miscellanea

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  • evola_as_he_is
    He lives in a town which was founded 23 centuries ago by bull worshippers, and does not descend from them. He is Italian, and he has been kind enough to assist
    Message 1 of 11 , Jan 5
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      He lives in a town which was founded 23 centuries ago by bull worshippers, and does not descend from them. He is Italian, and he has been kind enough to assist us over the years with the translation of some writtings. Lately, he was told in a detailed manner about a form of penance once in vogue among the followers of Meister Eckhart, and which shed further light on the nature of Christian mentality. One of these, Henry Suso , had rope underpants bristled with 150 "filed, sharp, spiky needles, which, when worn, pierced his skin," made for him. He never took them off, "so that he was eaten by worms". At night, he wore special handcuffs tied to a collar, so as to be prevented from scratching his skin or from removing the worms or the needles hammered into it".
      Those exercises are far less spiritual than the comment they ellicited from him:  " Suso , whether a madman or not, did not realise that some worms may have found their way into a certain part of his body, whereby a sin against nature was committed."

      He once pointed out to us that the lower an animal species, the bigger the female. In a slightly different respect, that is, with respect to a different part of the human body than that which has just been hinted at, except that it is not possessed by all bodies, isn't this, still in the animal kingdom: http://www.francetvinfo.fr/image/754tvqekn-393c/1000/562/5370701.jpg, particularly suggestive ?


    • G. van der Heide
      Perhaps we can bring to mention here the appearance of an English translation of G. Faye s Sexe et dévoiement (2011). We merely took notice of its release
      Message 2 of 11 , Jan 6
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        Perhaps we can bring to mention here the appearance of an English translation of G. Faye's "Sexe et dévoiement" (2011). We merely took notice of its release and are not familiar with the text itself, which otherwise appears to be rather topical. No matter what the exact conclusions reached therein in fact may be. That said, Faye is not my favourite author, to say the very least. But it must be admitted that even his "Archeofuturism", which was "trashed" here, I believe, tackles relevant subjects, if compared with the dry output of other "Nouvelle Droite" authors. Then again, there's no discussion about the lacking contents. Also, it's perhaps that we aren't aware enough of  thematically similar works in the French language that would have preceded this work. 

        Have you taken into consideration J. Péladan's manifestic writings on the figure of the artist and "art as religion" - possibly into connection with Nietzsche's considerations on acting and the actor? Here we may again arrive at the subject of androgyny as well, and thereby at the earlier discussion of so-called "transhumanism".


        From: evola_as_he_is@yahoogroups.com
        To: evola_as_he_is@yahoogroups.com
        Date: Mon, 5 Jan 2015 10:26:05 -0800
        Subject: [evola_as_he_is] miscellanea

         
        He lives in a town which was founded 23 centuries ago by bull worshippers, and does not descend from them. He is Italian, and he has been kind enough to assist us over the years with the translation of some writtings. Lately, he was told in a detailed manner about a form of penance once in vogue among the followers of Meister Eckhart, and which shed further light on the nature of Christian mentality. One of these, Henry Suso , had rope underpants bristled with 150 "filed, sharp, spiky needles, which, when worn, pierced his skin," made for him. He never took them off, "so that he was eaten by worms". At night, he wore special handcuffs tied to a collar, so as to be prevented from scratching his skin or from removing the worms or the needles hammered into it".
        Those exercises are far less spiritual than the comment they ellicited from him:  " Suso , whether a madman or not, did not realise that some worms may have found their way into a certain part of his body, whereby a sin against nature was committed."

        He once pointed out to us that the lower an animal species, the bigger the female. In a slightly different respect, that is, with respect to a different part of the human body than that which has just been hinted at, except that it is not possessed by all bodies, isn't this, still in the animal kingdom: http://www.francetvinfo.fr/image/754tvqekn-393c/1000/562/5370701.jpg, particularly suggestive ?



