Art History

Primary sources

Alaíz, Felipe (1993). “Arte accesible.” Hacia una Federación de Autonomías Ibéricas. Madrid: Fundación Anselmo Lorenzo, 1993. 315-343.

Albert, Charles (1896). L’Art et la Société. Béarn: Bibliothèque de l’Art Social.

Alomar, Gabriel (1985). “El Futurisme.” Assaig. Ed. Jaume Brossa and Gabriel Alomar. Barcelona: Edicions 62. 72.

Altaïr (1904). “El culto del despotique.” Natura 2.30: 89-93.

Aurier, Albert (1903). “El arte y la cultura físca.” Natura 1.3: 45-47.

Ball, Hugo (1974). Flight Out Of Time: A Dada Diary. Ed. John Elderfield. Trans. Ann Raimes. New York: Viking.

Bardón, Ricardo (1903). “Escultores y pintores.” La Revista Blanca 6.115: 590-592.

Bjørneboe, Jens (1996). “Hans Jæger.” Samlede Essays: Kultur I . Oslo: Pax. 10-120.

  • <–Originally published in Spektrum, 1955; reprinted in Norge, Mitt Norge (Oslo: Pax, 1968). [WWW] Excerpts translated into English by Esther Greenleaf Mürer. Translator’s note: ” The Norwegian bohemian and anarchist Hans Jæger (1854-1910) had a significant influence on Bjørneboe. The original context of this essay was the 50th anniversary of Norway’s gaining its independence in 1905.”

Brossa, Jaume (1896). “La festa del Blal.” Ciencia Social 8: 252-254.

C. (1886). “Sobre Arte.” Acracia 1.3: 21-22.

– – – (1886). “Sobre Arte.” Acracia 1.4: 30-31.

– – – (1886). “Sobre Arte.” Acracia 1.6: 47-49.

– – – (1887). “Los monumentos y la clase média de Barcelona.” Acracia 1.14: 173-177.

Cantine, Holley R. (1947).  “Art: Play and its Perversions.” Retort 4.1: 6-15.

Carpio, Campio (1933). El destino social del arte. Valencia: Cuadernos de cultura.

Comas Costa, J. (1904). “Los superflues del Arte.” Natura 2.29: 75-78.

Cornelissen, Christiaan (1936). “De Romantische schilderkunst en hare geschiedenis.” De Gids 100: 238-251.

Cunillera, Angel (1902). “Arte y libertad.” La Revista Blanca 4.93: 656-657.

– – – (1905). “El arte en el pueblo.” La Revista Blanca 7.158: 221-224.

Einstein, Carl (2004). “Critical Dictionary: ‘Nightingale’: The Etchings of Hercules Seghers.” Trans. Charles W. Haxthausen and Sebastian Zeidler. October 107: 151-157.

– – – (2004). “Gestalt and Concept (Excerpts).” Trans. Charles W. Haxthausen. October 107: 169-176.

– – – (2004). “Methodological Aphorisms.” Trans. Charles W. Haxthausen. October 107: 146-150.

– – – (2004). “Negro Sculpture.” Trans. Charles W. Haxthausen and Sebastian Zeidler. October 107: 122-138.

– – – (2003). “On Primitive Art.” Trans. Charles W. Haxthausen. October 105: 124-124.

– – – (2003). “On the Pilgrimage to Monarchy.” Trans. Charles W. Haxthausen. 105: 119-123.

– – – (2004). “Notes on Cubism.” Trans. Charles W. Haxthausen. October 107: 158-168.

– – – (2004). “Revolution Smashes Through History and Tradition.” Trans. Charles W. Haxthausen. October 107: 139-145.

Geffroy, Gustave (1905). “La vida artistica.” Natura 2.38: 221-224.

Grave, Jean (1899). “La tesis en el arte.” La Revista Blanca 2.35: 288-290.

Grupo Editer (1903). “Nuestros propósitos.” Natura 1: 2-3.

Gustavo, Soledad (1900). “El arte a través de los siglos.” La Revista Blanca 2.41: 484-486.

  • <–By one of the founding mothers of Spanish anarchist feminism.

– – – (1893). “Estética.” El Productor 7.366: 2

Hope (1886). “Excursiones literarias.” Acracia 1.8: 81.

– – – (1886). “Excursiones literarias.” Acracia 1.10: 110-113.

