This paper offers a portrait of anarchism’s two faces—a nonviolent face, incarnated by Gandhi, and a violent face, embodied by Durruti. A semiotical analysis of the meaning of the series of images associated with each man’s scant personal possessions will reveal how satyagraha’s law that the means are consubstantial with the ends rings true in the manner in which each man lived,
died, and is remembered. Our analytical approach will be strengthened by a synthetic perspective offered by Pablo Picasso’s Guernica (1927), the most iconic image of the era, and one that will help us better comprehend the
exceptions and the allowances of two radical and radically different responses to an era of social conflict and economic distress.
|Keywords:||Satyagraha, Anarchism, Gandhi, Durruti, Picasso, Guernica, Semiotics, C. S. Peirce, Roland Barthes|
Associate Professor of Hispanic Literature and Culture, Department of Modern Languages, Norwich University, Northfield, Vermont, USA