      • rouesolaire
        There is a saying according which a book should not be judged by its cover. An exception is to be made for three of this sinister individual, because their
        Message 3 of 11 , Jan 7
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          There is a saying according which a book should not be judged by its cover. An exception is to be made for three of this sinister individual, because their titles also shed further light on the nature of Christian mentality.

          The first is entitled “Clock of Wisdom” and, for reasons that have already been explained, (this title) is from an Aryan standpoint antithetical. The bell is an Asian invention which was imported and propagated in Europe by Christian missionaries. This only confirms that, as it is written in note 3 from https://elementsdeducationraciale.wordpress.com/2014/07/30/race-ethnos-et-la-quatrieme-theorie-politique-2/, “in all seeker of infinity, sleeps more or less an utilitarian dreamer”. As surprising and contradictory as it may seem, it appears that in the Christian, behind all the superstitions and speculations, often hides a deeply rationalist individual.

          The second and the third are named “Little Book of Truth” and “The Little Book of Eternal Wisdom”. In this case, it is likewise surprising to note that individuals who constantly preach humility claim that they possess “Truth” and “Eternal Wisdom” (with uppercases). In fact, these individuals, who preach the extinction of the ego, are imbued with vanity and actually have a somewhat oversized ego. In another context, it is also striking to notice that individuals who preach “selflessness“ (“désintéressement” in french) "acts" in order to get their ticket for the paradise. It seems that in all Christian, there is a liar, a hypocrite and a “schizophrenic”.

           

          P.S.

          From what can be read at http://fr.novopress.info/106144/exclusivite-novopress-guillaume-faye-presente-son-ouvrage-sexe-et-devoiement-audio/, it seems that G. Faye knows no limit in hypocrisy for writing such a book.


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        • evola_as_he_is
          The recurrent publication by this company of rags like this over the years, not to mention its provocatively casual translation of ‘Il Cammino del
          Message 4 of 11 , Jan 7
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            The recurrent publication by this company of rags like this over the years, not to mention its provocatively casual translation of  ‘Il Cammino del cinabro’, although we understand that people have to earn a living, and that prostitution is the only source of income for some, has led us to sever the distant relations we had with its managers.

            More importantly, could you please, as, today, we had another clear indication that the show must go on, elaborate on the parallel you draw between the figure of the artist and “art as religion” in Peladan, who died at Neuilly-sur-Seine, and Nietzsche's considerations on acting and the actor ?

          • G. van der Heide
            There are some texts that would benefit from a different reading. I would say that s the case with the manifestic writings of Peladan - some of those are being
            Message 5 of 11 , Jan 7
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              There are some texts that would benefit from a different reading. I would say that's the case with the manifestic writings of Peladan - some of those are being made available in English - and similar protagonists. We only need to draw upon this expression of "art as religion". If the meaning of art is extended or is to fully coincide with the artificial or artificiality, than we find ourselves back at Nietzsche's treatment of the actor and the notion of the "world as a stage". That is, today's world. "The dramatic artwork is likely to replace religion" is a rather obscure translation of Nietzsche's words, although it's probably to be found in the "Birth of Tragedy" in different wordings. It's a certain thing that some people will simply never get around to read their 'favourite' authors in a different light and don't get to envision how their output is being appropriated and incorporated into a "codex", given their value as handbooks or manuals.


              From: evola_as_he_is@yahoogroups.com
              To: evola_as_he_is@yahoogroups.com
              Date: Wed, 7 Jan 2015 12:39:25 -0800
              Subject: RE: [evola_as_he_is] miscellanea

               

              The recurrent publication by this company of rags like this over the years, not to mention its provocatively casual translation of  ‘Il Cammino del cinabro’, although we understand that people have to earn a living, and that prostitution is the only source of income for some, has led us to sever the distant relations we had with its managers.

              More importantly, could you please, as, today, we had another clear indication that the show must go on, elaborate on the parallel you draw between the figure of the artist and “art as religion” in Peladan, who died at Neuilly-sur-Seine, and Nietzsche's considerations on acting and the actor ?


