Erich Neumann (1905 – 1960), although self-consciously Jewish and distinctly Zionist in attitude, allied himself intellectually with the Swiss-German innovator of “Analytic Psychology,” Carl Jung, whose peculiar religiosity (“Ich glaube nicht das es Gott gibt, ich weiss es”) veered toward Gnosticism, but nevertheless kept something like a Protestant Christian orientation. Neumann broke with the crudely sexual and absurdly reductive psychoanalytic theory of Sigmund Freud and embraced a version of Jung’s polymythic and symbolic approach to the understanding of consciousness, an approach that Neumann developed in some respects beyond Jung. The cliché that “ontogeny repeats phylogeny” circulates widely – and no doubt conforms subtly to truth. Jung or Neumann, but Neumann more than Jung, redeems the cliché by modifying it. In Neumann’s view, ontogeny strongly implies phylogeny, such that the speculator might reconstruct the latter on the basis of the former. The development of consciousness in the individual from childhood to adulthood would reveal in outline the development of consciousness overall going back to its origin. The speculation might then be validated by comparing the phases of individuation, on the personal level, with the symbolic record of human development expressing itself in the archaeological layers of myth. “Just as unconscious contents like dreams and fantasies tell us something about the psychic situation of the dreamer,” Neumann writes in the introduction to Part II of his Origins and History of Consciousness (1949 – R.C.F. Hull’s translation), “so myths throw light on the human stage from which they originate and typify man’s unconscious situation at that stage.” In his exposition Neumann reverses the order, dealing first with the sequence of mythic imagery and only then with its analogy to individuation.
Man is a tragic being because he belongs to two realms – the heavenly and the earthly. The difference corresponds to the Biblical injunction “Render unto Caesar what is Caesar’s and the things that are God’s to God.”
Much of the moral vision in the Gospels is a counsel of perfection and applies to the heavenly. Heavenly ethics have an aspirational and inspiring aspect and can only be followed partially and in some instances. For instance, “if someone slaps you on one cheek, don’t stop that person from slapping you on the other cheek. If someone wants to take your coat, don’t try to keep back your shirt.” The impulse to slap someone back when they have slapped you is almost overwhelming. When not in the heat of the moment, it can seem like a simple thing. In reality not acting on this impulse is rare and extremely difficult. If it were not, earthly existence would be relatively paradisaical. The urge is ego driven. Recently, I had to let someone have the last word in a dispute about the merits of a particular writer who I regard as morally obnoxious. Rajani Kanth writes:
“How would world religions be different if women were their inspirations, and not men? Indeed, would ‘religion’, as we know it, even exist? Would a woman Buddha have forsaken family and loved ones to seek an arid, abstract ‘enlightenment’ abroad? Would a Jane Christ let herself suffer crucifixion, or might she have intelligently compromised with the ‘enemy’? Would ‘enemies’ even exist in their discourse? Would women have built the Bomb, and used it? Would they have fought two global wars, not to mention a quadrillion smaller ones? Would they have practiced genocide? In sum, could it be that a woman’s world, if she were permitted to wish it into existence, would be somewhat different than ours?” Continue reading
Christopher Mihm is a Minnesota-based producer and director of radically inexpensive, independently financed entertainment films whose maneuver is that they disguise the impoverishment of their production values by mimicking the low-budget, black-and-white B-grade science-fiction films of the 1950s. They do so with consistent comedic brilliance. Mihm came on the scene in 2006 with his Monster from Phantom Lake, filmed for around ten thousand dollars, according to his website. The Monster makes allusions to a number of vintage man-in-a-suit shock-and-horror movies, such as The Creature from the Black Lagoon (1954) and The Monster of Piedras Blancas (1959), except that Mihm plays his story as a farce rather than as a straightforward fright-drama. In its farcicality, The Monster also recalls films of more recent vintage, such as The Toxic Avenger (1984), from Troma Studios, and its several sequels. The Troma films, however, were always crass and garish: That was their idiom. Mihm’s approach to farce, as well as to pastiche, is civilized rather than vulgar, and even at times rather gentle. Mihm clearly loves the films that he spoofs, and as he has found his feet in his self-defining genre a humane interest in his characters has increasingly informed his work. Mihm followed The Monster with It Came from another World (2007) and Cave Women on Mars (2008). The former riffs on the alien-possession motif of Invaders from Mars (1953) and Invasion of the Body Snatchers (1956). The latter, Cave Women, stands out as Mihm’s best film thus far even though since 2008 he has completed at least seven others: Destination: Outer Space! (2010); Attack of the Moon Zombies (2011); House of Ghosts (2012); Terror from Beneath the Earth (2012); Giant Spider (2013); X: The Fiend from Beyond Space (2014); People in the Wall (2014); and Danny Johnson Saves the World (2015).
