By Jean Grave, Jérôme Solal
Fils d'un communard blanquiste, Jean Grave (1854-1939) travaille très jeune comme cordonnier à Paris : fréquentant les cercles ouvriéristes, proche d'Élisée Reclus et de Pierre Kropotkine, il a crée Les Temps nouveaux en 1895, qui devient l. a. tribune pour ses idées. En 1914, celui qui déploie depuis plus de trente ans une « propagande de brochures » fait paraître Ce que nous voulons, manifeste du projet libertaire, condensé virulent de l'idéal anarchiste : « Nous voulons l'affranchissement complet, intégral de l'individu. Nous voulons son affranchissement économique le plus absolu. » Dans l. a. « société destiny » seront abolis le salaire, l. a. monnaie, los angeles propriété individuelle, l'armée, los angeles démocratie représentative, l'État et ses gouvernements. Dans trois textes antérieurs, Grave détaille sa critique du régime de los angeles IIIe république et de los angeles société industrielle : le machinisme (1898), l. a. colonisation (1912) et préconise l'usage de l. a. révolution (1898).
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Extra resources for Ce que nous voulons et autres textes anarchistes: Le Machinisme, La Panacée-révolution, La Colonisation
Both Benning and Child are at once documenting histories and inventing ones that have not yet occurred, further blurring the distinctions between history and personal expression. Chapter 4, "Specters," takes up two central questions that challenge both postmodern historiography and art practices. Are there events that by their nature defy representability, and conversely, what of past events continues to inhere in representations of the present? All the works discussed in this chapter explore the ways in which the past defies closure, unsettling traditional notions of the separation between past and present.
Such convulsive experiences are difficult to describe and impossible to explain by means of traditional modes of narration and emplotment. He thinks, moreover, that the magnitude of such occurrences makes it impossible for any objective account or rational explanation based solely on the facts to be sufficient to represent their complexity. So large and unwieldy are these events that they actually begin to defy explanation, resist representation, and refuse consensus about their meanings or even about what happened.
Theodor Adorno writes: The cult of the new, and thus the idea of modernity, is a rebellion against the fact that there is no longer anything new. . The new, sought for its own sake, a kind of laboratory product, petrified into a conceptual scheme, becomes in its sudden apparition a compulsive return of the old, not unlike that in traumatic neuroses. To the dazzled vision the veil of temporal succession is rent to reveal the archetypes of perpetual sameness. (Minima Moralia, 235—36) As Adorno bitterly suggests, the constant focus on the promise of the new as a signifier of progress can become a form of displacement, making it harder to recognize the ways a less-spectacular status quo is maintained despite the gleam of something like a new technology that in its sparkle can be imbued with nearly any promise.