            • evola_as_he_is
              Is there anything in the various manifestos published by Peladan which would reach the level of the following considerations on the actor (this issue was
              Message 6 of 11 , Jan 10
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                Is there anything in the various manifestos published by Peladan which would reach the level of the following considerations on the actor (this issue was tackled from a historical perspective in message 1539 as well as in message 1750) ?

                 

                “The problem of the actor has troubled me for a very long time; I was unsure (and still sometimes am) whether it is only from this angle that one can approach the dangerous  concept of the 'artist' — a concept that has heretofore been treated with unpardonable generosity.Falseness with a good conscience; the delight in pretence erupting as a power that pushes aside, floods, and at times extinguishes one’s so-called ‘character’; the inner longing for a role and mask, for an appearance (Schein); an excess of capacities for all kinds of adaptation that can no longer be satisfied in the service of the nearest, most narrowly construed utility – perhaps all of this is distinctive not only of the actor? Such an instinct will have developed most easily in families of the lower classes who had to survive under changing pressures and coercions, in deep dependency, who had to cut their coat according to the cloth, always adapting themselves again to new circumstances, who always had to change  their mien and posture, until they learned gradually to turn their coat with every wind and thus virtually to become a coat — and masters of the incorporated and inveterate art of eternally playing hideand-seek, which in the case of animals is called mimicry—until eventually this capacity, accumulated from generation to generation, becomes domineering, unreasonable, intractable, an instinct that learns to command other instincts and produces the actor, the'artist' (the buffoon, the teller of lies, the fool, the jester, the clown primarily, but also the classical servant, Gil Blas; for it is in such types that we find the prehistory of the artist and often enough even of ‘genius’). In more elevated social conditions, too, a similar human type develops under similar pressures; only in such cases the histrionic instinct is usually barely kept under control by another instinct; as in the case of ‘diplomats’. Incidentally, I would think that a good diplomat would be free at any time to become a good actor - provided, of course, that he were free to do this. But as for the Jews, that people possessing the art of adaptability par excellence, one might, according to this trainofthought, immediately seeinthem aworld historical organization for the cultivation of actors,a veritable breeding ground for actors ; and indeed it is really hightime to ask: what goodactor today is not – a Jew? Also the Jew as a born literary man, as the true master of the Europeanpress, exercises thispower byvirtueof his histrionic ability, forthe literary man is essentially an actor: he playsthe 'expert',the 'specialist'. Finally, women: consider the whole history of women - mustn't they be actresses first and foremost? Listen to doctors who have hypnotized womenfolk; finally, love them —let yourself be hypnotised by them! What is always the result ? That they try to be ‘taken for something even when they are being taken... Woman is so artistic...” (the emphasis is ours)


              • rouesolaire
                As the ludicrous show has been addressed and is currently well fueled by the media and massively supported by the manipulated populace, the following video is
                Message 7 of 11 , Jan 10
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                  As the ludicrous show has been addressed and is currently well fueled by the media and massively supported by the manipulated populace, the following video is worth to be seen – for French speaking people – because it explains the deep hypocrisy of the present theatrical events: https://www.youtube.com/watch?v=BJLfBdWtYM4. I specify that contrary to the individual of this video, I absolutely do not defend the absurd, demagogic, undesirable and unrealizable “idea” that the alleged “freedom of speech” is.

                  The globalists and the Islamists (considering that the real story is the official one) have one more time done a good job since everyone will stand at attention front of the Republican flag and will swear allegiance to the alleged Republican “values” and “principles”.

                  Concerning the official story, after the miraculous discovery of the passport of one of the terrorists in the ruins of the World Trade Center, we are now led to believe by the mass-medias that one of the attackers would have also miraculously “forgotten” his ID card at the scene of the shooting: https://pbs.twimg.com/media/B61NdE-IIAAZQFd.jpg:large.