– – – (1886). “Excursiones literarias.” Acracia 1.11: 123-128.

Lucas, Michael (1969). “Guerrilla Theater, the Esthetic, and Technology.” Anarchos 3: 22-48.

Mirbeau, Octave (1895). [WWW] “Auguste Rodin.” Le Journal ??: ??-??.

– – – (1892). [WWW] “Camille Pissarro.” Le Figaro ??: ??-??.

– – – (1889). [WWW] “Claude Monet.” Le Figaro ??: ??-??.

– – – (1912). [WWW] “Claude Monet — Venise.” L’Art moderne ??: ??-??.

– – – (1891). [WWW] “Eugène Carrière.” L’Écho de Paris ??: ??-??.

– – – (1894). [WWW] “Félix Fénéon.” Le Journal ??: ??-??.

– – – (1891). [WWW] “Paul Gauguin.” L’Écho de Paris ??: ??-??.

– – – (1891). [WWW] “Vincent Van Gogh.” L’Écho de Paris ??: ??-??.

Morales Muñoz, Manuel, ed. (2002). Cultura e ideología en el anarquismo español (1870-1910). Málaga: Publicaciones Centro de Ediciones de la Diputación de Málaga.

  • <–Excellent anthology of articles on cultural questions from the Spanish anarchist press of the period.

Nieva, Teobaldo (1886). Química de la cuestión social ó sea organismo científico de la revolución: pruebas deducidas de la ley natural de las ideas anárquico-colectivistas. Madrid: Gómez.

Noja Ruiz, Higinio (1937). El arte en la Revolución. Barcelona: Oficina de propaganda CNT-FAI.

Pérez-Jorba, J. (1904). “La exposición Steinlen.” Almanaque de la Revista Blanca y Tierra y Libertad para 1904. Madrid: Establecimiento tipogrâfico de Antonio Marzo. 59-60.

Proudhon, Pierre-Joseph. Du principe de l’art et de sa destination sociale. Paris: Garnier frères, 1865.

Quiroule, Pierre (1924). “Nuestro concepto del arte.” La Revista Blanca 2.32: 28-30.

Ragon, Michel (1978). L’art: pour quoi faire? Paris: Casterman.

– – – (1959). “L’Art Actuel aux Etats-Unis.” Cimaise (March): 6-35.

– – – , ed. (1948). “L’art et le peuple.” Revue Ophrys N° spécial.

– – – (1968). “The Artist and Society.” Art and Confrontation; The Arts in an Age of Change. Ed. Jean Cassou. Greenwich, Conn: New York Graphic Society. 23-40.

– – – (1950). ATLAN: Opuscule de la Bibliothèque de COBRA. København: E. Munksgaards Forlag.

– – – (1968). The Aesthetics of Contemporary Architecture. Neuchatel: Éd. du Griffon.

  • <–Translation of Esthétique de l’architecture contemporaine.

– – – (1950). “Défense de l’art abstrait.” Faubourgs (janvier): ??-??.

– – – (2004). “Le dossier – L’art pour l'(an)art.” Magazine Littéraire 436: 50.

– – – (1949). “Ne cherchez pas la lune.” La Tour de feu 31 (automne): ??-??.

– – – (1949). “Premiers maîtres de l’art abstrait.” Paru (juillet): ??-??.

Renau, Josep (1932). “Fundamentaciones de la crisis actual del arte.” Orto 1.1: 41-43.

Schwartz, Barthélémy (1995). [WWW] “De la subversion de la société par l’art, à la subvention de l’art par la société.” Ab irato 7: ??-??.

– – – (1997). Un art d’économie mixte. Paris: Ab Irato.

Ugarte, Manuel (1905). “Literatura de droguería.” Natura 2.48: 378-380.

  • <–By an “Argentinian modernist and militant socialist.”

Urales, Federico [a.k.a. Joan Montseny] (1968). La Evolución de la filosofia en Espana. Barcelona: Ediciones de cultura popular.

  • <–Includes thoughts on “the function of the critical and skeptical spirit in art, the temperament of the artist in relation to his work, the role of philosophy and psychology, the problem of the beauty, Darwinian selection, aristocratic individualism, decadentism, the love of woman in art, the influence of Ibsen on European artists, [and] the function of Spanish artists such as P. Corominas, S. Rusiñol, P. Gêner, I. Iglesias, J. Benavente, J. Maragall” (Morales Muñoz).