These later films have their merits although the growing number of them means that their quality will be uneven and that the filmmaker will have begun to repeat himself. None of these later efforts quite succeeds in surpassing Cave Women in its achievement. Destination, for example, which tries to supply a sequel to Cave Women, runs fifteen minutes too long and never directly picks up the story of its alleged prequel. What a pity! It would be interesting to know what might have happened in an actual follow-up. Cave Women, on the other hand, enlarges what might be called the meaning-capacity of its narrow conceptual niche, the contemporary low-budget retro-pastiche with science-fiction attributes, as played for laughs. Mihm’s planetary romance – casting its net of allusions both widely and deeply – suggests that, in this rare case, a deliberately cheap production, made to be risible for its apparent incompetency, might become the inadvertent carrier, so to speak, of a culturally serious insight. The network of allusions contributes abundantly and essentially to the film’s self-transcendence, but other factors play a role.
The blurb on the thirty-five cent Ace paperback likens Charles Eric Maine’s 1958 novel World without Men to George Orwell’s 1984 and Aldous Huxley’s Brave New World. Ordinarily – and in consideration of the genre and the lurid cover – one would regard such a comparison skeptically. Nevertheless, while not rising to the artistic level of the Orwell and Huxley masterpieces, World without Men merits being rescued from the large catalogue of 1950s paperback throwaways, not least because of Maine’s vision of an ideological dystopia is based on criticism, not of socialism or communism per se nor of technocracy per se, but rather of feminism. Maine saw in the nascent feminism of his day (the immediate postwar period) a dehumanizing and destructive force, tending towards totalitarianism, which had the potential to deform society in radical, unnatural ways. Maine grasped that feminism – the dogmatic delusion that women are morally and intellectually superior to men – derived its fundamental premises from hatred of, not respect for, the natural order; he grasped also that feminism entailed a fantastic rebellion against sexual dimorphism, which therefore also entailed a total rejection of inherited morality. In World without Men, Maine asserts that the encouragement of sexual hedonism, the spread of pornography into the mainstream of culture, and the proscription of masculinity are inevitable consequences of the feminist program, once established. The sixty years since the novel’s publication – as a thirty-five cent paperback – have vindicated Maine’s notable prescience as a social commentator.
Although World without Men might not measure up fully to 1984 or Brave New World, Maine, who was a talented storyteller, worked on a higher level than most of the genre writers represented in the Ace catalogue. Indeed, in its narrative structure, World without Men trades in at least one formally modernistic gesture. It gives glimpses out of chronological order of a progressive biological and cultural catastrophe so that the reader must reshuffle events into their actual, causal sequence. Part One, “The Man,” takes place in the Seventieth Century, and Part Two, “The Monkey,” late in the Twentieth. Part Three, “The Girl,” takes place seventy-five or a hundred years after part two. Part Four, “The Patriarch,” takes place sometime in the indefinite far future, but before 7000 AD. (References to Christ as having been born some “seven thousand years ago” permit specification of the date.) Part Five, “The Child,” recurs to 7000 AD and shares certain personae with “The Man.” Thus “The Man,” “The Patriarch,” “The Girl,” and “The Child” are long-term sequels to “The Monkey,” which chronicles the development of a birth-control drug called Sterilin, while probing the consciences of the pharmaceutical researcher, a man, who creates it, and the corporate mogul, a woman, who aggressively markets it. World without Men anticipates certain features of the current faddish ideology calling itself transhumanism, criticizing it in advance of its appearance.
