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- According to 'The Road of Cinnabar', as we pointed out in message 4,
Julius Evola once planned to write a 'Secret History of the Secret
Societies', but this project had to be abandoned, since the materials
he had gathered for it during his stay in Vienna, where he had been
invited by certain senior members of the S.S. to study Masonic
documents, were destroyed during a bombardment of the city.
His interest in occult history, in what is now called the 'conspiracy
theory', dates as far back as the period of the Ur&Krur group, with an
article called 'Remarks on Counter-Initiation' (signed Arvo). Further
evidence of his interest in this matter appears in the 1930's, with
the publication of 'The Instruments of the Occult War' in 1938 in La
Vita Italiana, and with his translation into Italian of the work of
Léon de Poncins and Emanuel Malinsky, 'La Guerre occulte'. This is how
the latter is defined : "The occult war is the war which the forces of
global subversion wage behind the scenes, by means which are almost
always invisible to ordinary methods of investigation. The notion of
occult war belongs, so to speak, to a three-dimensional vision of
history, in which history is not considered superficially, according
to two dimensions, those of the apparent causes, events, and leaders,
but in depth, according to its third, underground, dimension, which
contains decisive forces and influences often irreducible to the
simple human element, be it individual or collective."
After the Second World War, he published two articles on this topic in
1952, namely 'The Occult war' and 'Behind the Scenes of History', both
in Il Meridiano d'Italia. Some of the considerations put forward in
these texts are taken up again in a more systematic manner and
developed in 'Men among the Ruins' ; they concern essentially the
strategies, the tactics, the weapons, and the goals of the 'occult
war' and put forward the point of view and the points of reference
which must be assumed by those who, far from accepting passively the
current state of affairs, are determined to have a part in the defense
of traditional principles.
Other writings of his on the 'occult war' are gathered in
'Fenomenologia della sovversione', an anthology published by R. Del
Ponte, of which various excerpts have been quoted on this list. In
addition to writings on the concept of subversion, it contains
articles dealing with Communism in general and with Lenin in
particular, with the student movement of the 1960's, with the
fundamental notion of 'heterogeneity of ends', whereby, in most
operations, there often exists a more or less important difference
between the goals originally set and the goals actually reached by any
entity or individual. Some historical examples are given, among which
the notorious Jewish revolutionaries' trip across Germany in 1917 :
"In April 1917 Lenin and a party of 32 Russian revolutionaries, mostly
Bolsheviks, journeyed by train from Switzerland across Germany through
Sweden to Petrograd, Russia. They were on their way to join Leon
Trotsky to "complete the revolution." Their trans-Germany transit was
approved, facilitated, and financed by the German General Staff.
Lenin's transit to Russia was part of a plan approved by the German
Supreme Command, apparently not immediately known to the kaiser, to
aid in the disintegration of the Russian army and so eliminate Russia
from World War I. The possibility that the Bolsheviks might be turned
against Germany and Europe did not occur to the German General Staff.
Major General Hoffman has written, "We neither knew nor foresaw the
danger to humanity from the consequences of this journey of the
Bolsheviks to Russia."
(http://reformed-theology.org/html/books/bolshevik_revolution/chapter_03.htm.
This is a must read for anyone interested in what was going on
behind-the-scenes at that time, and which confirms fully J.Evola's
analysis of the facts, wiping out in the process the thesis, upheld by
A. Sutton in his much over-rated 'Wall Street and the Rise of Hitler'
and, henceforth, echoed in a repetitive and mechanical manner by most
conspirationists, according to which the assistance of the Germans for
the Bolshevik revolution would demonstrate an intrinsic collusion
between both sides).
Finally, a series of articles focus on 'occult war' in the ancient
Mediterranean world (see, for example,
http://members.tripod.com/thompkins_cariou/id14.html) and on the
Jewish hidden influence in history and in the field of ideas, of
culture, of politics, and of arts, whether in modern times
(http://members.tripod.com/thompkins_cariou/id34.html) or in ancient
times (the articles gathered in 'Il 'genio' d'Israele', one of which
showing that anti-Semitism, that is, a non religiously based
anti-Semitism, did exist in ancient Rome).
Most of these considerations, whether of the theoretical or of the
concrete and phenomenological order, are still fully valid in 2008,
and, as such, can help us find our bearings in the analysis and the
interpretation of what lies beyond the surface of current events and
facts, it being understood that those who are behind them do their
best, backed more or less consciously by the usual 'useful idiots', to
lead us astray.
In the meantime, however, there have been developments, new issues
have arisen, and various works and research have allowed us to
expand, to widen, to deepen our understanding and knowledge of the
third dimension of history. Michael Hoffman II's work is one of these.
He writes mainly on World War II revisionism, on the occult roots of
Freemasonry, on Talmudism and on the white slave trade. To stick to
the two latter topics, in 'Judaism's Strange Gods' (2000) and 'Judaism
Discovered : A Study of the Anti-Biblical Religion of Racism,
Self-Worship, Superstition and Deceit' (2008), more or less along the
lines of Evola, he provides evidence that modern Jewish orthodoxy
bears little relation to the Old Testament and leans instead on the
Talmud and the Mishna. In 'They Were White and They Were Slaves: The
Untold History of the Enslavement of Whites in Early America', a new
light is shed on the slave trade : "The de facto enslavement of whites
began with the enclosure acts (privatization of formerly public
grazing lands known as commons), which made paupers of the English
yeomanry and created an army of homeless and unemployed citizens
demonized by official history as England's fabled 'criminal
underclass' (the criminal overclass escapes this withering scrutiny).
