May 1968

review of Branislav Jakovljevic, Alienation Effects: Performance and Self-Management in Yugoslavia, 1945–91. Ann Arbor: University of Michigan Press, 2016, and Armin Medosch, New Tendencies: Art at the Threshold of the Information Revolution (1961–1978). Cambridge, MA: The MIT Press, 2016.

La revolución del 68 transformó los modos de pensar. En los países del centro las motivaciones fueron postmaterialistas, mientras en la periferia fue el acceso a la educación, vivienda... Estas particularidades fueron plasmadas en el cine que cuestionó su propio rol y salió del estudio para retratar la realidad. El cine se transformó en un instrumento político que ayudó a ser visible situaciones que parte de la sociedad desconocía.

El artículo está dividido en tres partes: en a primera se elabora un panorama sobre el maoísmo en Francia en una
perspectiva de mediana duración, con la pretensión de ir más allá del
Mayo 68; posteriormente se elabora una reflexión sobre la presencia del
pensamiento Mao; y, finalmente, su convergencia con los intereses de
intelectuales y militantes radicalizados después de mayo del 68.

"Lo (trans)nacional como eje del circuito de festivales de cine. Una aproximación histórica al diálogo Europa-América Latina", en Imagofagia, número 17, 2018, pp. 11-40 > http://www.asaeca.org/imagofagia/index.php/imagofagia/article/view/1441


Resumo: Este trabalho analisa, a partir de uma perspectiva histórica, os usos e atualizações que as categorias do " nacional " e do " regional/transnacional " têm tido nos festivais de cinemas. Em alguns momentos houve, nesse contexto, mudanças substanciais que alteraram as relações entre as cinematografias do mundo e o circuito de festivais, assim como as dinâmicas e mecanismos de seleção desses eventos. Entretanto, os festivais seguem sujeitos a categorias geopolíticas, mantendo vigentes as etiquetas nacionais e regionais. A partir do diálogo que existe entre o cinema da América Latina e os festivais internacionais e temáticos, veremos como o uso contemporâneo das ditas categorias é manifestado nos próprios nomes da seções nas quais se organizam os filmes programados, e como essas nomenclaturas contribuem, ao mesmo tempo, para delimitar a extensão e o corpus das categorias geopolíticas referidas. Palavras-chave: festivais de cinema, cinema latino-americano, cinemas nacionais, cinema transnacional, coproduções, Cannes 1968.

Abstract: From an historical perspective, this article analyses how the categories “national” and “regional/transnational” have been used and updated in the arena of film festivals since 1930s. At some point there were significant changes which seriously affected the relationships among cinemas of the world and film festivals that at the same time modified the procedures of programming that take place in these film events. However, film festivals are still under the influence of geopolitical categories, keeping alive the 'national' and 'regional' labels above mentioned. This article analyses these phenomena focusing on the dialogue between Latin American cinema and festivals which are defined as international and themed events. With this main objective, this work studies how the use of these categories is highly relevant for naming the different sections where films are organised in each festival. At the same time, this article analyses how the section's names contribute to delimitate the geopolitical categories of national and regional cinema: by defining their geographical borders and the canonical films of each division. Key words: film festivals, Latin American cinema, national cinemas, transnational cinema, coproductions, Cannes 1968.

หนังสือเรื่อง “1968 เชิงอรรถการปฏิวัติ” โดย ธเนศ วงศ์ยานนาวา มุ่งศึกษาเรื่องขบวนการเคลื่อนไหวของกลุ่มนักศึกษาและเหตุการณ์การปฏิวัติที่อยู่ในช่วง 1960-1970 ที่มีผลทำให้โลกแบบสังคมนิยมแบบที่ผู้ใหญ่หัวเก่าตั้งกฎเอาไว้ล่มสลายลง โดยหนังสือเล่มนี้ใช้วิธีการเก็บรวบรวมเปรียบเทียบข้อมูลเหตุการณ์ทางประวัติศาสตร์จากงานวิชาการ หนังสือพิมพ์ การตีความจากภาพยนตร์และเพลงรวมถึงสื่อบันเทิงอื่นและงานวิจัยต่างๆ เพื่อนำมาอธิบายเหตุการณ์การปฏิวัติที่เกิดขึ้นโดยใช้แนวคิดแบบการวิพากษ์ประวัติศาสตร์กระแสหลัก