– – – (1988). “La idealidad y la realidad en la vida y en el arte.” Anthropos: Boletín de información y documentación 5: 143-145.

Verdes Monténégro, (1896). “El anarquismo en el arte.” Ciencia Social 8: 245-251.

Vives, E. (1896). “Inmoralidad del Arte.” Ciencia Social 1.4: 114-118.

X. (1903). “Sobre Arte.” El Productor 2.36: 1.

Secondary sources

Aisa, Ferran (2006). La cultura anarquista a Catalunya. Barcelona: Edicions de 1984.

  • <–In Catalan. Recounts, among other things, some very interesting aspects of the history of anarchist engagements with theories of “urbanisme social” in Barcelona.

Antliff, Allan (2001). Anarchist Modernism: Art, Politics, and the First American Avant-Garde. Chicago: University of Chicago Press.

– – – (2007). Anarchy and Art: From the Paris Commune to the Fall of the Berlin Wall. Vancouver: Arsenal Pulp Press.

– – – (2003). “Anarchy in Art: Strategies of Dissidence.” Anarchist Studies 11.1: 66-83.

– – – (2002). “Art/Politics/Subterfuge.” Mix Magazine 27.4: 29-31.

– – – (2000). “Cosmic Modernism: Elie Nadelman, Adolf Wolff, and the Materialist Aesthetics of John Weichsel.” Archives of American Art Journal 38.3: 20-29.

– – – (2002). “Egoist Cyborgs.” The Uncanny: Experiments in Cyborg Culture. Ed. Bruce Grenville. Vancouver: Vancouver Art Gallery. 101-113.

– – – (1999). “Interpellating Modernity: Cubism and ‘La Vie Unanime’ in America.” American Modernism Across the Arts. Ed. Jay Bochner and Justin Edwards. New York: Peter Lang. 53-72.

– – – (2001). “Man Ray’s Path to Dada.” Anarchy: A Journal of Desire Armed 18.2: 51-56.

Antliff, Mark (1998). “Cubism, Futurism, Anarchism: The ‘Aestheticism’ of the Action d’art Group, 1906-1920.” Oxford Art Journal 21: 99-120.

– – – (1993). Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton, N.J.: Princeton University Press.

Berghaus, Günther (1996). Futurism and Politics: Between Anarchist Rebellion and Fascist Reaction, 1909-1944. Providence, R.I.: Berghahn Books.

Birrell, Ross (2000). “The Radical Negativity and Paradoxical Performativity of Postmodern Iconoclasm: Marcel Duchamp and Antonin Artaud.” Theatre Research International 25.3: 276-283.

Castellanos, Jordi (1976). “Aspectes de les relacions entre intellectuals i anarquistes a Catalunya al segle XIX. (A propósit de Père Coromines).” Els Marges 6: 7-28.

Castro Lombilla, José Luis (2004). “Juguetes de la inercia: Helios Gómez, el dibujante soldado (1905-1956).” Tebeosfera 17. [WWW] http://www.tebeosfera.com/Documento/Articulo/Recuperados/Helios/Gomez2.htm .

Cate, Phillip Dennis, and Mary Shaw, eds (1996). The Spirit Of Montmartre: Cabarets, Humor, and the Avant-Garde, 1875-1905. New Brunswick, NJ: Rutgers University Press.

  • <–Here we can see some real precursors to the later involvement of anarchists with Dada and Surrealism.

Civolani, Eva (2000). La sovversione estetica: arte e pensiero libertario tra Ottocento e Novecento. Milan: Elèuthera.

Clark, T.J. (1999). Farewell To An Idea: Episodes from a History of Modernism. New Haven: Yale University Press.

Cohn, Jesse S (2007). “Breaking the Frame: Anarchist Comics and Visual Culture.” Belphégor 6.2. [WWW] http://etc.dal.ca/belphegor/vol6_no2/articles/06_02_cohn_comics_fr.html

Colloque Les Dix ans de Radio-Libertaire. (1993). Art et anarchie: actes du Colloque Les Dix ans de Radio-Libertaire, Paris, mai 1991. Marseille: Via Valeriano/La Vache folle.