The history of white slavery in Britain is found in the practice of
'kid-nabbing' (kidnapping) and the laws and customs that permitted
enslavement aboard ship of abducted farmers and laborers taken from
such notorious "crimping" ports as Glasgow. Malthusian scarcity
paradigms were later invented out of fear of the insurrectionist
potential of whites dubbed 'surplus poor,' who, in the seventeenth
century, were shipped to British America and the West Indies as
slaves, to toil unto death (not seven years) on sugar and tobacco
plantations as soon as colonies were established (Georgia was
envisioned as a white slave dumping ground and Virginia initially had
more white slaves than black ones)." 'They Were White and They Were
Slaves', however, should be taken cum grano salis, assuredly not with
respect to the facts, but with respect to some of the interpretations
which are given of slavery in general. As a matter of fact, there does
not seem to be any awareness of the "marked contrasts in the
fundamental attitude and the procedures of Hebrew and older [and, if
we may add, contemporary] Semitic slavery as compared with those of
the Greeks (and of the Romans)" ("The Slave Systems of Greek and Roman
Antiquity", William L. Westermann, 1955). His research on white slave
trade is summarised here :
http://www.youtube.com/watch?v=Ugo1YxZWWJ8&feature=related
Lately, it seems that Michael Hoffmann's blog has been censored. Well,
as the French say, "A tout malheur quelque chose est bon". Indeed, it
was filled with controversial statements about 'Zionism' and
'Zionists', two words which would recur every two sentences or so, not
to mention an anti-racist 'animus', probably caused solely by the will
to distance himself at any cost from the (zoological) racism of
'Zionists', and various puns such as 'aske-nazi', which do not do
justice to his remarkably enlightening work. The fact still remains
that some of his statements on other web sites are not devoid of
confusions. For instance :
"The white race --at least in its current degenerate state as
manifested in modern America-- is now the golem of the rabbis. Without
the unstinting financial and military support of America's white
leaders and white voters, the Israeli Zionists would not have
one-tenth their power in the world today.
As Dr. Tony Martin, professor of African History at Wellesley College
elucidated in his lecture The Judaic Role in the Black Slave Trade,
the root of anti-black racism is found in the Midrashic exegesis
concerning Noah's son, Ham. This insidious rabbinic doctrine in turn
influenced Freemasons and masonic sympathizers within and outside the
Ku Klux Klan (most notably Wesley Swift of "Seedline Identity"), who
taught the specious dogma that there is a Biblical basis for
anti-black racism, when in fact anti-black racism emanates from the
rabbis of Judaism, including the "greatest of them all" Maimonides,
and not the Patriarchs of the Old Testament.
The supremacy of whites in America such as George W. Bush, Donald
Rumsefeld, Dick Cheney, Jeb Bush, George Bush Sr., Justice Antonin
Scalia, the Speaker of the House, the Senate Majority Leader, the
Governor of New York etc. is synonymous with the rise of Judaic
supremacy. I repudiate white supremacy and Judaic supremacy with every
ounce of my being." (http://www.revisionisthistory.org/essay23.html0)
Leaving aside, on one hand, the highly questionable claim made in the
second paragraph and, on the other hand, the lucid acknowledgment that
the current white race is "degenerate" and that "white supremacism" is
likely to be an expression of Jewry, it is hard to believe that
someone as knowledgeable as him in Judaism can present a Jewish
political schemer such as Rumsfeld as being white and seems to forget
that the so-called 'neo-cons', who have been managing the United
States for a while more or less behind-the-scenes, are Jews for most
of them. It is hard to believe that, here, someone as versed as him in
the techniques of 'psychological warfare' can delude himself into
thinking that 'white voters' vote knowingly.
Perhaps, the main inspiration of his work lies in his ability to
decipher the "occult cyptocracy's orchestration of American history".
" In Secret Societies and Psychological Warfare, Michael A. Hoffman II
deftly charts out the workings of the cryptocracy, a cadre of smoke
screened power mongers who attempt to control the world via a series
of orchestrated events such as the Kennedy assassination, the Manson
and Son of Sam murders, 2001: A Space Odyssey (both book and movie),
the gunning down of John Lennon, the Oklahoma City bombing and quite
possibly the recent 9-11 tragedy as well. Employing a peculiar yet
engaging brand of arcane hermeneutics, Hoffman sets out to unveil how
these events have been mediated in ways which manipulate the
consciousness of the masses, thus easily swaying the populace into
obeying the dictates of what he believes is the Freemasonically
controlled state. The author fortifies his argument by citing examples
of mind control not only from popular culture movies such as
Videodrome and Nightmare on Elm Street but also with some erudite
references to secret societies and their unsavory intrigues as well.
His take on Christopher Marlowe's plays Dr. Faustus and Tamburlaine as
thinly veiled polemics directed at John Dee (whose code name was 007)
and his role in the creation of the British Empire via a sophisticated
espionage network is something that is rarely mentioned in most
mainstream books covering the Elizabethan era. The official storyline
which has been fed to us for all these centuries is that Marlowe died
in a 'tavern brawl'. It is more likely, according to Hoffman, that he
was assassinated by Ingram Frizer, one of Queen Elizabeth's espionage
agents, for daring to expose the occult origins of her magical control
of the empire. Secret Societies and Psychological Warfare is peppered
with such historical gems throughout. It is these kind of references
that make Hoffman's book so intriguing.