O presente artigo apresenta aspectos históricos sobre a criação do Laboratório de Estudo do Movimento (LEM) junto a Escola Internacional de Teatro Jacques Lecoq, em 1976, em atividade até os dias de hoje na França. São realizadas considerações sobre a reforma no sistema de ensino de arquitetura na França em decorrência das manifestações estudantis de 1968, contexto que levou Jacques Lecoq a ingressar como professor junto à Unidade Pedagógica de Arquitetura n. 6 (UP6) da Escola Nacional Superior das Belas Artes de Paris, atualmente Escola Nacional Superior de Arquitetura de Paris La Villette, onde lecionou de 1969 a 1987. São apresentadas considerações sobre o arquiteto e cenógrafo Jacques Bosson que mediou o ingresso de Lecoq e a proposta de disciplina experimental que elaboraram juntos. São identificadas as disciplinas que Bosson e Lecoq coordenaram posteriormente, bem como a existência de trabalhos de conclusão de curso de alunos de arquitetura orientados por Lecoq. Por fim, é apresentado o contexto de criação do LEM como um projeto autônomo, da parceria de Lecoq com Krikor Belekian e a constribuição de Pascale Lecoq, ambos arquitetos formados na UP6. Também são apontados aspectos distintos entre a atividades desenvolvida por Lecoq na UP6 e o LEM.


This article presents historical aspects regarding the creation of the Movement Study Laboratory (LEM) at the Jacques Lecoq International School of Theater in 1976, which is still active in France. We present considerations about the reform of the architectural education system in France as a result of the students’ demonstrations of 1968, a context that led Jacques Lecoq to join as a teacher at the Pedagogical Unit of Architecture n. 6 (UP6) of the National Superior School of Fine Arts in Paris, now called the National School of Architecture Paris La Villette, where he taught from 1969 to 1987. We also present considerations concerning architect and set designer Jacques Bosson, who mediated Lecoq’s entry and the proposal of an experimental discipline that they planned together. We identify the disciplines that Bosson and Lecoq coordinated afterwards and also the existence of course completion papers written by architecture students advised by Lecoq. Finally, we show the context of the creation of LEM as an autonomous project, from Lecoq's partnership with Krikor Belekian and Pascale Lecoq’s contribution, both architects trained at UP6. We also indicate distinct aspects between the activities developed by Lecoq at UP6 and LEM.

Praca jest analizą wydarzeń, do których doszło w Paryżu w 1968 roku. Rok 1968 znacząco zapisał się w historii świata. Był to moment przełomowej rewolty społeczno-obyczajowej. W 1968 roku w różnych częściach świata ludzie postulowali wolność i równość. „Maj 1968 w Paryżu” poddaje analizie działalność Międzynarodówki Sytuacjonistycznej, której aktywność datuje się na drugą połową XX wieku. Chronologiczny opis wydarzeń podczas maja 1968 w Paryżu daje pełen obraz tej rewolty. Praca zawiera również analizę publikacji komentujących wydarzenia majowe oraz wywiad z Jean-Claude'm Gillet'em – uczestnikiem wydarzeń.

The years around May ’68 (c. 1965 – c. late-1970s) are widely understood to represent a watershed moment for children’s books in France. An important factor was the influence of a new fringe of avant-garde publishers that attracted attention across their trade in and beyond France. Using archives and interviews and accounts of some of the books produced and their reception, this article presents case studies of the most influential publishing houses as a series of three snapshots of the areas of movement in the field. At the same time, it evaluates the extent to which the social, cultural and political upheavals in France in the wake of May ’68 helped to alter the shape of book production for children and to bring about a ›radical revolution‹ in the children’s publishing trade.

