In order to understand both the spirit of Tradition and its antithesis, modern civilization, it is necessary to begin with the fundamental doctrine of the two natures. "No idea is as absurd as the idea of progress, which together with its corollary notion of the superiority of modern civilization, has created its own "positive" alibis by falsifying history, by insinuating harmful myths in people's minds, and by proclaiming itself sovereign at the crossroads of the plebeian ideology from which it originated. In what many consider to be his masterwork, Evola contrasts the characteristics of the modern world with those of traditional societies, from politics and institutions to views on life and death.
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(28)īut he also makes the reverse claim: that the aesthetic point of view can create the aesthetic object. One of Bourdieu’s main points is that the object determines its subject:Īny legitimate work tends in fact to impose the norms of its own perception and tacitly defines as the only legitimate mode of perception the one which brings into play a certain disposition and a certain competence. “Taste classifies, and it classifies the classifier” (6). This detachment is the product of “negative economic necessities-a life of ease-that tends to induce an active distance from necessity.” Thus the aesthetic gaze rebounds onto the stylization of life itself: form is privileged over function, manner over matter. Not only this, but the pure aesthetic is rooted in an ethics, or rather, an ethos of elective distance from the necessities of the natural and social…and takes the bourgeois denial of the social world as its limit” (5). He argues that the ability to engage in aesthetic judgment at all depends on a certain amount of cultural competency (“to see (voir) is a function of knowledge (savoir)” (2)). Bourdieu’s project, as he describes it, is to perform the “barbarous reintegration of aesthetic consumption into the world of ordinary consumption,” which in turn “abolishes the opposition which has been the basis of high aesthetics since Kant, between the ‘taste of sense’ and the ‘taste of reflection’” (6). Since it’s late in the morning now, the orderly is unable to exempt any more workers. When able to leave, he reports to the dispensary. He’s sent to the guardhouse & forced to clean it for oversleeping-a minor punishment. The final paragraph suggests he serves the term, but whether this is merely a hope is left for readers to decide. The sentence is ten years, but the book suggests few leave. Ivan has been sentenced to the gulag, wrongly accused of becoming a spy after capture by the Germans. Novy Mir’s editor, Aleksandr Tvardovsky, wrote a piece, “Instead of a Foreword,” preparing readers for the material. Never before had an account of Stalinist repression been openly distributed. The story is set in a 1950s labor camp & describes a day of an ordinary prisoner, Ivan Denisovich Shukhov. One Day in the Life of Ivan Denisovich (Один день Ивана Денисовича) is Aleksandr Solzhenitsyn’s novel, 1st published in the Soviet literary magazine Novy Mir (New World, 11/62). That was also an antidote to toxic masculinity at the same time. I grew up in a healthy and safe environment. (36:02) “On the other hand Evan, I think what I was trying to get at with him and his family is that there are healthy, functional families on reserves and these are the stories that we aren’t hearing enough of in the mainstream … and by and large, modeled after my own family. At the core of that is the spirit of trying to conquer things and take things over, manipulate them … that’s the essence of toxic masculinity.” (35:27) “… Justin Scott, he embodies that toxic masculinity that is inherent in settler colonialism to begin with because he is very much an allegory for settling the land, overtaking it and exploiting it. (11:03) “I think it’s important to really highlight the elder women in our communities who have really held things together despite all these other things that have happened.” Can’t Lit – Waubgeshig Rice Waubgeshig Rice on Moon of the Crusted Snow |