Implicated in Hoffman's agile segueway from Elizabethan erudition to
Hollywood crassness, is a subtle hint that mind control can come in
many forms and disguises. He just as easily dissects movies such as
The Matrix as well as obscure kabbalistic texts from the 15th century
which describe recipes for conjuring Golems in order to make the
multivaried forms of mental exploit self evident. Mark's etymological
command makes his unusual tome worth reading, helping readers get to
the roots of what is called 'twilight language', an occult
nomenclature which only 'initiates' ever can understand, yet
influences us all in the most insidious and ambiguous of ways. In the
author's occult analysis of Catholicism, for example, we discover that
Vatican, comes from the Latin word Vates, meaning Prophet. 'The
Vatican is located on an ancient crossroads that was once the site of
the temple of the oracle of Apollo, whose prophecies were called
vaticinia.' Hoffman reminds us, lest we forget the true origins of
Catholicism, especially considering what is going down in Rome these days.
Another standard ingredient in twilight language is, of course, the
pun. Hoffman encourages us, indirectly, to pay close attention to the
pun(dit) riddled newscasts, advertisements, movies and newspapers we
are blitzkrieged with on a daily basis so that we can grasp the sleazy
underhandness of Freemasonic indoctrination. As a grim example of
twilight punning, the test site of the world's first nuclear
detonation is named Trinity, just a few miles, as the raven flies from
Truth or Consequences, New Mexico which can be arrived at by passing
through Jornada Del Muerto via Route 66, a Freemasonically designed
roadway according to the author. Secret Societies and Psychological
Warfare will heighten your awareness of these manipulations and will
assist you in warding off the intended malign effects of twilight
language. I recommend taking a look at Mr. Hoffman's essay on the
Unabomber spectacle in Apocalypse Culture II and how puns, mystical
toponomies and other twilighted fare were fed the public in a way
which only encouraged morbid fascination and nothing else. No doubt
these very things are being used to promote the 9-11 tragedy to public
at the moment."
Interestingly enough, the fifth chapter of 'Secret Societies and
Psychological Warfare' is called 'Flattery : First Principle of Mind
Control'. - This is of interest: "Golem: Myth, Magic or Machine":
http://ie.youtube.com/watch?v=52AfWzhaHVs
Watching it reminded me of a comic I saw as a kid in which a force
used machine-dogs as a ´golem´. Upon refreshing my memory by looking
at a picture I saw that the jew Frank Miller (of great Hollywood fame
nowadays) was behind the comic:
http://www.newkadia.com/Covers/L/R/Robocop%20versus%20The%20Terminator/robocopversustheterminator3.jpg - This, as well as a number of other themes elaborated by Evola, remind
one of comic books, often with astounding resemblance.
What's even more astounding, and also rather worrying, is that some
people should take this fact to raise doubts, with all the seriousness
and euphemisation of someone "into conspiracy theories", about the
comic books, instead of making those people wonder about the nature of
their beliefs...
--- In evola_as_he_is@yahoogroups.com, "Thulean Imperial Inquisitor"
<asbrekka@...> wrote:>
http://www.newkadia.com/Covers/L/R/Robocop%20versus%20The%20Terminator/robocopversustheterminator3.jpg
> This is of interest: "Golem: Myth, Magic or Machine":
> http://ie.youtube.com/watch?v=52AfWzhaHVs
>
> Watching it reminded me of a comic I saw as a kid in which a force
> used machine-dogs as a �golem�. Upon refreshing my memory by looking
> at a picture I saw that the jew Frank Miller (of great Hollywood fame
> nowadays) was behind the comic:
>
- With all due respect, I'm not sure what you're saying (English isn't my native language). If you're implying that I was comparing Evola to a comic-book character that'd be a misunderstanding: I was not.
My previous message relates to the contents of [the moderator]'s post (in which Hollywood and Golems are mentioned) in obvious ways. - In his writings on ancient Rome, J. Evola, probably inspired by de
Gobineau's considerations on the rise and fall of ancient
civilisations, made a decisive point both from the historical point of
view, a point which historians would be well inspired to take in
consideration in their works, and from the point of view of the
'occult war' : a civilisation arises from a formative force, which,
whether of the solar or of the lunar nature, shapes it thoroughly,
from top the domain of the sacred to bottom the economic plane,
while being 'challenged' on every plane and in every domain by an
antithetical force. The story of each civilisation consist of the
fight, the struggle, the war, between both forces, whose various
battles have been evidenced and analysed by J. Evola in the historical
vicissitudes of ancient Rome. So long as the force that formed and
shaped a given civilisation remains powerful and prevails on that of
its antithetical force, which acts as destructive element, it
flourishes and fulfils itself, and so does its race. As soon as this
influence weakens and loses in creative and conservative power, it
decays. Just as, as rightly seen and stressed by J. Evola, there is no
longer any pure race at this stage of the present cycle of
manifestation, so there is no pure civilisation, that is, no
civilisation reflecting perfectly the nature and the structure of the
Idea, of the force from which it is the manifestation on the material
plane.
Civilisations, even ancient ones, were not enclosed spaces, they
interacted with and influenced each other constantly, more or less
directly, more or less visibly, for better or worse. One of the main
tasks of their respective leaders, who should be aware of this
phenomenon of communicating vessels and be clairvoyant enough to see
exactly and to assess the set of opposed influences at work in their
own civilisation, is to see to it that the principles on which the
latter is based maintain their predominance over alien principles and
values, it being understood that any kind of influence, no matter how
positive and creative it can be in the civilisation in which it
originates and develops, can turn out to be negative and harmful, as
soon as it spreads to another. The representatives of the Roman
aristocracy who opposed the coming of various Great Mothers from Asia
Minor to Rome from the early sixth century to the early first century
B.C. acted along these lines.