Crapo, Paul B. (1981). “The Anarchist as Critic: P.-J. Proudhon’s Criticism of Literature and Art.” The Michigan Academician 13.4: 459-473.

  • <–quotations from Proudhon are left untranslated.

– – – (1995). “Art and Politics in the Côte-d’Or: Gustave Courbet’s Dijon Exhibition of May 1870.” French History 9: 315-340.

Cuirai, Pierre (1980). “La Presse instrument de Culture.” Regards sur l’histoire de la presse et de l’information. Mélanges offerts à Jean Prinet, conservateur en chef honoraire du Département des périodiques de la Bibliothèque nationale. Ed. Jacques Léon Godechot. Saint-Julien-du-Sault: Editions F.P. Lobies. 85-91.

Damien, Robert (2001). “Proudhon et la philosophie de l’art.” Proudhon, anarchisme, art et société: Actes du Colloque de la Société P.-J. Proudhon, Paris, 2 décembre 2000. Paris: Société P.-J. Proudhon. 5-13.

Dardel, Aline (1987). “Les Temps Nouveaux” 1895-1914. Un hebdomadaire anarchiste et la propagande par l’image. Paris: Editions de la Réunion des Musées Nationaux.

  • <–Beautifully illustrated book issued in conjunction with an exhibit at the Musée d’Orsay of drawings from Les Temps Nouveaux, with erudite commentary.

de la Rosa, María Fernanda (2018). “La creación artística anarquista en la ciudad de Buenos Aires (1900-1930).” Revista Aisthesis 63: 75-91.

  • <– Abstract (edited): “Art had always a prominent place in libertarian universe because the productions were tools of propaganda that carried a marked ideological purpose. This article reconstructs the characteristics of anarchist art in Buenos Aires between 1900 and 1930. It studies the doctrinal texts of the main theorists and the way in which they influenced the local artists, as well as the articulation between local productions, newspaper articles and specialized art magazines, in order to address the aesthetic values that delineate these productions. It concludes that, although anarchism preferred to exclude national realities due to its strong internationalism, Argentine libertarian art had a strong local component that does not deny the libertarian anchoring of those artists and militants.”

Dolores Saiz, Maria (1987). “La Revista Blanca en su etapa madrilena: 1898-1905.” Prensa obrera en Madrid, 1855-1936. Ed. S. Castillo and L. E. Otero. Madrid: Alfoz. 233-248.

Donahue, Neil (1988). “Analysis and Construction: The Aesthetics of Carl Einstein.” The German Quarterly 61.3: 419-436.

Drijkoningen, Fernand (1987). “Dada et anarchisme.” Avant-Garde 0: 69-81.

– – – (1989). “Surrealisme et anarchisme entre les deux guerres.” Avant-Garde 3: 39-66.

– – – (1988). “Surrealisme et rêverie anarchiste.” Vitalité et contradictions de l’avant-garde: Italie – France 1909-1924. Ed. Sandro Briosi and Henk Hillenaar. Paris: Corti. 67-74.

Dymond, Anne (2003). “A Politicized Pastoral: Signac and the Cultural Geography of Mediterranean France.” Art Bulletin 85.2: 353-370.

Egbert, Donald Drew (1970). Social Radicalism and the Arts, Western Europe; A Cultural History From the French Revolution to 1968. New York: Knopf.

– – – (1967). Socialism and American Art in the Light of European Utopianism, Marxism, and Anarchism. Princeton, N.J.: Princeton University Press.

Fernández Soria, Juan Manuel (1996). Cultura y libertad: la educación en las Juventudes Libertarias (1936-1939). Valencia: Universitat de Valencia.

Greene, Patricia V. (1998). “Testimonio visual: iconografía femenina en los carteles de la Guerra Civil.” Letras peninsulares 11.1: 119-144.

  • <–Issue of Letras peninsulares dedicated to “voces y textos de la Guerra Civil Española” (voices and texts of the Spanish Civil War).

Halperin, Joan U. (1988). Félix Fénéon, Aesthete and Anarchist in Fin-de-Siècle Paris. New Haven: Yale University Press.

Herbert, Eugenia W. (1961). The Artist and Social Reform: France and Belgium, 1885-1898. New Haven: Yale University Press.

– – – and Robert L. Herbert (1960). “Artists and Anarchism: Unpublished Letters of Pissarro, Signac and Others — I.” Burlington Magazine 102.692: 473-82.