While the French second wave feminist movement and its publishing activities have been well-documented, relatively little attention has been paid to its attempts to imagine childhood freed from the strictures of sexism. This article examines how in the mid 1970s the Franco-Italian publishing partnership ‘du côté des petites filles/ dalla parte delle bambine’ fought ‘on the side of the little girls’ by publishing a new kind of children’s books: politically, artistically and aesthetically subversive, and directly engaged in the major feminist debates of the period. By tracing the relationships between the different publishers involved in this movement it sheds light on how feminist campaigns helped shape the new ideas on children and their culture that emerged around 1968. It argues that the question of child-rearing was one of the major points névralgiques of the movement as a whole, but it was also an issue that demanded action, to provide the tools for the struggle. Finally, through an examination of their publishing practices, collaborators and books, this article reveals not only the intellectual impact of the militants of the women’s liberation movement on ideas of childhood and children’s literature, but also the artistic visions and new poetics they helped to inspire and nurture.

Young People and Youth between ‘Form’ and ‘Homologation’: Gombrowicz and Pasolini around and about 1968.

The article is a parallel reading of some literary and nonfictional works of Witold Gombrowicz and Pier Paolo Pasolini, concerning ‘youth’ and ‘young people’ in the 1960s, particularly around 1968. In spite of the substantial difference between the youth movements in the West and in Eastern Europe, as well as despite the immense diversity between the ways of life and world views of the two authors, it is still possible to notice astonishing similarities in their ideas. Their analyses of the contemporary mass-society, of the relationship between the individual (notably, the young person), Power and the community also reveal surprising points in common. All things considered, the pessimistic vision of both authors is based on general concepts, like Gombrowicz’s ‘Form’ and Pasolini’s ‘Homologation’, of different origin (i.e. psycho-sociological and socio-political), but apparently not so distant from each other from today’s standpoint. The article stresses other surprising similarities, such as the constant interest in Dante in the whole production of both writers, especially in the mid-60s, as well as a kind of ‘thematic intertextuality’ in some of their major texts from that period, as the novel Pornografia and the drama Fabrication on the one side, and the tragicomedy History (An Operetta) and the play Calderon on the other one: these works all centre on the relationship between grownups and young people.

Spanish translation based on a Keynote address given at the conference, "Youth and Socialism: Transnational Perspectives" (Zurich University, May 2016).  Published in the Uruguayan cultural supplement, Lento, 62 (May 2018): 9-19.  Beautifully illustrated by the Uruguayan graphic artist, Dani Scharf.

1968 г. -БУНТЪТ НА МЛАДИТЕ ИЛИ СВОБОДАТА ДА ИЗРАЗИШ СЕБЕ СИ. ОПИТ ЗА СРАВНЕНИЕ МЕЖДУ СЪБИТИЯТА В ПАРИЖ И БЕЛГРАД ВАНЯ МИХАЙЛОВА 1968 г. е наситена със силно обществено недоволство, което макар и да е предизвикано от влиянието на различни фактори, доказва своята мобилизираща сила. Демонстрациите обхващат не само Европа, но и Северна Америка и Азия. Поставени в европейски контекст и в условията на т. нар. "блоково противопоставяне", революционните настроения доказват, че за различните общества не винаги наложеният политически ред и наличието или липсата на икономически преимущества са водещи за удовлетворението от живота. Всъщност 1968 г. е примерът, доказващ, че понякога желанието да изразиш себе си, да бъдеш чут, да ръководиш собствения си живот е много по-силен и въздействащ стимул за социална промяна. Повикът за свобода и обновление на съществуващата действителност идва от младите хора, които като носители на бъдещето за всяка една страна, осъзнават своята сила и необходимостта да се действа в настоящето за едно по-добро бъдеще. В настоящата работа ще бъде обърнато внимание на специфичната ситуация през 1968 г. в световен и европейски план. На този фон ще бъдат проследени събитията в Париж от м. май, както и тези в Белград от м. юни. Ще бъдат посочени причините, довели до студентското недоволство, както и отправените искания. Изборът на Франция и Югославия като пример за революционен бунт не е случаен. Двете страни отразяват различните аспекти на ситуацията от 1968 г., тъй като представляват пример за двата модела на политическо развитие, съответно на капитализма и социализма, макар и да не са най-3

Verifiche ha incontrato lo storico Marcello Flores, autore – con il collega Giovanni Gozzini – del recentissimo “1968. Un anno spartiacque”, edito dalla casa editrice Il Mulino di Bologna. Flores ha gentilmente concesso alla rivista un’intervista e la pubblicazione di alcuni estratti dell’introduzione al suo libro.