On that basis, let us instance this law of mutual differentiated
influences with an example taken from our times : the manga phenomenon
; even though some authors claim that there is a cultural and
aesthetic continuity between pre-WWII Japanese art and mangas, it is
hard to deny that mangas have not been influenced by the images and
the themes contained in the American comics and funnies brought to
Japan by the GI's during the American occupation of Japan (1945-1952),
images and themes which derived greatly from American cartoons,
particularly from those of the Freemason Walt Disney, a close friend
of the Freemason Reagan. As it turned out, the whole thing has
backfired, and, for 15 years or so, western comics and cartoons,
whether Jewish made or not, have been greatly influenced by mangas,
which, loaded as they are with the self-destructiveness of post-WW2
Japanese psyche, play a part in the brainwashing of what's left of
western youth. Incidentally, one of the various aspects of media
brainwashing in the broad sense is related, mainly by means of
so-called 'science fiction' works, to the conditioning of the
populace's mind to dramatic events and scientific discoveries to come
in a more or less imminent future (see, for instance, `Secret Message
of Jules Verne : Decoding his Masonic, Rosicrucian, and Occult
writings', M. Lamy, 2007) and, in the process, to test its reactions
to these 'literary' stimuli.
What's of particular interest to us now in 'The Golem - Israel's
Nuclear Hell Bomb and the Road to Global Armageddon' is that,
according to the author, "Clinton went up against the Golem". Nothing
can be further from the truth. "Our" government under Presidents
Reagan, Bush and Clinton, has provided, under the euphemism of
education (for example, House Joint Resolution 173 and Public Law
102-14), a groundwork for the establishment of Talmudic "courts of
justice" to be administered by disciples of Shneur Zalman's Chabad
successor, Rabbi Menachem Mendel Schneerson."
(http://www.revisionisthistory.org/talmudtruth.html).
Having said that, the book seems to be worth reading.
--- In evola_as_he_is@yahoogroups.com, "Thulean Imperial Inquisitor"
<asbrekka@...> wrote:>
http://www.newkadia.com/Covers/L/R/Robocop%20versus%20The%20Terminator/robocopversustheterminator3.jpg
> This is of interest: "Golem: Myth, Magic or Machine":
> http://ie.youtube.com/watch?v=52AfWzhaHVs
>
> Watching it reminded me of a comic I saw as a kid in which a force
> used machine-dogs as a ´golem´. Upon refreshing my memory by looking
> at a picture I saw that the jew Frank Miller (of great Hollywood fame
> nowadays) was behind the comic:
>
- By the way, Frank Miller is also the director of 'Sin City', a blood's bath recyclings all imaginary dregs of Manga and comic books with a sure impact on the teen minds.About Walt Disney, he was not only a Mason, an alcoholic, afflicted by the syndrome of Lolita, but was also an informator of the FBI all through 25 years. All things hardly coming out, like the brothels and the syphilis of Einstein.(Sources: 'Walt Disney, Hollywood's Dark Prince' by M. Eliot; 'Private Lives of A. Einstein' by R. Highfield and R. Carter. Also quoted by J.G. Ballard in 'A User's Guide to the Millenium').------- Original Messages from:evola_as_he_isThulean Imperial Inquisitorlarco_e_laclava
- He's also the creator of the fictional retelling of the Battle of
Thermopylae, 300. Do you also find any thing objectionable in this
comic/movie? I would doubt it, given that it contains all the right
themes to excite an Evolian imagination: oiled-up and muscled
Spartans warriors, scorn for physical deformity and inferiority, free,
superior and warrior-ruled West versus enslaved, sensual and priestly
East, and just the right dialogue to suggest that testosteronic
elation one gets only by reading the titles of Heathen Imperialism,
Men Among the Ruin or even the Order of the Iron Wreath ... quite the
Jew, Miller! -- who, by the way, I hope is not reading this topic, or
he'd be having a hell of a laugh, and perhaps feel inspired to author
a comic about a cute group of Internet warriors...
- I do wonder, if we'd be (mere) internet-warriors, and you (presumably) not; what'd you be?
Since you bring the discussion to this level, larco_e_clava, one could also wonder: if the internet had existed at Evola's time (was already outlined when he was a teen: see for example Tesla's autobiography), (do you think) would he have used it? Or would he only have used
offline typewriters?
I am not unfamilar with "300" as I read the graphic-novel years before anyone knew that a movie was coming. The Hollywoodesque Jew Frank Miller did not invent the old tale of the heroic 300 Spartans. He did however rewrite it; with messages of his (and his kin's) own: filled with modern 'Clash of Civilizations' neo-politics. I even read about that agenda in a local, very mainstream, newspaper on my island. I read about it too, on dozens of mainstream websites which have no easily observable relation to us 'conspiracy-theorists'. I read about it in an offline interview with an Iranian, who wasn't all-too-happy about his forfathers, which he said were blue-eyed Aryans, being depicted as Afro-barbarian hordes. But lets just see what mister Miller himself says: - So what? There is a hundred times more articles that want '300' a
movie promoting white supremacy, among other things.
Granted, the corrosive Jewish influence in the Western cultural sphere
has been pointed out more or less accurately in Evola's book on the
Jewish problem, and Mr. Miller, in saying that his duty is "to use all
of our skills to address, to satirize,to amuse," seems to make a point
to that effect. However, Evola also underlined that individual Jews
acting in the cultural sphere such as Miller are certainly not
scheming for subversion, for instance when he writes that "while
acknowledging the negative action that the Jewish element diffused in
the fabric of the various non-Jewish nations has often exerted, either
as a dinsintegrating and debasing 'intelligence'...we found extremely
problematic the anti-Semitic argument according to which this action
would be consonant with a pre-established plan, a real conspiracy of
the Jewish innate character," furthermore adding that "if, in relation
to the decay of civilisation in recent times, we have to speak of a
plan, we have already seen that it must be conceived as a plan in
which the Jewish elements is only an instrument of 'influences' whose
real centre lies in a sphere very different from that which is merely
conditioned by the 'souls' of the races" (p. 33). So perhaps next time
you can spare us all this raving non-sense about conspirational
scientists working in conjunction with cartoonists to pave the way for
a robotic Golem bent on exterminating the West. So-called
anti-Semitism has becomes pathetic and has lost all seriousness
because of preposterousness like that, and the people engaged in it do
not realise that they are just as much tools in the forces proper to
this period in the West as are Jews such as Miller.