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                • G. van der Heide
                  Probably not. At this point I m not fully familiar with the writings themselves. But indirectly we felt that the idea of a totalizing aesthetics, as found in
                  Message 8 of 11 , Jan 28
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                    Probably not.
                    At this point I'm not fully familiar with the writings themselves.

                    But indirectly we felt that the idea of a totalizing aesthetics, as found in Péladan, could certainly be brought into connection with the methods of today's mediacracies. Regardless of whether one considers it as a distortion or extension of the original idea.

                    English translations of his texts can be found at http://peladan.org/ 


                    From: evola_as_he_is@yahoogroups.com
                    To: evola_as_he_is@yahoogroups.com
                    Date: Sat, 10 Jan 2015 07:47:57 -0800
                    Subject: RE: [evola_as_he_is] miscellanea

                     

                    Is there anything in the various manifestos published by Peladan which would reach the level of the following considerations on the actor (this issue was tackled from a historical perspective in message 1539 as well as in message 1750) ?

                     

                    “The problem of the actor has troubled me for a very long time; I was unsure (and still sometimes am) whether it is only from this angle that one can approach the dangerous  concept of the 'artist' — a concept that has heretofore been treated with unpardonable generosity.Falseness with a good conscience; the delight in pretence erupting as a power that pushes aside, floods, and at times extinguishes one’s so-called ‘character’; the inner longing for a role and mask, for an appearance (Schein); an excess of capacities for all kinds of adaptation that can no longer be satisfied in the service of the nearest, most narrowly construed utility – perhaps all of this is distinctive not only of the actor? Such an instinct will have developed most easily in families of the lower classes who had to survive under changing pressures and coercions, in deep dependency, who had to cut their coat according to the cloth, always adapting themselves again to new circumstances, who always had to change  their mien and posture, until they learned gradually to turn their coat with every wind and thus virtually to become a coat — and masters of the incorporated and inveterate art of eternally playing hideand-seek, which in the case of animals is called mimicry—until eventually this capacity, accumulated from generation to generation, becomes domineering, unreasonable, intractable, an instinct that learns to command other instincts and produces the actor, the'artist' (the buffoon, the teller of lies, the fool, the jester, the clown primarily, but also the classical servant, Gil Blas; for it is in such types that we find the prehistory of the artist and often enough even of ‘genius’). In more elevated social conditions, too, a similar human type develops under similar pressures; only in such cases the histrionic instinct is usually barely kept under control by another instinct; as in the case of ‘diplomats’. Incidentally, I would think that a good diplomat would be freeat any time to become a good actor - provided, of course, that he were free to do this. But as for the Jews, that people possessing the art of adaptability par excellence, one might, according to this trainofthought, immediately seeinthem aworld historical organization for the cultivation of actors,a veritable breeding ground for actors ; and indeed it is really hightime to ask: what goodactor today is not – a Jew? Also the Jew as a born literary man, as the true master of the Europeanpress, exercises thispower byvirtueof his histrionic ability, forthe literary man is essentially an actor: he playsthe 'expert',the 'specialist'. Finally, women: consider the whole history of women - mustn't they be actresses first and foremost? Listen to doctors who have hypnotized womenfolk; finally, love them —let yourself be hypnotised by them! What is always the result ? That they try to be ‘taken for something even when they are being taken... Woman is so artistic...” (the emphasis is ours)



                  • rouesolaire
                    “Arthur Henderson Smith (July 18, 1845 – August 31, 1932) (Chinese name: 明恩溥; pinyin: Ming Enpu) was a missionary of the American Board of
                    Message 9 of 11 , Mar 14
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                      “Arthur Henderson Smith (July 18, 1845 – August 31, 1932) (Chinese name: 明恩溥; pinyin: Ming Enpu) was a missionary of the American Board of Commissioners for Foreign Missions noted for spending 54 years as a missionary in China and writing books which presented China to foreign readers. These books include Chinese Characteristics, Village Life in China and The Uplift of China.” (http://en.wikipedia.org/wiki/Arthur_Henderson_Smith)

                      The text presented here is the first chapter of the first edition of his book Chinese Characteristics, which is available at https://archive.org/details/chinesecharacter00smitiala. A second edition of this book, quite different, is available at https://archive.org/details/cu31924023247160.