O artigo analisa a repercussão internacional desencadeada com a divulgação,
em Março de 1968, dos resultados da Comissão de Inquérito destinada a apurar
denúncias contra funcionários do Serviço de Proteção aos Índios (SPI), implicados na
prática de crimes contra populações indígenas brasileiras. A ditadura civil-militar se viu
diante da abertura de uma importante frente de atuação sobre sua política indigenista.
Até então pouco expressivo e desorganizado, esse movimento se articulou com força a
partir dos anos 1960, consideravelmente em função dos crimes contra os indígenas
relatados no período. Sofrendo a pressão interna da imprensa e de alguns grupos
políticos insatisfeitos com o tratamento dado às denúncias apresentadas, a ditadura
precisou encarar ainda os reflexos dos crescentes debates sobre os direitos humanos e a
luta de grupos socialmente periféricos por direitos civis. Estes recrudesciam no
desenrolar dos anos 1960, chegando a pontos críticos no ano de divulgação do Relatório
Figueiredo.

Życie Georgesa Minka to prawdziwa kronika drugiej połowy XX wieku. Co więcej, dzięki pamięci rodzinnej w jego opowieści możemy odnaleźć specyficzne i dramatyczne obrazy z życia polsko-francusko-żydowskiej rodziny z pierwszych dekad stulecia. Fascynacja komunizmem, emigracja, wojna domowa w Hiszpanii, ruch oporu i niemieckie obozy koncentracyjne w czasie drugiej wojny światowej, powojenne wybory, inicjacja polityczna, pierwsze przejawy niezależnego myślenia, dysydentyzm, studia, ponowna emigracja (czy reemigracja), protesty marcowe w Polsce, protesty majowe w Paryżu, kariera naukowa we Francji, perypetie ze Służbą Bezpieczeństwa, narodziny opozycji demokratycznej w PRL, wreszcie wsparcie dla jawnej, a następnie podziemnej „Solidarności” – to tylko część tematów przewijających się w bogatych wspomnieniach prof. Minka.

Mayo del 68 en Francia. Los hechos y su trasfondo
SUMARIO 1. Introducción. 2. La revuelta en la Universidad de California en Ber keley. 3. La ola de protestas llega a Europa y estalla en Francia. 4. De la crisis estudiantil a la crisis social. 5. La crisis política. 6. La heren cia de la revuelta.
Los acontecimientos vividos en Francia en mayo de 1968, que han adquirido renombre de acontecimiento fundante, tuvieron interesantes precedentes. Haremos referencia a algunos relativamente próximos en el tiempo que los iluminan y ayudan a comprenderlos. A partir de ellos, nos acercaremos a los sucesos parisinos de ese mes para repasar los más señalados, y trataremos, finalmente, de ofrecer una lectura comprensiva de los hechos.
Cita: PÉREZ LÓPEZ, Pablo, «Mayo del 68 en Francia. Los hechos y su trasfondo», en Jiménez, L. (dir.), Mayo del 68 y su legado. La universidad ante los retos del siglo XXI, Madrid, Fundación Universitaria Española, 2020, pp. 27-69.

The May—June 1968 events are of particular significance in terms of their global, European and national contexts. Fifty years later similar events take place in France. There are sources of Bulgarian origin, which allow us to make analogies between them. Based on a variety of sources, written by diplomats, intelligence officers, journalists, witness of events or today's analysts, a detailed Bulgarian view of French May can be presented.

Table of contents
Introduction
First chapter. 1968 - “the year of separation”
Second chapter. Why exploded May
Third chapter. The awaken society
Forth chapter. Flight of the French : “the rocket of three degrees “
Fifth chapter. 1968 - Touchstone for the leaders
Sixth chapter. De Gaulle and the street: the dialog by default
Seventh chapter. The Captain who didn’t left the chip
Eighth chapter. 1968: from Paris to Sofia. From French May to the Sofia Festival
Ninth chapter. What happened after May