Obviously, I have no problems with the Internet, nor with the people
who use it, but rather with selective research and when the frontiers
between speculation and fact, propaganda and research, ravings and
erudition blur, which is made all the worse when embittered people,
mystefiers or simply imbeciles are given access to the Internet.
--- In evola_as_he_is@yahoogroups.com, "Thulean Imperial Inquisitor"
<asbrekka@...> wrote:>
http://www.davidduke.com/general/the-movie-300-neocon-racial-propaganda-\
> I do wonder, if we'd be (mere) internet-warriors, and you (presumably)
> not; what'd you be?
> Since you bring the discussion to this level, larco_e_clava, one could
> also wonder: if the internet had existed at Evola's time (was already
> outlined when he was a teen: see for example Tesla's autobiography), (do
> you think) would he have used it? Or would he only have used
> offline typewriters?
>
> I am not unfamilar with "300" as I read the graphic-novel years before
> anyone knew that a movie was coming. The Hollywoodesque Jew Frank Miller
> did not invent the old tale of the heroic 300 Spartans. He did however
> rewrite it; with messages of his (and his kin's) own: filled with modern
> 'Clash of Civilizations' neo-politics. I even read about that agenda in
> a local, very mainstream, newspaper on my island. I read about it too,
> on dozens of mainstream websites which have no easily observable
> relation to us 'conspiracy-theorists'. I read about it in an offline
> interview with an Iranian, who wasn't all-too-happy about his
> forfathers, which he said were blue-eyed Aryans, being depicted as
> Afro-barbarian hordes. But lets just see what mister Miller himself
> says:
> If, Brownstein asked, images have that much power, as indicated by the
> so called cartoon jihad that sprung up as a result of a Danish cartoon,
> then what in Miller's opinion is the responsibility of the image makers.
>
> Miller believes that the "cartoon jihad" is simply another ploy to raise
> the anger of an element that is dedicated to the downfall of
> civilization, and not a true and natural reaction to the art.
>
> The jihadists are being written off, much like how the civilized world
> tried to convince itself that Hitler wasn't a real threat. Because the
> goal of world domination seems crazy to us, we convince ourselves they
> can't succeed. This is a response that, by Miller's estimation, is not
> serving western civilization well.
>
> [...]
>
> Comics can affect culture byallowing the world in, reflecting what we
> see. There is a reason,Miller says, that most of the great comics heroes
> were created byJewish people that lived through the early part of the
> century. To acertain extent, they were creating a golem, a hero they
> needed toexist. Their comics were a response to they times they lived,
> somethingthat comics have largely gotten away from and need to return if
> they'regoing to be a significant voice in modern culture.
>
> [...]
>
>
> The Spartans [in his book] are definitely [Miller's] Spartans, and while
> they might not be perfectly historically accurate, they sure look cool
> [as you evidently think, larco_e_clava].
>
>
>
>
> Miller feels that the story of "300"-- where a small band ofSpartan
> warriors fend off a vast Persian army in a battle that probablysaved
> modern civilization-still has relevance today, reflecting thestruggle in
> the middle east and the fight of modern society againstcertain
> fundamentalist Islamic groups.
> [http://www.comicbookresources.com/?page=article&id=6560]
>
>
> Superheroes, Miller asserted, are "folk heroes. How can a folk herohave
> nothing to do with folk?" These days, he continued, we're "now ina clash
> of civilizations," and "superheroes should be front andcenter."
>
> Brownstein asked Miller whether superheroes are too "preposterous"to be
> used in such a context. Miller answered with a rhetoricalquestion: "What
> made Achilles relevant?" In his view, Miller explained,superheroes are
> "gods," �not the ones we worship, but more likemythological gods
> "who live among us." Moreover, thanks to theirpopularity, superheroes
> afford Miller "the biggest megaphone I canfind."
>
> [...]
>
> Brownstein asked why superheroes have become so popular in film andother
> media in recent years. "My guess is that the audience is reactingto
> mythology in everything from Superman to Batman to Sin City,"
> Millersaid, noting that each "plays on themes that are really ancient."
> [...]
>
> [...]
>
> And what about those people who don't want political themes in
> theircomics and "just want pure escapism," asked Brownstein. "There are
> anawful lot of people [in mainstream comics] who are giving them
> justthat," Miller replied. "But I am out to provoke." [...]
>
> [...]
>
>
> Asked to respond to the controversy over those Danish cartoons andthe
> angry, violent Muslim response? "The harsh truth is that we'refacing an
> enemy that keeps telling us what they are and what theywant," declared
> Miller, adding that people refuse to believe it. "Theyhave made it plain
> they want to exterminate the Jews, to bring down theWest, to achieve
> world dominion," Miller warned, likening Islamicextremists to the Nazis
> in the 1930s.
>
> Miller described the rage over the cartoonists as "a trumped-upstunt,"
> and said radical Muslim leaders are just "looking for somethingto yell
> about." He concluded, "It's just pathetic. If people can'tstand cartoons
> about religion, they've got a problem."
