Does fear eat the soul? Eventually Hitler’s Aryan myth, like many another, monstrously devoured both its creators and its supporters. It all began as a minor and unsolvable issue in comparative linguistics around the time of the French revolution. It became part and parcel of a romanticism unbound where blood, soil, and emotion transformed into a politically expedient full-fledged racial theory of history that ended by almost destroying European civilization.
The evolution of Hitler’s racial doctrine indicates that he came to regard the German people, upon whose support he relied, as themselves debased in comparison with a supranational elite, limited in number but geographically boundless. Hitler devised the SS as an elite order embodying the ideals of Wagner’s Parsifal. Its knights under Himmler were to seek the Holy Grail of pure Aryan blood, just as Parsifal had sought the cup that had contained Christ’s blood.
Fassbinder. Maria Braun. "There developed a common narrative myth that indicted black GIs; sexually out of control women, or so-called "Veronikas"; and Jewish bar owners for having brought degeneration to the countryside. If this has a familiar ring, it should, for some Germans simply dusted off the old Nazi racial ideology that now seemed respectable in the light of the American objection to inter-racial mixing. The good burghers invoked the racism of their mentors, thus soothing any sensibilities about being Nazis. All of this led to efforts to criminalize prostitution and to broaden the definition of what acts constituted prostitution, i.e., any women in the presence of an American serviceman was liable to arrest as a prostitute. Various church-affiliated welfare organizations attempted, without much success, to stem the rising tide of American influence. In practice it became impossible to arrest every women in the presence of a GI, so prostitution became equated with racial transgression, black GIs with white women. Hohn concludes this tour de force study with an examination of events in the area of Kaiserslautern during the 1957 federal elections, when the controversial deployment of Nike atomic missiles led to an outcry by both the SPD and the Christian Democrats over the sexual and racial transgressions of black soldiers and German women. " Read More: http://www.h-net.org/reviews/showrev.php?id=6913 image: http://www.criterion.com/films/592-the-marriage-of-maria-braun
The war over, Himmler was to have Burgundy as the heartland of a supranational SS state. This was the theoretical essence of Hitler’s New Order, in pursuit of which the Nazis annihilated themselves. The historical drama ended not as Parsifal but as Wagner’s Gotterdammerung- that is, in fire and destruction.
Hugo Hoppener. "Their short weekend trips became 3 to 4 weeks long journeys of hundreds of miles. Soon they were establishing permanent camps in the wild that were open to all. With no thought of pay, the bands worked at improving their campsites and building cabins for which they made the furniture-in all forming a complex of precedents underlying the youth-hostel movement which began in 1907 when Richard Schirmann opened the first hostel in Altena Germany. Mostly the Wandervogel sought communion with nature, with the ancient folk-spirit as embodied in the traditional peasant culture, and with one another. They developed a harmonious mystic resonance with their environment." Read More: http://www.hippy.com/modules.php?name=News&file=article&sid=243
Yet the fact that the Nazi champions of Aryanism are gone cannot give us complete reassurance that the myth itself is dead. Emotional revulsion in the aftermath of Auschwitz is no guarantee against the re-emergence of the myth, which continues to be toyed with in sometimes more subtle and contradictory manners. Nor can scientific enlightenment do away with it. Though biologists and geneticists throw doubt on the very idea of race itself, tough they reject the idea of pure races and dismiss conceptions of innate racial superiority, theories of racial supremacy refuse to die.