– – – and Robert L. Herbert (1960). “Artists and Anarchism: Unpublished Letters of Pissarro, Signac and others — II.” Burlington Magazine, Vol. 102.693: 517-22.

Herbert, Robert L. (2001). “Signac et les paysages de l’art social.” 48/14 : La revue du Musée d’Orsay 12: 74- 83.

Hutton, John G. (1990). “‘Les Prolos Vagabondent’: Neo-Impressionism and the Anarchist Image of the Trimardeur.” The Art Bulletin 72.2: 296-309

– – – (1994). Neo-Impressionism and the Search for Solid Ground: Art, Science, and Anarchism in Fin-de-Siècle France. Baton Rouge: Louisiana State University Press.

Leighten, Patricia D. (1994). “Cubist Anachronisms: Ahistoricity, Cryptoformalism, and Business-as-Usual in New York.” Oxford Art Journal 17.2: 91-102.

  • <–a critique of art historians’ narratives of Cubism, a number of which conveniently elide its political commitments.

– – – (1989). Re-ordering the Universe: Picasso and Anarchism, 1897-1914. Princeton, N.J.: Princeton University Press.

– – – (1995). “Réveil anarchiste: Salon Painting, Political Satire, Modernist Art.” Modernism/Modernity 2.2: 17-47.

– – – (1990). “The White Peril and L’Art Negre: Picasso, Primitivism, and Anticolonialism.” Art Bulletin 72.4: 609-630.

– – – , Marilyn McCully, and Michael Raeburn (1987). “Picasso’s Politics in Barcelona.” Art Bulletin 69.1: 133-136.

  • <–an exchange of letters over Leighten’s interpretation of Picasso’s engagement with anarchism.

Litvak de Perez de la Dehesa, Lily (1972). “Alomar and Marinetti: Catalan and Italian Futurism.” Revue des Langues Vivantes 47.6: 585-603.

– – – (1988). La Mirada roja: estética y arte del anarquismo español (1880-1913). Barcelona: Ediciones del Serbal.

  • <–This is one of the best books I have found on the history of anarchist aesthetics in Spain, a subject area woefully overlooked by Anglophone scholarship. This book needs to be translated. If anyone is interested, Jesse Cohn has a rough rough draft of a translation that he’d be more than willing to donate to the cause . . .

– – – (1981). Musa libertaria: arte, literatura y vida cultural del anarquismo español (1880-1913). Barcelona: A. Bosch.

  • <–Covers a lot of the same material as La Mirada roja (above).

Madrigal Pascual, Arturo Ángel (2002). Arte y compromiso: España 1917-1936. Madrid: Fundacion Anselmo Lorenzo.

Marfany, Joan-Lluis (1989). “Jaume Massó i Torrents i Jaume Brossa: L’Avenç el 1893.” L’Avenç 125: 22-25.

Mitzman, Arthur (1977). “Anarchism, Expressionism and Psychoanalysis.” New German Critique 10: 77-109.

Morales Muñoz, Manuel (2002). Cultura e ideología en el anarquismo español (1870-1910). Málaga: Centro de Ediciones de la Diputación de Málaga.

Nappo, Daniel John (2006). “Unos pensadores importantes que tenían influencia sobre la estética ácrata española.” [WWW] http://www.msu.edu/user/nappodan/pensafu.htm .

Naumann, Francis M., (2002). Conversion to Modernism: The Early Work of Man Ray. New Brunswick, N.J.: Rutgers University Press.

  • <–See also “Man Ray and the Ferrer Center: Art and Anarchy in the Pre-Dada Period” in Drunken Boat: Art, Rebellion, Anarchy, pp. 67-87, and “Adolf Wolff, ‘Poet Sculptor and Revolutionist, but Mostly Revolutionist'” (with Paul Avrich) in Drunken Boat, pp. 38-49.

Navarro Navarro, Javier (2004). A la revolución por la cultura: Prácticas culturales y sociabilidad libertarias en el País Valenciano, 1931-1939. Valencia: Universitat de València.

Nematollahy, Ali (2005). “Proudhon: From Aesthetics to Politics.” Anarchist Studies 13.1: 47-60.

Olivé I Serret, Enric (1978). La Pedagogía obrerista de la imagen (1900-1910). Barcelona: José J. de Olañeta.