>
> Miller said he regards the cartoonist as an "assassin" who firesarrows
> with rubber suckers on one end. Miller maintained that the dutyof a
> cartoonist is "to use all of our skills to address, to satirize,to
> amuse." By doing so, he continued, cartoonists are "getting back totheir
> roots." He pointed out that all of the major superheroes of the1940s
> were created by Jews during a time of anti-Semitic persecution:"Superman
> was a golem." And while he said that he "won't tell JeffSmith that Bone
> has got to [go on a political] crusade," Millernonetheless issued a call
> to his fellow comics pros: "Let's revive ourtradition and get back on
> the job."
>
>
> [http://www.publishersweekly.com/article/CA6311604.html%5d
>
> Being the 'conspiracy theorist' that I am, and having cited too many
> mainstream sources, I really most throw in one other crackpot like me:
>
- Add to that--and the ad hominem is perfectly justified--that one is
not in the best position to speak so fiercely, as it would seem,
against comics and mangas when one has these publicly listed in one's
"hobbies".
--- In evola_as_he_is@yahoogroups.com, "Thulean Imperial Inquisitor"
<asbrekka@...> wrote:>
http://www.davidduke.com/general/the-movie-300-neocon-racial-propaganda-\
> I do wonder, if we'd be (mere) internet-warriors, and you (presumably)
> not; what'd you be?
> Since you bring the discussion to this level, larco_e_clava, one could
> also wonder: if the internet had existed at Evola's time (was already
> outlined when he was a teen: see for example Tesla's autobiography), (do
> you think) would he have used it? Or would he only have used
> offline typewriters?
>
> I am not unfamilar with "300" as I read the graphic-novel years before
> anyone knew that a movie was coming. The Hollywoodesque Jew Frank Miller
> did not invent the old tale of the heroic 300 Spartans. He did however
> rewrite it; with messages of his (and his kin's) own: filled with modern
> 'Clash of Civilizations' neo-politics. I even read about that agenda in
> a local, very mainstream, newspaper on my island. I read about it too,
> on dozens of mainstream websites which have no easily observable
> relation to us 'conspiracy-theorists'. I read about it in an offline
> interview with an Iranian, who wasn't all-too-happy about his
> forfathers, which he said were blue-eyed Aryans, being depicted as
> Afro-barbarian hordes. But lets just see what mister Miller himself
> says:
> If, Brownstein asked, images have that much power, as indicated by the
> so called cartoon jihad that sprung up as a result of a Danish cartoon,
> then what in Miller's opinion is the responsibility of the image makers.
>
> Miller believes that the "cartoon jihad" is simply another ploy to raise
> the anger of an element that is dedicated to the downfall of
> civilization, and not a true and natural reaction to the art.
>
> The jihadists are being written off, much like how the civilized world
> tried to convince itself that Hitler wasn't a real threat. Because the
> goal of world domination seems crazy to us, we convince ourselves they
> can't succeed. This is a response that, by Miller's estimation, is not
> serving western civilization well.
>
> [...]
>
> Comics can affect culture byallowing the world in, reflecting what we
> see. There is a reason,Miller says, that most of the great comics heroes
> were created byJewish people that lived through the early part of the
> century. To acertain extent, they were creating a golem, a hero they
> needed toexist. Their comics were a response to they times they lived,
> somethingthat comics have largely gotten away from and need to return if
> they'regoing to be a significant voice in modern culture.
>
> [...]
>
>
> The Spartans [in his book] are definitely [Miller's] Spartans, and while
> they might not be perfectly historically accurate, they sure look cool
> [as you evidently think, larco_e_clava].
>
>
>
>
> Miller feels that the story of "300"-- where a small band ofSpartan
> warriors fend off a vast Persian army in a battle that probablysaved
> modern civilization-still has relevance today, reflecting thestruggle in
> the middle east and the fight of modern society againstcertain
> fundamentalist Islamic groups.
> [http://www.comicbookresources.com/?page=article&id=6560]
>
>
> Superheroes, Miller asserted, are "folk heroes. How can a folk herohave
> nothing to do with folk?" These days, he continued, we're "now ina clash
> of civilizations," and "superheroes should be front andcenter."
>
> Brownstein asked Miller whether superheroes are too "preposterous"to be
> used in such a context. Miller answered with a rhetoricalquestion: "What
> made Achilles relevant?" In his view, Miller explained,superheroes are
> "gods," �not the ones we worship, but more likemythological gods
> "who live among us." Moreover, thanks to theirpopularity, superheroes
> afford Miller "the biggest megaphone I canfind."
>
> [...]
>
> Brownstein asked why superheroes have become so popular in film andother
> media in recent years. "My guess is that the audience is reactingto
> mythology in everything from Superman to Batman to Sin City,"
> Millersaid, noting that each "plays on themes that are really ancient."
> [...]
>
> [...]
>
> And what about those people who don't want political themes in
> theircomics and "just want pure escapism," asked Brownstein. "There are
> anawful lot of people [in mainstream comics] who are giving them
> justthat," Miller replied. "But I am out to provoke." [...]
>
> [...]
>
>
> Asked to respond to the controversy over those Danish cartoons andthe
> angry, violent Muslim response? "The harsh truth is that we'refacing an
> enemy that keeps telling us what they are and what theywant," declared
> Miller, adding that people refuse to believe it. "Theyhave made it plain
> they want to exterminate the Jews, to bring down theWest, to achieve
> world dominion," Miller warned, likening Islamicextremists to the Nazis
> in the 1930s.
>
> Miller described the rage over the cartoonists as "a trumped-upstunt,"
> and said radical Muslim leaders are just "looking for somethingto yell
> about." He concluded, "It's just pathetic. If people can'tstand cartoons
> about religion, they've got a problem."
