In this article, the authors address the question of whether ?homosexual fascists? should be treated as a mere ?clich?? or as an idea that contains some scientific value. After a short introductory part, the problem of homosexuality in two influential pre-war theories of mass psychology - Freud?s and Reich?s - are examined and then their achivements are evaluated from the perspective of five most imprtant Hitler?s statements about R?hm and his associates, their homosexuality and alleged betrayal. The authors come to the conclusion that the idea of ?homosexual fascists? turns out to be grounded only under the condition that fascism is understood as a consistently developed and implemented ideology of the M?nnerbund.
In the article the authors are dealing with the militant potential of the concept of avant-garde. Emerging in the politics and art in the first half of the 19th century and designed to ruin almost the whole tradition of 'bourgeois' enlightenment, political and artistic avant-garde was never capable of emancipating itself from its roots in strategic military thinking. Its true essence was to create battlefields in every domain of public life where the chance was given to ruin civil society - its politics, its art, its way of thinking, its civilization. In the name of freedom never heard of before, it spread violence and spread totalitarian seeds on the scorched soil. And in the end it was not defeated by its numerous enemies because it became victim of its own destructiveness
The predominant opinion in contemporary science is that Richard Wagner began formulating his doctrine of regeneration in the 1860s, with a subsequent elaboration in the so-called regeneration writings, creating a sort of theoretical platform for working on Parsifal, a festival play for the consecration of the stage. Wagner's written legacy, however, shows that he had been thinking about regeneration ever since the 1840s, as well as that he used the term in a broad range of meanings-especially considering that he used that word of the French origin as the synonym for the German word Wiedergeburt. This paper focuses on three instances where he referred to regeneration in the fifth decade of the 19th century: a letter from 1843, a text "How do republican aspirations stand in relation to the monarchy?", and a paper Art and Revolution. In 1843, Wagner had only vague ideas about regeneration in art; five years later, while the city of Dresden was eagerly awaiting the revolutionary wave from France, it was the rebirth of human society that he had in mind; after the collapse of the revolution, realizing his limitations and dispelling illusions about its success, he established a correlation-never to be dismissed-between regeneration and art; i.e. he fancied that the regeneration of the being of a nation's members could be achieved by exposing them to the effects of a special, true art.
Када је тацит, почетком 2. века, у својим Аналима писао да је у риму на-род мрзео хришћане због њихових "срамних дела" (15.44), он је под тим највероватније мислио на њихов обред евхаристије, током којег су тврдили да "једу" тело исуса христа и "пију" његову крв (а можда -за пагане је остајало увек упитно -и не само његову?).2 јустин Мученик (Apol�, 1.66) и ориген (Cels�,
In this article the author is reconstructing the complex picture of Franz Schubert created by Theodor Adorno in his numerous references to the Viennese composer, but mostly in his 1928 article ?Schubert?. In the late 1920s Adorno experienced Schubert as the tragic composer whose music dwells in the realm of chthonic gods, but nevertheless reveals the joy of ?traveling folk, jugglers and tricksters?. It remained, however, unclear how this joy could survive in the hellish landscapes of Schubert?s chthonic music. Later, Adorno recognized Schubert, due to his ?habitus?, as the barroom player as well, never mentioning ?traveling folk, jugglers and tricksters? any more. This two images of Schubert - Schubert as the Listener of the Chthonic Gods and Schubert as the Barroom Player - proved to be an interesting pair, worth of further theoretical elaboration, which Adorno unfortunately never bothered to undertake.
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