It is impossible to stick a label on French May. It is called "revolution" and "pseudo-revolution", "revolt" and "carnival", "hurricane" and "Bengal fire", "positive event in French history" and the actions of "students who are afraid of their exams". None of these definitions can't exhaust the deep significance of this month - a time of profound changes of whole the society and many political factors were revealed in a new light.
In the course of this key month, the prominent statesman and politician Charles de Gaulle, who has always led and won, has been put on the scales. His work, the Fifth Republic, which was created under his leadership, and his mythology are called into question. The "player", who has always been a few moves ahead of his opponents, this time seems to be losing control of the situation. Even those closest to him abandoned him and began making plans for new ministries. One of the most critical moments in this period was the "disappearance" of de Gaulle and his visit to the commander-in-chief of the French occupation forces in Germany, the General Massu in Baden-Baden on May 29, 1968, which preceded his triumphant return to Paris. De Gaulle is at the top once again. The 1968 parliamentary elections were a triumph of the Gaullism and a catastrophe for all its opponents.

Parts of this have since appeared in publications elsewhere. Posting the file because it contains additional detail/ ideas/ correspondence on various topics. Discussion of Lennon, McCartney, Duchamp & Stockhausen is unique to this, though selections from sections on 'Norwegian Wood' appear in the articles 'Where You Once Belonged' & 'The Beatles' Uses of Literacy'. Discussion on Hoggart & Melly appear in my review of Hoggart (1957/2009). The rest is fresh.

See the related blog post for an overview: http://blog.utpjournals.com/2019/08/21/deluge-rethinking-resistance-digital-age/

In the reactionary aftermath to the international events of 1968, Roland Barthes reconsidered his previous works of structuralist semiology, especially Mythologies (1957). While taking a post-structuralist turn, Barthes's late works seek to grapple with a ruling class increasingly immune to enlightenment modes of dialectical critique and satirical demystification. By reconsidering Barthes's reflections on technological transformations in the era of late capital, this article leverages Barthes's figuration of the "neutral" to explicate his paradoxical politics of aesthetic resistance. Throughout his array of experimental and speculative writings in the 1970s, Barthes offers insights into the polarized nature of culture and politics in a hyper-mediated society of the spectacle while providing blueprints for modes of subversion finely tuned to persuade those who will not be persuaded.

Mémoire de Master 2 soutenu à l'Université Paris V René Descartes, sous la direction de Madame Birgitta ORFALI. Le mémoire porte sur l'étude d'une forme particulière de l'action collective, celle de l'occupation des locaux universitaires. L'occupation est ici problématisée dans une perspective socio-historique, faisant partie d'un répertoire d'action qui date du 19 siècle. Traçant l'histoire de l'occupation, passant par le mouvement ouvrier et les occupations des années 1930 et 1960s, je vise à démontrer les transformations que cette forme d'action a subi au fil du temps, avec l'apparition des nouveaux médias d'information et de communication. Après avoir cerné un contexte historique et théorique, je m'intéresse plus précisement à la réappropriation de cette forme d'action par les mouvements étudiants français contemporains. Mon terrain porte sur les mouvements du 2006, 2009, 2010-2011. Se basant sur 31 interview et des observations non-participantes et participantes lors des occupations de plusieurs universités parisiennes et l'Université de Rennes 2, je dessine une analyse de l'influence de cette forme sur les carrières des étudiants. Je postule que l'occupation devient un "point de bifurcation" qui transforme les modes d'engagement des étudiants autant dans leurs études que dans les mobilisations. L'espace public de l'Université se voit également transformé, repensé, réapproprié. Je porte une attention aux abus et dérives de cette forme d'action, ainsi que à sa banalisation.

Öz Rock müzik, Amerika'da ve uluslararası alanda yaygınlık kazanarak kitleye ulaşan popüler bir tür olmuştur. Dünyada, çeşitli konuların tartışıldığı, yurttaşların bu tartışmalara katıldığı, müzik akımları ve gençlik hareketinin hızla yaygınlaştığı değişim yılları olan 1960'larda bu müzik türü, siyasal söylem biçimlerinin kitleselleşmesine aracı-lık etmiştir. Dünyadaki bu değişim ve özgürlükçü hareketten etkilenen Türkiye'de ise bu dönem, yurttaşın kamusal-siyasal özne olarak algılandığı, yabancı müziklerin ülkeye gi-rişinin hızlandığı, yurttaşın kendini ifade alanı bulduğu yıllardır. 12 Eylül 1980 askeri darbesi ile Türkiye'de bu özgürlükçü ortam kesintiye uğratılmış ve siyasal sistemde kök-lü değişiklikler yapılmıştır. ....... Sonraki aşamada, söz konusu yıllar arasındaki şarkı sözleri, oluşturulan temalar bağlamında söylem çözümlemesi ile incelenecek ve elde edilen bulgular değerlendirilecektir.

