades later, as a result of generational and tactical changes, Czech antifascists’ agenda is largely at odds with the class politics that drive important parts of the anarchist movement. At the same time,

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7

Portwood-Stacer, Laura. "Anti-consumption as tactical resistance: Anarchists, subculture, and activist strategy." Journal of Consumer Culture 12, no. 1 (2012): 87–105. http://dx.doi.org/10.1177/1469540512442029.

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8

Pielużek, Marcin. "Autonomiczni Nacjonaliści . Próba zewnątrz- i wewnątrzsystemowej charakterystyki subkultury politycznej reprezentującej nowy typ nacjonalizmu." Zeszyty Prasoznawcze 64, no. 4 (248) (2021): 25–54. http://dx.doi.org/10.4467/22996362pz.21.023.14287.

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Autonomous Nationalists. An Attempt of the Extra- and Intra-Systemic Characteristic of the Political Subculture Representing a New Type of Nationalism The main aim of the article is to portray a new far-right phenomenon of Autonomous Nationalists political subculture. The groups established in early 2000s are characterised on one hand by a subcultural organisational form modelled on the Antifa anarchist movement. On the other hand, they exemplify typical postmodernist „liquid ideologies”, in which the extreme right postulates are combined with a new formula of a internationalist, “non-chauvin

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9

Kim, Byeong-jin. "City drawn by subculture : “City” and anarchism in Ghost in the Shell." Journal of Japanese Thought 42 (June 30, 2022): 31–59. http://dx.doi.org/10.30615/kajt.2022.42.2.

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10

Zoffmann Rodriguez, Arturo. "‘Off to Moscow with No Passports and No Money’: The 1921 Spanish Syndicalist Delegation to Russia." European History Quarterly 48, no. 3 (2018): 435–61. http://dx.doi.org/10.1177/0265691418777982.

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This article will follow the steps of the 1921 Spanish syndicalist delegation to revolutionary Russia. It will use the delegation as a window into the revolutionary subculture of post-war Europe and into the experience of foreign representatives in early Soviet Russia. Particular attention will be paid to the complex ways in which syndicalist militants that were strongly influenced by anarchism grappled with the realities of Soviet Russia, to argue that the thought process foreign visitors traversed was often contradictory, being simultaneously attracted and repelled by the Bolshevik regime.

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11

Mezhuyev, Stepan. "Beyond the Utopia. Two Viewpoints on Post-Industrial Labor." Philosophical Literary Journal Logos 34, no. 2 (2024): 195–215. http://dx.doi.org/10.17323/0869-5377-2024-2-195-215.

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Statism and anarchism are a binary opposition that divides Marxists into two irreconcilable camps. This opposition was felt especially irresistible during the Iron Curtain. But already in the 1980s, both in Soviet philosophy and in European Marxism, the idea of dialogue and communication was actively gaining popularity, which called for compromise between opponents. And today, when the depoliticizing nature of late capitalism tendentiously smooth out “rough edges,” imposing radical centrism according to Anthony Gidden contradictions completely lose their fundamental importance. Within the fram

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12

Bâlici, Mihnea. "Politica Prozei Fracturiste." Lucian Blaga Yearbook 21, no. 1-2 (2020): 31–39. http://dx.doi.org/10.2478/clb-2020-0003.

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Abstract This paper is aiming to analyze the prose of the early 2000s’ young authors from an ideological and political point of view. Fracturism was a literary movement with anarchist and insurgent purposes, but the nature of their values was not clarified by the local literary criticism. This thesis suggests a redefinition of the anti-systemic attitude proposed by the Fracturists. Also, another objective is to clarify the relationship of Fracturist prose to the aesthetics’ domain. In this sense, inconsistencies can be observed between the anti-postmodernist obsession of “The Fracturist Manife

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13

Morozov, Konstantin. "La Révolution de 1917 et le mouvement socialiste face aux régimes autoritaires et totalitaires : conserver et protéger la mémoire des luttes." Connexe : les espaces postcommunistes en question(s) 4 (April 16, 2020): 133–46. http://dx.doi.org/10.5077/journals/connexe.2018.e168.

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   L’article décrit les activités éducatives du programme de recherche « Socialistes et anarchistes, opposants au régime bolchevique » initié par le Centre de recherche et d’éducation Memorial. Il présente en outre son site « Les socialistes et anarchistes russes après octobre 1917 : histoire, idées, traditions du socialisme démocratique et devenir des opposants de gauche au régime bolchevique », ainsi que son séminaire permanent « La gauche en Russie : histoire et mémoire sociale » qui porte sur la préservation, la représentation et l’opposition à la destruction de la mémoir

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14

Lothian, Alexis. "Archival anarchies: Online fandom, subcultural conservation, and the transformative work of digital ephemera." International Journal of Cultural Studies 16, no. 6 (2012): 541–56. http://dx.doi.org/10.1177/1367877912459132.

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15

Gilley, Sheridan. "Canon Patrick Augustine Sheehan: Priest and Novelist." Studies in Church History 48 (2012): 397–422. http://dx.doi.org/10.1017/s0424208400001479.

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‘The primary object of a novelist is to please’, said Anthony Trollope, but he also wanted to show vice punished and virtue rewarded. More roundly, Somerset Maugham declared that pleasing is the sole purpose of art in general and of the novel in particular, although he granted that novels have been written for other reasons. Indeed, good novels usually embody a worldview, even if only an anarchic or atheist one, and the religious novel is not the only kind to have a dogma at its heart. There is the further issue of literary merit, which certain modern Catholic novelists such as Evelyn Waugh an

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16

Hans J. Schneider. "Causes of Crime – Recent Developments in the International Criminological Theory-Discusion." Archives of Criminology, no. XXIII-XXIV (January 4, 1998): 13–44. http://dx.doi.org/10.7420/ak1997-1998a.