On the train last evening I spotted – or perhaps I should say, I was assaulted by – a placard advertising a music festival. I thought: Is this what women really want for themselves? Is this supposed to be attractive?
Honestly, the woman looks like she’s being tortured. Fun!
Berdyaev points out that if God and the individual human Personality are not someone’s highest ideal then that person is effectively promising to sacrifice the individual in the name of that supposedly higher ideal. The logic is simple and undeniable.
If someone says that under any circumstances, no matter what competing goods there may be or seem to be, the Personality is sacrosanct and to be protected at all costs, then that person is elevating Personality to the highest level of their morality in the manner that Berdyaev identifies as necessary and has abandoned his former allegiances.
Alternatives to the genuine highest good include the greatest happiness for the greatest number of people, well-being, just plain “happiness,” social justice, feminism, equality, the nation, workers of the world, rationalism, science, and progress.
Every one of those “goods” is a murderous cult bent on the immolation of the human individual. If any object to this accusation, let him agree that Personality is paramount and beats out all competing ideals and that his former highest good is now secondary and always, in every situation, to be trumped by God and Personality. Continue reading
Knowledge involves generalizations. The science of amphibians is not about specific frogs, but about frogs in general. A veterinarian, asked to treat a specific frog, would call upon a store of generalizations to help make a diagnosis and to recommend treatments. Even if the vet was very familiar with past episodes of sickness of that particular frog, he would still be generalizing across instances. i.e., in the past, when this frog burps purple bubbles, it has meant that he is reacting to eating a certain kind of fly. The frog is burping purple bubbles, therefore…
It is true that there is nothing logically precise or rigorous about induction. Technically, induction can even be regarded as an error. Just because 100,000 white swans have been observed, it does not mean all swans are white.
On the other hand, since human knowledge is finite, and people are often operating in conditions of uncertainty, it is frequently necessary to make educated guesses based on past experience. Continue reading
Sir Roger Scruton/Dr. Jordan B. Peterson: Apprehending the Transcendent
Scruton comments: “The old way of teaching the humanities was as objects of love. This is what I have loved. This is what previous generations have loved who handed it on to me. Here. Try it out and you will love it too. Whereas the postmodern curriculum is a curriculum of hatred. It’s directed against our cultural inheritance.”
Peterson, describing that postmodern point of view: “This is the best of what the best of us could produce and it’s nothing. Why should you bother?”
When asked why someone would adopt a man-hating ideology, Scruton suggests that with a loss of a culturally inherited religious tradition and church attendance feminists feel something to be lacking in their lives but do not know what it is. They then surmise that it has been stolen from them. They look at people who seem to be at peace with themselves and the world, the socially successful, who seem fairly content, and imagine it is they who have taken it. Continue reading
Many feminists describe the history of humanity as a male tyranny, oppressing and maltreating women at every opportunity. Their name for this is the “patriarchy;” a name now intended to send a shudder down the spines of all who hear it.
Having suggested this characterization of the totality of human existence all that is needed is evidence. Then, in an instance of what is called “confirmation bias,” a selective search is made for unpleasant things ever done to women, not worrying about similarly horrible things perpetrated against men, nice things about men, or nice things men have done for women.
The result is an ugly and repellent account of the way men and women are connected to each other.
A list of male contributions in architecture, art, music, literature, philosophy, poetry, theater, medicine, math, biology, chemistry, physics, engineering – the provision of the water coming out of the kitchen tap and showerhead, plumbing, roads, hospitals, the phone in your pocket, you name it, would present a more positive picture of the male input to humanity.
But, thanks to anti-male propaganda, it is possible to read Facebook posts where one woman casually comments to the other that “men suck,” and is met by bland agreement by a married woman. Continue reading
Virtue signalling – in sharp contrast to virtuous behavior – is free. You get what you pay for. A sacrifice that costs you little gains you little. So the virtue signalers have to keep at it. They cannot ever rest.