>
> Miller said he regards the cartoonist as an "assassin" who firesarrows
> with rubber suckers on one end. Miller maintained that the dutyof a
> cartoonist is "to use all of our skills to address, to satirize,to
> amuse." By doing so, he continued, cartoonists are "getting back totheir
> roots." He pointed out that all of the major superheroes of the1940s
> were created by Jews during a time of anti-Semitic persecution:"Superman
> was a golem." And while he said that he "won't tell JeffSmith that Bone
> has got to [go on a political] crusade," Millernonetheless issued a call
> to his fellow comics pros: "Let's revive ourtradition and get back on
> the job."
>
>
> [http://www.publishersweekly.com/article/CA6311604.html%5d
>
> Being the 'conspiracy theorist' that I am, and having cited too many
> mainstream sources, I really most throw in one other crackpot like me:
>
- Most, if not all, western Medias are Jewish-owned. Art (business) is
Jewish-owned. The whole movie industry is Jewish-owned. Just as, in
any ancient civilisation, any work of art was influenced and even
shaped by the world-outlook of those who were in power, so it is quite
clear that any current cultural product is bound to reflect to a
greater or lesser extent the Jewish forma mentis in the broadest sense
of the term. A difference between arts in ancient civilisation and
arts in modern ones is that, in the latter, arts have become, in
various respects, a means of antitraditional propaganda, whereas, in
the former, they were a natural manifestation of the respective genius
of the civilisation in which they originated and flourished, rooted in
transcendental archetypes and, thus, far from any need for
originality. On the cultural plane too, a war is currently being
fought, by means of the most popular arts : music, television, movies,
cartoons, etc.
We are only stating the obvious. Coherence requires that Westerners
who are aware of the cultural aspect of the 'occult war' ask
themselves how art forms produced by individuals whose world-outlook
is radically opposed to the Western traditional one could possibly
express and, so to speak, manifest the latter. Save exceptions - very
few exceptions, which are basically so rare that we may feel like
dealing with one of them, from a non-cinematographic standpoint, in a
post -, history movies are either mere parodies or have more than one
parodic aspects. One thing is to deny purely and simply tradition (in
the Guenonian terminology, this is the main task of anti-initiation),
another thing is to parody it (still in his terminology, this is the
main goal of counter-initiation). There are various levels of parody,
from the consciously antitraditional one (see, for instance,
'Alexander') to the purely politically-motivated one, to which there
is no doubt that '300' belongs (Teheran's main newspaper was not wrong
in headlining, the day the movie was released in the United States :
"Hollywood has opened a new front in the war against Iran", but did
not go so far as to use a synonym for Hollywood : "Jewry"). That
Alexander speaks just like a 'neo-cons', just as, leaving aside the
incommensurable gulf which exists between their rigid and heavy
rhetoric and the elegance, the simplicity and the power of
alexandrines such as Racine's, Phedre, in the latter's well-known
tragedy, sounds and behaves like a lady of contemporary nobility.
No matter how caricatural it may seem at first sight, there appears to
be something subtle about a Hollywood movie like '300', something
unusually subtle which does not seem to have been perceived by those
who have come down strongly on it, including Iranians, who have
criticised it in various respects, but not in the name of their Aryan
origins, which, however, as de Gobineau noticed, were obliterated by
other racial elements a long time ago. '300' is often seen as an
exemplification of the thesis of the 'clash of civilisations', whose
postulate is that religion is one of the two main factors triggering
local and international conflicts in twenty-first century wars . Do
religious factors play a decisive part in the conflict between these
Spartans and these Persians ? They don't. The latter are not described
at all as religious fanatics or 'fundamentalists', but as warriors.
Besides, while Xerxes is depicted as a sort of monster in Miller's
comic book series and with Asian features in Herodotus, he has a
rather androgynous appearance in the movie.
Besides, Xerxes' army was far more cosmopolitan than that which is
showed in the movie and all one has to do to realise this is to read
a passage of the seventh book of Herodotus where Persian forces are
reviewed :
"Descriptions of the contingents of the Persian army and allies,
including commanders and types of armament (61-80). 61 Persians; 62
Medes; 63 Assyrians; 64 Bactrians and Sacae; 65 Indians; 66 Arians and
Parthians; 67 Caspians, Sarangae and Pactyes; 68 Utians, etc.; 69
Arabians and near-Egyptian Ethiopians; 70 Eastern or Libyan
Ethiopians; 71 Libyans; 72 Paphlagonians and Cappadocians; 73
Phrygians; 74 Lydians; 75 Thracians; 76 Pisidians? ; 77 Cabalians and
Milians; 78 Moschians, etc.; 79 Marians, Colchians, etc.; 80 Red Sea
islanders. Command levels by multiples of ten (81). The high command
is described (82). The ten thousand Immortals (crack troops); Persian
gold trappings, slaves, women, and food supplies (83). Cavalry (84).
The Sagartian cavalry and their lasso use (85). Other cavalry
contingents; cavalry, chariots, and camels (86). Total cavalry said to
number 80,000 (87). Cavalry commanders; the accident of Pharnuches
(88). Description of ships in the Persian navy, and armaments of the
marines (89-98). Total triremes (warships) said to number 12,007. 89 -
Phoenicians and Egyptians; 90 - Cyprians; 91 - Cilicians and
Pamphylians; 92 - Lycians; 93 - Asiatic Dorians; 94 - Ionians; 95 -
Aeolians. The superiority of the Phoenician navy; Hdt.'s decision not
to name the native commanders (96). The admirals and other naval
champions. 3,000 smaller ships (98). Queen Artemisia of Halicarnassus;
her wisdom and courage (99). Xerxes reviews the troops on land and sea
(100)."