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This survey intends to critically inform the reader about new and further developments of criminological theories on causality and about how successful these theories have proved in empirical and practical terms during the last three decades. From the point of view of mainstream criminology the criminalbiological, criminalpsychological, criminalsociological, socialpsychological, victimological, critical-radical, feminist, postmodernist and integrated theories are being considered. Preceding this is a discussion of the theory of national choise, according to which criminality is based on a cost

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17

Ajay, Singh Chandel, and Punam Mishra Dr. "DECIPHERING THE ANTECEDENTS OF BRAND AVOIDANCE AMONGST MILLENNIALS IN INDIA." Manager - The British Journal of Administrative Management 57, no. 145 (2021): 109–25. https://doi.org/10.5281/zenodo.5976420.

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<strong>ABSTRACT</strong> This study aims to conceptualize brand avoidance by developing and validating a psychometric scale through a series of studies following the ground rules set by Churchill (1979) for developing better measures. A potential criticism of previous studies on brand avoidance lies in their reliance on only in-depth interview dialogue to portray a descriptive picture of what Brand avoidance means, from the customers’ perspective. Existing literature also lacks attempts to develop a scale. Current study tries to fulfil these gaps. Study screens and creates potential the

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18

Campbell, Russell. "System Overload: Neil Roberts, Punk Anarchism and 'The Maintenance of Silence'." Journal of New Zealand Studies, no. 8 (April 5, 2009). http://dx.doi.org/10.26686/jnzs.v0i8.6.

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Punk anarchism, a defiant youth subculture that had emerged in reaction to hard times in New Zealand resorted to organized anarchist political activity. As an expression of the punk community's general anti-police sentiment against increasing surveillance of the state, Neil Ian Roberts a punk anarchist, detonated gelignite outside the Wanganui Computer Centre. The film Maintenance of Silence, which tells the story of the bombing is a pointed political comment on totalitarian tendencies in New Zealand society.

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19

De Zeeuw, Daniel, and Marc Tuters. "Dissimulation." M/C Journal 23, no. 3 (2020). http://dx.doi.org/10.5204/mcj.1672.

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At the fringes of the platform economy exists another web that evokes an earlier era of Internet culture. Its anarchic subculture celebrates a form of play based based on dissimulation. This subculture sets itself against the authenticity injunction of the current mode of capitalist accumulation (Zuboff). We can imagine this as a mask culture that celebrates disguise in distinction to the face culture as embodied by Facebook’s “real name” policy (de Zeeuw and Tuters). Often thriving in the anonymous milieus of web forums, this carnivalesque subculture can be highly reactionary. Indeed, this di

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20

Smith, Matthew. "Young, loud and snotty: Punk, rebellion and the movies." Punk & Post-Punk, June 30, 2023. http://dx.doi.org/10.1386/punk_00194_1.

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This article seeks to investigate the ways punk and representations of juvenile delinquency interact in cinema and to explore the aesthetic, narrative and ideological quality of those depictions of youthful rebellion positioned as in dialogue with punk culture. By initially considering portrayals of delinquency in cinema existent outside of and/or predating the punk movement, this article will think through the specific ways punk is used to signify and fortify acts of rebellion. Beginning in the 1950s and with the reinvigoration of the term ‘juvenile delinquent’ in the post-war period, this ar

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21

Zienkiewicz, Joanna. "“The Right Can’t Meme”: Transgression and Dissimulation in the Left Unity Memeolution of PixelCanvas." M/C Journal 23, no. 3 (2020). http://dx.doi.org/10.5204/mcj.1661.

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Disclaimer: The situation on PixelCanvas is constantly changing due to raids from both sides. The figures in this article represent the state as of April 2020. In the politicized digital environment, the superiority of the alt-right’s weaponization of memes is often taken for granted. As summarized in the buzzword-phrase “the left can’t meme”, the digital engagements of self-identified leftist activists are usually seen as less effective than the ones of the right: their attempts at utilizing Internet culture described as too “politically correct” and “devoid of humour”. This supposedly “immut

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22

Ali, Kawsar. "Zoom-ing in on White Supremacy." M/C Journal 24, no. 3 (2021). http://dx.doi.org/10.5204/mcj.2786.

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The Alt Right Are Not Alright Academic explorations complicating both the Internet and whiteness have often focussed on the rise of the “alt-right” to examine the co-option of digital technologies to extend white supremacy (Daniels, “Cyber Racism”; Daniels, “Algorithmic Rise”; Nagle). The term “alt-right” refers to media organisations, personalities, and sarcastic Internet users who promote the “alternative right”, understood as extremely conservative, political views online. The alt-right, in all of their online variations and inter-grouping, are infamous for supporting white supremacy online

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23

Hill, Wes. "The Automedial Zaniness of Ryan Trecartin." M/C Journal 21, no. 2 (2018). http://dx.doi.org/10.5204/mcj.1382.

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IntroductionThe American artist Ryan Trecartin makes digital videos that centre on the self-presentations common to video-sharing sites such as YouTube. Named by New Yorker critic Peter Schjeldahl as “the most consequential artist to have emerged since the 1980s” (84), Trecartin’s works are like high-octane domestic dramas told in the first-person, blending carnivalesque and horror sensibilities through multi-layered imagery, fast-paced editing, sprawling mise-en-scène installations and heavy-handed digital effects. Featuring narcissistic young-adult characters (many of whom are played by the

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