Se incluye, en el siguiente orden:
Indice completo, Introducción (ps.7-61), datos de los doce autores.

Abstract:
1968 constituye un punto de referencia ineludible en la historia del siglo XX. La expresión 68, como indicación de una nueva sensibilidad político-cultural, ha sido estudiada desde diversas disciplinas, también para lo cinematográfico. Pero, ¿hasta dónde se ha indagado su significación en América Latina? Este libro se pregunta por las rupturas que acarreó el cine del 68 en la región. ¿Cómo interpretarlo más allá de la mirada “eurocéntrica” que hasta hace poco dominó los relatos?, ¿qué significados y valores comunes reconoce con fenómenos ocurridos en otras cinematografías, hegemónicas o del Tercer Mundo?, ¿a qué años remite el momento 68 en cada lugar?, ¿cómo superar las visiones generales sobre América Latina como conjunto y en cambio precisar en las singularidades de lo ocurrido en cada país?
Estos y otros interrogantes motivan los ensayos a cargo de destacados especialistas.  Aun cuando indagan en un período más amplio, la “larga década del ´60”, muestran que el 68 constituye un momento clave de las rupturas. Sin excluir las perspectivas comparadas o los vínculos transnacionales, los capítulos profundizan en las configuraciones culturales nacionales en que dichas rupturas tuvieron lugar. Y al mismo tiempo focalizan en la coopresencia en cada caso de tres dimensiones características: lo experimental, lo contracultural y lo político.

Autores (por orden de artículos): David Oubiña, Javier Sanjinés, Ismail Xavier, Iván Pinto, Sergio Becerra, Juan Antonio García Borrero, Álvaro Vázquez Mantecón, Cecilia Lacruz, María Luisa Ortega, Mirta Varela, Paula Halperin.

The Beat Generation emerged shortly before Pier Paolo Pasolini—exiled to Rome following a sexual scandal in his native Friuli—took up residence on the capital’s outskirts, navigating between the subproletariat squalor upon which his poetry drew, and an increasingly prominent role in Rome's high literary scene, earned through the very same verse. Though they had reached their peak prominence during the mid- and late 1950s in America, the Beats’ Italian afterlife crested at the end of the following decade.  This essay addresses not only Pasolini's direct exchanges with Ginsberg, but also the wider context of the Beats’ reception in Italy; chiasmatically, it considers Pasolini’s extensive reflections on American subculture during the 1960s.  Pasolini's fitful rapport with Beat culture sheds light on the wider paradoxes of his own corpus, including his fraught rapports with Communist officialdom, his affinities for racially and sexually marginalized cultures, and his brief fixation upon American culture as a beacon of New Left change.

This essay was written for the book Gulf Labor: High Culture /Hard Labor (OR books, 2015, Andrew Ross editor). It offers a brief historical sketch of artists who, in response to external, political events, chose to abandon their studio practice in order to engage in direct actions, cultural boycotts, strikes and other militant tactics. One aim of the text is to situate the activity of Gulf Labor Coalition and G.U.L.F. within a genealogy of committed art, suggesting that there is a definite continuity between present and past politicized artistic practices. But the conclusion is also made that something new is also underway in so far as the once robust cultural politics of the cold war era have now become just politics, plain and simple. And artists, who once earnestly sought to identify with workers in the 1930s and 1960s, have in fact become, despite their creative virtuosity, just one more precarious worker amongst others.