Xerxes' army is also described as an army of slaves : "They [the
barbarians] have abundance of gold, of silver, and of brass ; they
enjoy a profusion of every article of dress, have plenty of cattle,
and a prodigious number of slaves" ('Herodotus', translated from the
Greek by W. Belloe, London, 1812). The battle of Thermopylae has been
held both by ancient and modern authors as an example of the
superiority of an army of native freemen defending their homeland to
secure it from tyranny. The U.S. army, which the spectator is supposed
to be led to see behind-the-scenes, is as cosmopolitan, as ineffective
and relatively as numerous as Xerxes' (according to Herodotus, Xerxes
amassed an army and a fleet numbering over 5,000,000 men, a number
ruled out as "exaggerated" by many modern historians) was. In this
context, the freedom exalted here is the shapeless and destructive
democratic one, that of the slave in the Aristotelian sense. A
dialogue is typical of the feelings which modern democratic
governments of countries at war strive to instill in their population
: when, after his son was killed by a Persian, Captain tells Leonidas
: "I fill my heart with hate", the latter replies, "Good".
In '300', the Delphic oracle, surrounded with horribly disfigured
Ephors, foretells doom if Leonidas sallies forth into combat during
the festival of Carneia. While visiting the oracle, Leonidas is warned
: "Trust the gods. Your blasphemies have cost us enough already." The
king dismisses the Ephors as "diseased old mystics" and, as such,
could be considered as a blasphemer, as an outlaw, hadn't the Ephors
been depicted as secretly taking bribes from Xerxes to deter the
Spartans from going to war. In dismissing corrupt and lascivious
representatives of the law, Leonidas thus appears as a righteous and
even pious man : he tells his troops to "pray to the gods" and a
storm which sinks a great number of Persian ships is attributed to
Zeus' wrath. Given recent history, it is quite easy to see how this
scenario could be applied to the United States warmongering against
various Asian countries.
Herodotus' account is quite different. Sparta, as was customary before
setting out to war, did consult the oracle, which made the following
prophecy :
O ye men who dwell in the streets of broad Lacedaemon!
Either your glorious town shall be sacked by the children of Perseus,
Or, in exchange, must all through the whole Laconian country
Mourn for the loss of a king, descendant of great Heracles.
He cannot be withstood by the courage of bulls nor of lions,
Strive as they may; he is mighty as Jove;
there is nought that shall stay him,
Till he have got for his prey your king, or your glorious city.
Thus, the Delphic oracle does not counsel Leonidas against war. In
fact, she does not even speak to him. She speaks to all Spartans,
providing them with an alternative : either their city will be
destroyed by the Persians or it can be saved by the sacrifice of Leonidas.
"[Leonidas] had come to Thermopylae, accompanied by the 300 men which
the law assigned him, whom he had himself chosen from among the
citizens, and who were all of them fathers with sons living. The force
with Leonidas was sent forward by the Spartans in advance of their
main body, that the sight of them might encourage the allies to fight,
and hinder them from going over to the Medes [Persians] They intended
presently, when they had celebrated the Carneian festival, which was
what now kept them at home, to leave a garrison in Sparta, and hasten
in full force to join the army. The rest of the allies also intended
to act similarly; for it happened that the Olympic festival fell
exactly at this same period. None of them looked to see the contest at
Thermopylae decided so speedily; wherefore they were content to send
forward a mere advanced guard "
So, truly, he had the law on his side, and the decision to hold back
the army was not motivated in any way by a pacifist tendency, as
suggested in '300'.
The author of 'The Host and the Parasite', despite the democratic
prejudices which spurred him to call Sparta a "police-state", rightly
notes that "the interconnectedness among the Greek city-states is
almost entirely absent. Although Miller does show 1,000 Arcadians
joining Leonidas's forces, this is depicted as an incidental offer,
rather than a deliberate attempt by Leonidas to recruit allies. In
all, 4,0005,000 Greeks from Corinth, Philius, Mycenae, Thespis,
Thebes, Phocis and other cities came to Thermopylae led by their own
captains", and that, both in '300' and in Herodotus, Leonidas is
showed as having "deliberately sacrificed Spartan, Theban and Thespian
lives in futile battle" "rather than retreat to a more defensible
position like the Isthmus of Corinth." Whether the Greek stand at
Thermopylae was wasteful or heroic, it did give the Athenians time to
flee the city for the safety of Tiryns and the Island of Salamis
before Xerxes's army sacked it. For that reason, the Spartans and
other Greeks at Thermopylae are justifiably revered as defenders of
Greek independence."
In conclusion, let us now make a general statement.
Any product marketed by the forces of antitraditional subversion is
caracterised by the mix of a few factual truths with falsehoods and
utter lies, the former being used as lures to lead one astray and to
persuade one that the latter are actually truths.
--- In evola_as_he_is@yahoogroups.com, "larco_e_laclava"
<larcoelaclava@...> wrote: - I am curious about this exception you mention.
---In evola_as_he_is@yahoogroups.com, <evola_as_he_is@...> wrote :
Coherence requires that Westerners who are aware of the cultural aspect of the 'occult war' ask themselves how art forms produced by individuals whose world-outlook is radically opposed to the Western traditional one could possibly express and, so to speak, manifest the latter. Save exceptions - very few exceptions, which are basically so rare that we may feel like dealing with one of them, from a non-cinematographic standpoint, in a post -, history movies are either mere parodies or have more than one parodic aspects.
- Some of these exceptions are 'Triumph des Willens' and 'Die Ewige Jude", and, on a totally different level, 'Twin Peaks' (see Mulholland Drive
evola_as_he_is@{{emailDomain}}