                      The interest of this text is that it dealt with a subject which is addressed on this topic, that is acting. It shed further light on the feminine nature of the Chinese, and more generally of the yellow peoples.

                       

                         At first sight nothing can be more irrational than to call that which is shared with the whole human race a “characteristic” of the Chinese. But the word “face” does not in China signify simply the front part of the head, but is literally a compound noun of multitude, with more meanings than we shall be able to describe, or perhaps to comprehend.

                         In order to understand, however imperfectly, what is meant by “face”, we must take account of the fact that as a race the Chinese have a strongly dramatic instinct. The theatre may almost be said to be the only national amusement, and the Chinese have for theatricals a passion like that of the Englishman for athletics, or the Spaniards for bull-fights. Upon very slight provocation, any Chinese regards himself in the light of an actor in a drama. He throws himself into theatrical attitudes, performs the salaam, falls upon his knees, prostrates himself and strikes his head upon the earth, under circumstances which to an Occidental seem to make such actions superfluous, not to say ridiculous. A Chinese thinks in theatrical terms. When roused in self-defense he addresses two or three persons as if they were a multitude. He exclaims: “I say this in the presence of You, and You, and You, who are all here present”. If his troubles are adjusted he speaks of himself as having “got off the stage” with credit, and if they are not adjusted he finds no way to “retire from the stage”. All this, be it clearly understood, has nothing to do with realities. The question is never of facts, but always of form. If a fine speech has been delivered at the proper time and in the proper way, the requirement of the play is met. We are not to go behind the scenes, for that would spoil all the plays in the world. Properly to execute acts like these in all the complex relations of life, is to have “face”. To fail of them, to ignore them, to be thwarted in the performance of them, this is to “lose face.” Once rightly apprehended, “face” will be found to be in itself a key to the combination lock of many of the most important characteristics of the Chinese.

                         It should be added that the principles which regulate “face” and its attainment are often wholly beyond the intellectual apprehension of the Occidental, who is constantly forgetting the theatrical element, and wandering off into the irrelevant regions of fact. To him it often seems that Chinese “face” is not unlike the South Sea Island taboo, a force of undeniable potency, but capricious, and not reducible to rule, deserving only to be abolished and replaced by common sense. At this point Chinese and Occidentals  must agree to disagree, for they can never be brought to view the same things in the same light. In the adjustment of the incessant quarrels which distract every hamlet, it is necessary for the “peace-talkers” to take as careful account of the balance of “face” as European statesmen once did of the balance of power. The object in such cases is not the execution of even-handed justice, which, even if theoretically desirable, seldom occurs to an Oriental as a possibility, but such an arrangement as will distribute to all concerned “face” in due proportions. The same principle often obtains in the settlement of lawsuits, a very large percentage of which end in what may be called a drawn game.

                         To offer a person a handsome present is to “give him face”. But if the gift be from an individual it should be accepted only in part, but should seldom or never be altogether refused. A few examples of the thirst for keeping face will suffice for illustration. To be accused of a fault is to “lose face”, and the fact must be denied, no matter what the evidence, in order to save face. A tennis-ball is missed, and it is more than suspected that a coolie picked it up. He indignantly denies it, but goes to the spot where the ball disappeared, and soon finds it lying there (dropped out of his sleeve), remarking, “Here is your ‘lost’ ball”. The waiting-woman who secreted the penknife of a guest in her master’s house afterwards discovers it under the table-cloth, and ostentatiously produces it. In each case “face” is saved. The servant who has carelessly lost an article which he knows he must replace or forfeit an equivalent from his wages, remarks loftily, as he takes his dismissal, “The money for that silver spoon I do not want”, and thus his “face” is intact. A man has a debt owing to him which he knows that he shall not collect; but going to the debtor, he raises a terrible disturbance, by which means he shows that he knows what ought to be done. He does not get the money, but he saves his “face”, and thus secures himself from imposition in the future. A servant neglects or refuses to perform some duty. Ascertaining that his master intends to turn him off, he repeats his former offence, dismisses himself, and saves his “face”.