Pelloutier, Fernand (1971). “L’Art et la Révolte.” Fernand Pelloutier et les origines du syndicalisme d’action directe. Ed. Jacques Julliard. Paris: Éditions du Seuil. 502-518.

Ragon, Michel (1949). “Illustrateurs d’eux seuls et de Dieu.” La Tour de feu (juillet): ??-??

– – – (1983). The Space of Death: A Study of Funerary Architecture, Decoration, and Urbanism. Charlottesville: University Press of Virginia.

Ripoll, Vicenç (1987). “El Productor (1887-1893). Setmanari Anarquista, difusor de cultura i propaganda.” L’Avenç 104: 40-43.

Roslak, Robyn (2007). Neo-Impressionism and Anarchism in Fin-de-Siècle France: Painting, Politics and Landscape. Aldershot: Ashgate.

– – – (1991). “The Politics of Aesthetic Harmony: Neo-Impressionism, Science, and Anarchism.” The Art Bulletin 73.3: 381-390.

Ralle, Michel (1979). “La revue Acracia: sur quelques thèmes d’un discours révolutionnaire.” Hommages des hispanistes français à Noël Salomon. Barcelona: Laia: 691-702.

Serrano, Carlos (1988). “En los origenes del discurso cultural anarquista: la revista Acracia (1886-1888).” Las Tradictiones culturales del anarquismo…. Amsterdam: ??. ??-??.

Raphael, Max (1980). Proudhon, Marx, Picasso: Three Studies in the Sociology of Art. Trans. John Tagg. Atlantic Highlands, N.J.: Humanities Press.

Reszler, André (1973). “Bakunin, Marx, and the Aesthetic Heritage of Socialism.” Yearbook of Comparative and General Literature 22: 42-50.

  • <–See Hubert Van den Berg’s resposne to this in “Anarchismus für oder gegen Moderne und Avant-garde ? Zur « anachistischen Ästhetik » von André Reszler” (below).

– – – (1972). “Peter Kropotkin and His Vision of of Anarchist Aesthetics.” Diogenes 78: 52-63.

Rubin, James Henry (1980). Realism and Social Vision in Courbet and Proudhon. Princeton, NJ: Princeton University Press.

Rumold, Rainer (2004). “‘Painting as a Language. Why Not?’: Carl Einstein in Documents.” October 107: 75-94.

Scholz, Dieter (1999). Pinsel und Dolch: anarchistische Ideen in Kunst und Kunsttheorie 1840-1920. Berlin: Reimer.

Senabre Llabata, Carmen (1988). “La estética anarquista a través de ‘La Revista Blanca.'” Anthropos: Boletín de información y documentación 5: 16-73.

Shikes, Ralph (1986). “Pissarro’s Political Philosophy And His Art.” Studies on Camille Pissarro. Ed. Christopher Lloyd. London and New York: Routledge & Kegan Paul. 35-54.

Sonn, Richard D. (1989). Anarchism and Cultural Politics in Fin de Siècle France. Lincoln: University of Nebraska Press.

Tjaden, Ursula and Pedro G. Romero (1998). Helios Gómez. Valencia: IVAM centre Julio González.

  • <–Excellent collection of graphics by a notable Spanish anarchist artist (with a decent biographical essay by Ursula Tjaden, pp. 214-240).

Valenti Fiol, Eduard (1973). El Primer Modernismo literario catalan y sus fundamentos ideológicos. Barcelona: Ariel.

Van den Berg, Hubert (1989). “Anarchismus für oder gegen Moderne und Avant-garde ? Zur « anarchistischen Ästhetik » von André Reszler.” Avant-Garde 3: 86-97.

Varias, Alexander (1996). Paris and the Anarchists: Aesthetes and Subversives During the Fin de Siècle. New York: St. Martin’s Press.

Vernois, Solange (2001). [WWW] “La justice dans les caricatures du ‘Père Peinard.'” Revue d’histoire de l’enfance irrégulière. 155-168.

Weir, David (1997). Anarchy and Culture: The Aesthetic Politics of Modernism. Amherst, MA: University of Massachusetts.

Zerzan, John (1999). “Abstract Expressionism: Painting as Vision and Critique.” Anarchy: A Journal of Desire Armed 17.1: 36-43.