Weinbaum: And while it is clear that art is not the only or even necessarily the privileged cultural form that might perform the work of critique,( Walter) Benjamin’s initial insight about art as critical tool remains pertinent, allowing us to see race’s spectral effects—nothing less than the existence of racial aura….to become aware of the ease with which race can be made to “look” genetic when in fact, as geneticists concur, it is not….the “phony spell” of the screen star is animated in the Hollywood film, so too is the “phony spell” of race or the spectral presence of racial aura animated in “RVID.” As Vanouse elsewhere explains, he created a “race about race” to demonstrate the idea that any particular “race” or “mixture” is genetically “inferior” or “superior”—faster, more agile or competitive—is a racist ruse. Racial biology continues to structure our thinking in a supposedly post-racial moment, principally through the historical sedimentation of eugenics that continues to burden our imaginations…Read More: http://www.princeton.edu/~publicma/Weinbaum_article.pdf
Hugo Hoppener synthesized his interpretation of the Greek ideal of Beauty with his conception of the Aryan-German essence and was part of the broader Aryan mythology. ""Nature Boys" as they were later called were without exception either German immigrants or American youths whose lives were influenced by transplanted Germans that spread their Lebensreform (life-reform) message to anyone ready for a radical departure from the accepted boundaries of 20th century civilization. Modern primitives, naturmensch, wandervogel, bohemians, reformers, wayfarers, and vagabonds are all expressions that evoke a tone of something wholly apart from the orthodox. So why Germany? What was happening there in the 19th century that caused a phenomenon like this to erupt so big? Germany had always made a virtue of their late submission to Latin civilization and had glorified the natural man and woman with all of their virtues and vices." Read More: http://www.hippy.com/modules.php?name=News&file=article&sid=243
The history of the Aryan myth demonstrates the power of belief over the power of knowledge. Thus it is alarming to encounter contemporary neo-fascist doctrines, essentially paranoid reactions to the “unwashed” ; economically backward and vocally hostile less white hordes beyond. We may now hear more often of Caucasians than of Aryans, but the substance and errors of the belief in white supremacy linger.
"The British designer tells a woman at a cafe “I love Hitler” and adds: “People like you would be dead. Your mothers, your forefathers, would all be f***ing gassed.” The Sun said Galliano, 50, was at the same cafe, La Perle, in the trendy Marais district of Paris which is a popular gay spot, where he allegedly assaulted a couple and made anti-Semitic comments last week. After the remark about Hitler, a woman is heard saying “Oh my God”, before asking Galliano — whose speech is slurred — if he has a problem. He replies: “With you. You’re ugly.” Read More:http://kittykittygossip.com/2011/02/john-galliano-hates-jews-likes-hitler/
Certain of us might take to heart some wise advice from Arthur de Gobineau: “There is no greater tyranny than that which works through fictions, for they are, by their very nature unfeeling and pitiless, boundless in their impudence and their pretensions.” He failed to see the relevance of this remark to his own inventions, but it i
admirable judgement upon the past and even, perhaps, upon the future of the Aryan myth.
"an example of his artwork, entitled “Epiphany”. It represents the adoration of Christ with a infant Hitler cast as the “Messiah”, three Nazi-SS-officers as the wise men and a very teutonic Virgin Mary. With Helnwein as art adviser, one can perhaps understand why there are so many references to Nazism in Rammstein’s performances."...Read More: http://raumfahrer.wordpress.com/rammstein/ image:http://www.forum-gothique.com/gottfried-helnwein-t5897.html
PICKWICK EXTRA:
Geoffrey Wheatcroft:If the artistic yearnings of all those Nazi poets and painters manqués cast a bleak light on the redemptive power of art, or any idea that the sublime and the beautiful will make us better people, there is another bleak side to the story in the behaviour of the German “arts community”, especially musicians. Some went into exile, either involuntarily or because they would not serve the regime, but far more did not. There were musicians who divorced Jewish spouses to keep their jobs, while great names like Strauss, Pfitzner and Furtwängler chose to endorse the regime….