                         To save one’s face and lose one’s life would not seem to us very attractive, but we have heard of a Chinese District Magistrate who, as a special favour, was allowed to be beheaded in his robes of office in order to save his face!”

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                    • evola_as_he_is
                      Be sure that the excerpts you have quoted from Ibn Zafar s work as well as from Smith s will find their proper place in the study we have undertaken in French
                      Message 10 of 11 , Mar 16
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                        Be sure that the excerpts you have quoted from Ibn Zafar's work as well as from Smith's will find their proper place in the study we have undertaken in French on the theatrification of both political and daily life. We were actually going to publish it, when we came across a book called 'Political actors' by Paul Friedland, which we have ordered, impressed as we are with the most perceptive argument developed in the parts available for preview. Anyone seriously interested in studying the 'occult war' is urged to read this preview carefully.
                      • rouesolaire
                        Further readings are proposed in this post. Dramatization of life may have appeared in China before appearing in Europe:
                        Message 11 of 11 , Mar 27
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                          Further readings are proposed in this post.

                          Dramatization of life may have appeared in China before appearing in Europe: http://www.theatrehistory.com/asian/chinese001.html, http://www.xip.fi/atd/china/the-early-history-of-chinese-theatre.html.
                          Here is a book entitled Chinese Theater: From Its Origins to the Present Day: https://books.google.fr/books?id=7fxWKB9jijgC&printsec=frontcover.

                          Contrary to what is often believed, the first trace of dramatization of life is located in Egypt, around 2000 BC: http://www.theatrehistory.com/origins/egypt001.html.

                          A Wikipedia article whose interest lies in its section "Ressources en ligne": http://fr.wikipedia.org/wiki/Th%C3%A9%C3%A2tre_de_l%27%C3%89gypte_antique. Do not miss the text entitled Origines égyptiennes du théâtre occidental : obscurantisme scolastique ou ignorance coupable ?

                          The first part of Dramatische Texte zu altägyptischen Mysterienspielen from the egyptologist Kurt Sethe, that is Das "Denkmal memphitischer Theologie". Der Schabakostein des Britischen Museums, is available at https://archive.org/details/untersuchungenzu04seth. The second part, Der dramatische Ramesseum-papyros : Ein Speil zur Thronbesteigung des Königs, is unfindable on internet.

                          A review of Le théâtre égyptien from Étienne Drioton: http://www.persee.fr/web/revues/home/prescript/article/jds_0021-8103_1943_num_4_1_2672.

                          An article on the ancient theatre of Egypt:
                          http://www.reshafim.org.il/ad/egypt/ceremonies/theatre.htm.

                          The thirteenth chapter of
                          The Origins of Theater in Ancient Greece and Beyond: From Ritual to Drama, Ritual Drama in Ancient Egypt, is in large part readable at https://books.google.fr/books?id=6co-gCG12iwC&printsec=frontcover.

                          The first chapter of The Mythological Traditions of Liturgical Drama: The Eucharist as Theater deals with the theatre of Egypt: https://books.google.fr/books?id=UmkGcEM0eMkC&printsec=frontcover.

                          Two short articles: 
                          http://www.ancientegyptianfacts.com/ancient-egyptian-theatre.html, http://semiramis-speaks.com/from-ritual-drama-to-ancient-theater/from-ritual-drama-to-ancient-theater-egypt/.
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