k_d_s: Il Vate è tornato

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	harllatham 2019-11-18 09:13 (ссылка)
	Товарищ Джойс всё же не был замешан, как это ни поэтично, ни в какой истории с какой-нибудь "народной республикой" (Ответить) (Ветвь дискуссии)

k_d_s
2019-11-18 10:15 (ссылка)

Makhno’s Ukraine and anarchist Spain were meant to have duration, and despite the exigencies of continual war both succeeded to a certain extent: not that they lasted a “long time,” but they were successfully organized and could have persisted if not for outside aggression. Therefore, from among the experiments of the inter-War period I’ll concentrate instead on the madcap Republic of Fiume, which is much less well known, and was not meant to endure. Gabriele D’Annunzio, Decadent poet, artist, musician, aesthete, womanizer, pioneer daredevil aeronautist, black magician, genius and cad, emerged from World War I as a hero with a small army at his beck and command: the “Arditi.” At a loss for adventure, he decided to capture the city of Fiume from Yugoslavia and give it to Italy. After a necromantic ceremony with his mistress in a cemetery in Venice he set out to conquer Fiume, and succeeded without any trouble to speak of. But Italy turned down his generous offer; the Prime Minister called him a fool.

In a huff, D’Annunzio decided to declare independence and see how long he could get away with it. He and one of his anarchist friends wrote the Constitution, which declared music to be the central principle of the State. The Navy (made up of deserters and Milanese anarchist maritime unionists) named themselves the Uscochi, after the long-vanished pirates who once lived on local offshore islands and preyed on Venetian and Ottoman shipping. The modern Uscochi succeeded in some wild coups: several rich Italian merchant vessels suddenly gave the Republic a future: money in the coffers! Artists, bohemians, adventurers, anarchists (D’Annunzio corresponded with Malatesta), fugitives and Stateless refugees, homosexuals, military dandies (the uniform was black with pirate skull-&-crossbones — later stolen by the SS), and crank reformers of every stripe (including Buddhists, Theosophists and Vedantists) began to show up at Fiume in droves. The party never stopped. Every morning D’Annunzio read poetry and manifestos from his balcony; every evening a concert, then fireworks. This made up the entire activity of the government. Eighteen months later, when the wine and money had run out and the Italian fleet finally showed up and lobbed a few shells at the Municipal Palace, no one had the energy to resist.

D’Annunzio, like many Italian anarchists, later veered toward fascism — in fact, Mussolini (the ex-Syndicalist) himself seduced the poet along that route. By the time D’Annunzio realized his error it was too late: he was too old and sick. But Il Duce had him killed anyway — pushed off a balcony — and turned him into a “martyr.” As for Fiume, though it lacked the seriousness of the free Ukraine or Barcelona, it can probably teach us more about certain aspects of our quest. It was in some ways the last of the pirate utopias (or the only modern example) — in other ways, perhaps, it was very nearly the first modern TAZ.

D’Annunzio, like many Italian anarchists, later veered toward fascism — in fact, Mussolini (the ex-Syndicalist) himself seduced the poet along that route. By the time D’Annunzio realized his error it was too late: he was too old and sick. But Il Duce had him killed anyway — pushed off a balcony — and turned him into a “martyr.” As for Fiume, though it lacked the seriousness of the free Ukraine or Barcelona, it can probably teach us more about certain aspects of our quest. It was in some ways the last of the pirate utopias (or the only modern example) — in other ways, perhaps, it was very nearly the first modern TAZ.

I believe that if we compare Fiume with the Paris uprising of 1968 (also the Italian urban insurrections of the early seventies), as well as with the American countercultural communes and their anarcho-New Left influences, we should notice certain similarities, such as: — the importance of aesthetic theory (cf. the Situationists) — also, what might be called “pirate economics,” living high off the surplus of social overproduction — even the popularity of colorful military uniforms — and the concept of music as revolutionary social change — and finally their shared air of impermanence, of being ready to move on, shape-shift, re-locate to other universities, mountaintops, ghettos, factories, safe houses, abandoned farms — or even other planes of reality. No one was trying to impose yet another Revolutionary Dictatorship, either at Fiume, Paris, or Millbrook. Either the world would change, or it wouldn’t. Meanwhile keep on the move and live intensely.

https://theanarchistlibrary.org/library/hakim-bey-t-a-z-the-temporary-autonomous-zone-ontological-anarchy-poetic-terrorism#toc51

Вот нашел еще забавную презентацию,
посмотрю вечером со словарем:

https://prezi.com/m/sblgmftyclup/porco-rosso-e-dannunzio/

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	(Анонимно) 2021-03-25 13:48 (ссылка)
	я твою мать ебал и тебя ебать буду (Ответить) (Уровень выше)

	(Анонимно) 2021-03-29 13:36 (ссылка)
	я твою мать ебал и тебя ебать буду (Ответить) (Уровень выше)

	(Анонимно) 2021-03-25 13:47 (ссылка)
	я твою мать ебал и тебя ебать буду (Ответить) (Уровень выше)

	(Анонимно) 2021-03-29 13:35 (ссылка)
	я твою мать ебал и тебя ебать буду (Ответить) (Уровень выше)

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