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Power to the People

3/27/2019

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Wednesdays are for Bits and Pieces
3/27/19

Veith, Gene Edward. Modern Fascism: The Threat to the Judeo-Christian Worldview. St. Louis: Concordia Publishing House, 1993.  
Chapter 9, “‘The People’s Culture’ Fascism and the Mass Mind” pp. 145-160

Veith considers the mass mind in the current culture, strongly influenced by mass media. We note that this book was written before the internet explosion took place. Access to highly visual media was increasing, a factor in a move to more emotive responses as opposed to the slower and more logically organized responses we normally find to print media (Veith 1993, 146). Veith finds that the fascist worldview is based on speech and images, which are more immediate. This stands in contrast to the written word, which the fascists saw as more transcendent (Veith 1993, 146). Banning and burning of books was popular among fascists as well as among the educated elite through the 20th century (Veith 1993, 147). Deconstruction of ideas can have the same result, as it effectively moves a piece of literature out of the public view.

In contrast to the banning and burning of books, Veith observes that the Nazis produced over 1300 films and embraced the visual arts, when used for their purposes (Veith 1993, 147). However, in contrast to the Nazis, our current culture is far more image-centered. Veith observes the very talk of a politician’s “image” is a radical departure from the content-based discussions which took place through the 19th century (Veith 1993, 148). The fascists of the 1930s managed to use images and experiences, rather than factual arguments, to unify and motivate the public. Mass media has the capacity to create and sustain a mass culture, with people thinking and acting the same way as each other (Veith 1993, 149). Veith acknowledges that some thinkers see this in positive terms, others as a social ill.
Regardless of the view of mass media culture as good or bad, artists and thinkers have uniformly understood that high art needs to give way to popular art (Veith 1993, 150). The masses need art and culture they can approach. The Nazis divided art into “artificial” (the high art) and “genuine” (popular art). It was the popular and folk art that could be embraced by all. Veith sees a similar popularization of art and literature in the late 20th century United States (Veith 1993, 150). The way to this has been led by the artistic and academic institutions where traditional and other “high art” is deconstructed. Veith adduces examples of “aesthetic quality” being made a means of oppressing females and minorities, of elevation of literature that was “marginalized,” and the use of popular imagery such as Warhol’s soup cans (Veith 1993, 151).

A culture of violence is common in mass movements. This was certainly the goal of Nazi propaganda. Veith observes the violence of movies in popular culture, where it was formerly mainly present in the avant-garde (Veith 1993, 152). In many films the plot matters little, but the value is found in the violence. The composition also, rather than focusing on the hero, tends to use the villain’s perspective and bring actions once left off camera into sharp focus (Veith 1993, 153).  Veith also notes the communal experience of the rock concert and the forceful musical style and lyrics found in some popular rock. He ties the skinhead culture to the kind of violent music typically used, as well as to the neo-Nazi sympathies of many artists (Veith 1993, 154). One wonders what Veith would think of current ganster rap culture.

Veith considers the Nazi opinions that American society would shortly crumble (Veith 1993, 155). The Nazis assumed America would decline because of their indifference to the environment and their obsession with comfort and pleasure. However, Veith observes that our individualism can resist collectivism and that an integrated “melting pot” society is resistant to racial unrest (Veith 1993, 156). Unfortunately, as politics become more dependent on propaganda and images, these protections can fall apart. Utilitarian and existential philosophies fight against the transcendence which has protected us. Religion which is focused on transcendent principles is a bastion against fascism, but when it shifts its focus to experience and emotionalism it can become an entryway for fascism (Veith 1993, 157). One open door Veith sees to a disruption of the West is a cobination of feminism and fascism (Veith 1993, 158). Racial and sexual equality actively fights against fascism, but Veith sees many neofascist groups on the rise, sowing dissension. He can envision a society in which the elements of fascism would exist apart from the violence. There have been relatively peaceful nationalist socialistic societies which have survived as long as they are not large (Veith 1993, 159). However, socialism almost always falls into the more violent patterns. Veith sees this as an imminent danger to Western Civilization. Ultimately the safeguard is built of transcendent values.

​
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Overthrow of Power

3/20/2019

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Wednesdays are for Bits and Pieces
3/20/19

Veith, Gene Edward. Modern Fascism: The Threat to the Judeo-Christian Worldview. St. Louis: Concordia Publishing House, 1993.  
Chapter 8, “‘The Will to Power’ Fascism and Postmodernism” pp. 126-144.

Veith, even in the early 19902, recognized the shift from modernism to postmodern thought, which he sees as a breakdown of all that is transcendent. He observes that “some of the crucial theorists of the new postmodern thought were personally involved with the fascism of the 1930s” (Veith 1993, 126). Veith is clear that postmodernists are not necessarily fascists. However, the thinking can lead toward fascism, so deserves cautious analysis. Because postmodernism is critical of capitalism and other traditions which seem based on power, it can “easily legitimize oppression by undermining all moral and legal structures that might mitigate and control the ‘will to power’” (Veith 1993, 127). The value placed on pluralism can provoke treatment of people only as they fit into categories, rather than as individuals. Meaning, and therefore fact, is something which is created by a society, rather than being recognized by an individual. This process goes as far as the fact of one’s self, which is determined by social and cultural forces (Veith 1993, 128). The social analysis performed in postmodernism normally uses categories recognized in Marxism, Freudianism, and build strongly on Nietzsche, with reality hidden and needing to be drawn out (Veith 1993, 128-129). If meaning is a construct to be brought out through interrogation, the individual may well do best allowing cultural or governmental patterns dictate what is good or bad (Veith 1993, 129). This is very similar to fascism.