Bu çalışma, 1960'ların sonlarında Türkiye'nin siyasal ve toplumsal hayatında önemli bir yeri bulunan sosyalist öğrenci hareketinin, Fransa'daki Mayıs '68 ayaklanmasını başlatan öğrenci hareketinden farklı yönlerini ortaya koymayı hedefleyen bir karşılaştırma denemesidir. Bu iki ülkedeki öğrenci hareketlerinin tarihsel nedenleri ve hedefleri üzerinde durulduğunda görülmektedir ki, Türkiye'deki öğrenci hareketinde Fransa'daki öğrenci hareketinde olduğu gibi devlete ve topluma karşı kategorik bir karşıtlık yoktur. Fransız öğrenciler burjuva devletine ve tüketim toplumuna başkaldırırken, Türk öğrenciler ülkenin sorunlarını emperyalizme ve azgelişmişliğe bağlamaktadır. Ayrıca, Türk öğrenciler, Fransız öğrencilerden farklı olarak, yeni tanıştığı Marksist-Leninist teoriden beslenmekte, karşı-kültür akımları ve Marksizme eleştirel yaklaşan teorilerden etkilenmemekte, aksine bu tür yaklaşımlara karşı olumsuz bir tavır geliştirmektedir. Öğrenci hareketlerinin Fransa'da Mayıs '68 süresince hayatı felç eden genel grev ve Türkiye'de yeni gelişmekte olan işçi hareketiyle ilişkisi üzerinde de durulmuş ve Türkiye'de Fransa'daki kadar güçlü bir işçi hareketi bulunmadığı için öğrencilerin genç aydınlar olarak, kendilerini işçilere sınıf bilinci kazanmaları ve örgütlenmeleri için yardımcı olmakla yükümlü gördüğü ortaya konmuştur.

Il 1968 è stato un anno di svolta per la cultura mondiale. In Europa molte sono state le città teatro di grandi proteste studentesche e operaie che hanno richiesto – e in alcuni casi ottenuto – notevoli cambiamenti sociali. Nemmeno Venezia è rimasta estranea all'agitato clima politico e culturale creatosi in quei mesi: del suo coinvolgimento, in particolare legato alle sue funzioni di centro culturale internazionale, il musicista Luigi Nono, un intellettuale fortemente impegnato nelle lotte politiche e sociali di questi anni, è stato un grande testimone e protagonista. Un’esperienza che si vuole qui ricostruire a partire da una breve cronistoria dei fatti veneziani che occuparono l’estate e l’autunno di quell'anno e delle conseguenze che ebbero negli anni successivi.

Bu yazı, Türkiye 68 yazınında üzerinde neredeyse hiç durulmamış yoksul ve topraksız köylülerin toprak işgallerine odaklanıyor. İcra edilen eylem –işgal— üzerinden köylülerin diğer politik aktörlerle karşılaşmalarını ve kendi toplumsal konumlarını yeniden tanımlama mücadelelerini merkeze alıyor. Ross’un ifadesiyle, siyasal öznellik ve toplumsal grup arasında ortaya çıkan ayrımı, yani, “siyaseti mümkün kılan toplumsal kimliğin parçalanma” süreçlerini anlamaya gayret ediyor.  Bu şekilde, yazıyla, Türkiye 68 tarih yazımında ihmal edilmiş topraksız köylü mücadelesini bu anlatı içerisine yerleştirmek kadar, 68’e dair kurulan “sol doxa”nın kendisini dönüştürmeyi arzulayan yazına da katkıda bulunmayı umuyorum.

F*ck May 68, Fight Now: Exploring the Uses of the Radical Past from 1968 to Today

Session 1: History is a Weapon

June 8, 2018

Department of History, University of Liverpool

https://archive.discoversociety.org/2018/09/04/circumnavigating-the-past-foreclosing-the-future-commemoration-of-the-radical-past-in-the-amnesiac-present/

While Lennon and McCartney's class affiliations are ambiguous to degrees that should remain debatable, the depth and the detail in which working-class life defines their work have been overlooked, thus misrepresenting The Beatles' cultural significance. As Collins (2012) critiques, initial New Left criticisms of The Beatles -almost exclusively in response to one composition, 'Revolution' (1968) -have recently been adapted by commentators eager to portray The Beatles as a culturally and politically conservative force. I argue that early Left-wing and recent Right-wing criticisms of The Beatles' legacy are misleading, because both overlook Lennon and McCartney's different relationships to working-class culture.