Anarcho-primitivism contends that modern civilization deprives people of their happiness, which is why it seeks to reconstruct civilization on a primitive basis, one that holds concrete promises of happiness. It argues that a harmonious relation with human nature and external nature needs to be established by translating technological societies into societies that are free of hierarchy, domination, class relationships, and, simply put, of modern structures. Anarcho-primitivists intend to reinstate a primitive outlook in the modern era and recover the authenticity and wholeness lost to the tyranny of civilization. The radical nature of Yank’s anti authoritarianism in Eugene O’Neill’s The Hairy Ape (1921) demonstrates that he is totally at a loss about the positive functions of industrialism. We argue that Yank expresses a deep resentment toward civilization that is barely hidden in the play. This leads us to suggest that Yank’s objective is not dissimilar from that of anarcho primitivists: he values his individuality and tries to subvert the social forces that are arrayed against it. Like anarcho-primitivists, he is determined to bring down the pillars of the material culture in favor of a primitive life, where free subjectivity or individuation becomes the integral gift of society.

中文翻译：

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远离不良的文明：尤金·奥尼尔（Eugene O'Neill）的《长毛猿》（The Hairy Ape）中的无政府原始主义和反抗瓦解

无政府状态原始主义认为，现代文明剥夺了人们的幸福，这就是为什么它试图在原始的基础上重建文明，而这种文明具有幸福的具体承诺。它认为，需要通过将技术社会转变成没有等级，统治，阶级关系以及简单地说是现代结构的社会，来建立与人性和外在性的和谐关系。无政府状态的原始主义者打算恢复现代时代的原始观点，并恢复被文明暴政所失去的真实性和完整性。扬克的反威权主义在尤金·奥尼尔（Eugene O'Neill）的《长毛猿》（The Hairy Ape，1921年）中具有激进的性质，这表明他完全对工业主义的积极作用感到迷茫。我们认为扬克对戏剧中几乎没有隐藏的文明表达了深深的不满。这使我们认为，扬克的目标与无政府主义原始主义者的目标并没有什么不同：他珍视自己的个性，并试图颠覆反对它的社会力量。像无政府状态的原始主义者一样，他决心将物质文化的支柱推倒，转向原始的生活，在原始的生活中，自由的主体性或个体化成为社会不可或缺的礼物。