This may be an odd interpretation, but who is to say? "In the Middle Ages there was a myth that Jews needed to use the blood of Christian children in their rituals for the celebration of Passover. This charge and others were also contained in the “Protocols of the Elders of Zion”, an anti-Semitic hoax published in the 20th century and used for Nazi propaganda purposes. This libelous myth has been used as an excuse to murder whole communities of Jews. In the photograph below, “Epiphany III, Presentation at the Temple”, Helnwein seems to revive this this old blood libel against the Jews." Read More: http://raumfahrer.wordpress.com/manson/
Meantime concerts of high standard continued, until what Spotts calls the most grotesque episode in musical history. On April 13 1945, the Berlin Philharmonic played Bruckner’s Fourth, as a recognised sign that the Third Reich was reaching its own last bars. At the exits, members of the Hitler Youth handed out free cyanide capsules. Unimaginable wickedness and horror ended to the sound of sublime music. Read More: http://www.guardian.co.uk/books/2002/oct/19/politics.art a
Fassbinder. Fear Eats the Soul. 1974. "However, the simple statement that “racism is bad”, is not what Fassbinder was going for. After getting married, Elli takes Ali to a restaurant where Hitler used to eat before WWII. “I’ve always wanted to eat here. Hitler, you know?” It turns out that Elli, like most German people, was a member of the Nazi Party. We know she is a good person, so how could this be? Fassbinder shows throughout the movie in numerous ways that hatred and ignorance are not what allow racism to pervade a society. To become a racist society, inaction, apathy and complacency are also required." Read More: http://www.puregrainaudio.com/films/ali-fear-eats-the-soul-086
James Young: Hitler was both a product of his time’s aesthetic temper (as retrograde as his tastes may have been) and possibly the greatest producer of political design and choreography who ever lived. We cannot separate his deeds, his policies and his Nazi ideology from his aesthetic temper. Our reflex may be to protect the aesthetic realm from the ugliness and barbarism committed in its name. But without recognizing the central role aesthetics actually played in the Nazis’ murderous regime, we ignore the basic historical fact at the heart of Spotts’s book: Art, beauty and aesthetics were not benign byproducts of the Nazi Reich, but part and parcel of its malevolent logic. Beauty and terror, aesthetics and power, may not only be paired after the historical fact but might now be regarded as historical forces that also drive events as they actually unfold.http://www.forward.com/articles/8694/ a
"Salvador Dalì's autobiography confesses that "Hitler turned me on in the highest," while Sylvia Plath maintains that "every woman adores a Fascist." Susan Sontag's famous observation that art reveals the seamier side of fascism in bondage, discipline, and sexual deviance would certainly appear to be true in modernist and postwar literary texts. How do we account for eroticized representations of fascism in anti-fascist literature, for sexual desire that escapes the bounds of politics? " Read More: http://www.jahsonic.com/DeviantModernism.html
Susan Sontag:More important, it is generally thought that National Socialism stands only for brutishness and terror. But this is not true. National Socialism—more broadly, fascism—also stands for an ideal or rather ideals that are persistent today under the other banners: the ideal of life as art, the cult of beauty, the fetishism of courage, the dissolution of alienation in ecstatic feelings of community; the repudiation of the intellect; the family of man (under the parenthood of leaders). These ideals are vivid and moving to many people, and it is dishonest as well as tautological to say that one is affected by Triumph of the Will and Olympia only because they were made by a filmmaker of genius. Riefenstahl’s films are still effective because, among other reasons, their longings are still felt, because their content is a romantic ideal to which many continue to be attached and which is expressed in such diverse modes of cultural dissidence and propaganda for new forms of community as the youth/rock culture, primal therapy, anti-psychiatry, Third World camp-following, and belief in the occult. The exaltation of community does not preclude the search for absolute leadership; on the contrary, it may inevitably lead to it. Read More: http://www.antifascistencyclopedia.com/allposts/susan-sontag-on-fascist-art-aesthetics
COMMENTS
The Grail takes various forms throughout history, and has always been subject to include many more idealogies unto it, provided its true goal is met, which is death and destruction of the human race, most notably of the Judaic lineage. Satan hates no race more, than that which God favors.
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