Postmodernism also has a strong emphasis on relativism. Since meaning can differ from one person to another, attempts to impose objective truth are rejected as oppressive (Veith 1993, 130). This relativism effectively views Western civilization, with its emphasis on stability and an attitude of superiority, as oppressive. Rather, cultures which have been oppressed should be seen as superior. While this would seem at odds with fascism, Veith notes the categorization is identical, though the conclusions differ (Veith 1993, 131). It leads to social stereotyping and will logically cause different groups to be privileged. Veith goes on to identify the root of the problem. “What is missing in postmodern multiculturalism is an acknowledgement of any kind of realm that transcends culture, some overarching sense of universal humanity which people of all cultures have in common” (Veith 1993, 132). In postmodern thought, there is nothing to replace the stabilizing influence of science, democratic values, or religion. Postmodernism tends to divide cultures apart rather than to develop unity (Veith 1993, 133). Fascism did precisely the same thing, in its emphasis on the distinctive features of various cultural and ethnic groups (Veith 1993, 134).

At the heart of postmodernism, Veith says, is the deconstruction found first in Heidegger. “Put simply, deconstruction begins, with the existentialist dictum that there is no transcendent meaning, that meaning is a human construction” (Veith 1993, 135). Language, which is in some ways arbitrary, is also subject to deconstruction. Thus, a postmodern reading of a document can make it mean nearly anything or nothing, as Veith illustrates with several examples (Veith 1993, 136). In the end, any transcendence is rejected, allowing the interpreter to act in a dictatorial manner, something the fascist deconstructionists were free to do (Veith 1993, 137). Veith makes much of the writing of Paul De Man, who was an important fascist journalist and who continued developing the same ideas as a professor and literary critic in the United States (Veith 1993, 138). In De Man’s work, language and action are alike exercises of power. They are morally detached, allowing the writer or actor to create their own meaning (Veith 1993, 140).

Veith does observe that some have argued that there are deconstructionists who are religious, so must accept transcendence. However, he shows with several examples that not all are consistent about their religious points of view, preferring a deconstructionist philosophy when it is at variance with Scripture (Veith 1993, 141-142). In the end, it is perfectly natural that a deconstructionist philosophy will lead to the tyranny of one group over another. This is precisely what we saw in the fascism of the 1930s (Veith 1993, 143).

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Contemporary High Art and Fascism

3/13/2019

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Wednesdays are for Bits and Pieces
3/13/19

Veith, Gene Edward. Modern Fascism: The Threat to the Judeo-Christian Worldview. St. Louis: Concordia Publishing House, 1993.  
Chapter 7, “‘The Beautiful Ideas Which Kill’ Fascism and Modernism” pp. 113-125.

Veith observes that although “fascism became a mass movement . . . it had its origins among intellectuals and artists” (Veith 1993, 113). It began as an avant-garde reaction to the established order, roughly in parallel to the rise of the modernist movement in the early 20th century. Ironically, the modernist movement and the fascist movement both found current society bleak and looked to past civilizations for models, thus creating something which was simultaneously new and old (Veith 1993, 114). The tumult of Word War I may also have led people to accept new ways of viewing their world, thus leaving the door open for these philosophical shifts (Veith 1993, 115).

Veith credits the 1913 performance of Stravinsky’s The Rites of Spring with its atonality, frenzied choreography, and human sacrifice as a key moment in history. The first audience rioted (Veith 1993, 115). However, the move to the acceptance of an avant-garde was unmistakable. The shift to the visceral, the primitive, and the departure from traditional form was all present. This had a profound influence on the theories of the fascist thinkers in the artistic community (Veith 1993, 116). Music, art, and literature began to adopt visceral and even violent modes of expression. Veith provides numerous examples of luminaries in the world of 20th century literature who found themselves at home with the primitivism, the nationalism, and the moral changes of the eugenics movement (Veith 1993, 117).

In the art world, it was commonly accepted that an artist would create values. To change culture, it was necessary to create new values and break down the old. Nietzsche saw this as the special realm of the artist, who could use the will to power as a means of creating new truth (Veith 1993, 118). Moral principles are expressions of power. Artists can impose new morals on people through the cultural force of their work. The artist, then, was a hero of sorts, who would break out of his marginalized status to lead the culture (Veith 1993, 119). The avant-garde art world with its ties to fascism provided a way of throwing off tradition in favor of a new, unrestrained self. Veith finds this very present in the Futurist art movement of Italy (Veith 1993, 120). The beautiful ideas of the artists moved quickly to violent overthrow of others. Especially in Italy, the avant-garde art world and the Fascist revolution formed alliances as they sought to bring forth a new order (Veith 1993, 121). Both movements were largely based on shock value, creating a new human order which was subjective and emotionalistic (Veith 1993, 122). Likewise, the German Expressionists explored psychological states, especially those related to violence. This found expression in an aesthetic of ugliness, which was easily adapted to the Nazi shows of force. Eventually, the Nazis banned Expressionist art, but did put it on display as “degenerate” work (Veith 1993, 123). The approved Nazi art was that of nostalgia, peasant life, folklore, and the revolutionary naturalist nude paintings and sculptures (Veith 1993, 124). The depictions of the Aryans were intended to direct people to recognize a new ideal. Order is imposed on the primitivism in a way similar to the imposition of political order on society. In the end, “fascist art lurched from total freedom to total control” (Veith 1993, 125). The transcendent was gone, but a new aesthetic needed to be created, by force, if necessary. The ideas of freedom and revolution ended up being turned to instruments of bondage.

​
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    Young 2011
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