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Eseuri: Stefan Arteni. The E-C European Cultural Model. 3. The Neo-Orwellian Madness
Scris la Monday, April 06 @ 14:32:54 CEST de catre asymetria |
The
East-Central European Cultural Model. 3. Intermezzo. The Neo-Orwellian
Madness.
Czesław
Miłosz observes: “If
nihilism, as Nietzsche says, consists in the loss of memory, recovery
of memory is a weapon against nihilism”. Gerhart
Niemeyer has exposed the nihilistic core of Communist ideology found
in Marx's assertion that the point is not to understand the world as
it is but to change it, by which he meant transforming it into
something it is not. Niemeyer says: "Totalitarianism
would not be possible in practice if it were not for a long period of
intellectual erosion preceding the advent of the activist". He
continues: “The fruit of Communist rule must be spiritual chaos
and progressive barbarization.”
Stefan Arteni
Stefan Arteni
The
East-Central European Cultural Model. 3.Intermezzo. The Neo-Orwellian
Madness.
Motto.
“Daddy, where
there is no morality, there is corruption, and if a society lacks
principles, that means it does not have any!...” (Ion Luca
Caragiale)
Czesław
Miłosz observes: “If
nihilism, as Nietzsche says, consists in the loss of memory, recovery
of memory is a weapon against nihilism”. Gerhart
Niemeyer has exposed the nihilistic core of Communist ideology found
in Marx's assertion that the point is not to understand the world as
it is but to change it, by which he meant transforming it into
something it is not. Niemeyer says: "Totalitarianism
would not be possible in practice if it were not for a long period of
intellectual erosion preceding the advent of the activist". He
continues: “The fruit of Communist rule must be spiritual chaos
and progressive barbarization.”
Arpad Szakolczai
attempts to conceptualize the programme of
‘reflexive historical sociology’. He writes:
“There is, however, an even more important...level of
explanation. This concerns the conditions under which the civilising
process can turn against itself, where the question is no longer
simply a paradoxical compromise between the civilising process and
its opposite, the impulses set loose by a previous dissolution of
order, but where the fundamental mechanisms of the civilising
process are effectively, purposefully and explicitly undermined. It
is at that level that the totalitarian movements of the twentieth
century can be located, with the important caveat that they are
very closely related to the...inflections of the civilising
process...Once every section of the elite was eliminated, the
Communist Party perpetuated the situation by implementing the
infamous pratice of 'counter-selection'. This implied that positions
requiring any degree of leadership at any level of state, society or
economy were filled not on the basis of ability but loyality to the
party, controlled by the 'nomenclatura' system...In this, there was
an unbroken continuity…The aim remained the same: the
prevention of the possibility of the formation of a genuine elite…
But the production and reproduction of an elite, a pool of
individuals who are ready and able to provide leadership, is
different from expertise. It is furthermore a social, not an
individual phenomenon, and the conditions that existed during the
entire life-span of communism were detrimental to the possibility for
the emergence of an elite in this sociological sense. What was
particularly missing there has been identified as most central for
the formation of an elite in a 1942 article by István Bibó.
According to him, the 'calm and creative' activity of the elite
requires two things: the existence of a social consensus behind the
elite selection mechanisms and the actual assignment of members of
the elite to the proper places in the social structure. Bibó
furthermore stated that for the successful performance of its tasks
the elite has to be self-confident, self-conscious and impartial,
without being conceited. In sum, the elite of a society can only
perform if it is given stable and calm conditions for its activity,
and if its values, its 'chosenness' is generally recognised both by
the others and by itself…The puzzling fact that the collapse
of the much-hated communist regime was not much perceived as a break
in most countries of the region is due to the fact that it did not
end transitoriness, the central characteristic of life under
communism, only altered its modality.”
Abram
de Swaan describes the inevitable result: “Obviously,
what occurs under these conditions is the bureaucratization of
barbarism.”
In
the case of Romania, the pre-war elite was deliberately decimated
and marxism-leninism. contributed to what can be termed culturecide
—the attempt to erase and replace the cultural model and the
ancient customs and rites. The
‘new’ or ‘postcommunist’ overlords have risen
from among the old communist cadres -- collectively known as either
the nomenclatura, or the ‚new class’
described by Milovan Djilas, or the
‚communist aristocracy’, that is
to say the only ones privileged under the communist regime -- mainly
due to their advantageous positioning in the old networks and access
to resources. They are inescapably linked to structures, networks,
thinking, and practices of the past. The process of recruiting real
elites, untainted by involvement with the old structures, was
gridlocked by the old cadres. Co-option by Western
institutions has helped restore the ‘communist aristocracy's’
past prominence.
In the field of
culture, we are seeing an exercise in authority-building by an elite
consisting of the heirs of the communist ‘new class’,
mostly saplings grown in the “tree-nursery
for party cadres”, the so-called ‘boyars of the
mind’ (Radu Gyr preferred the expression ‘cultural
jugglers’), an elite bereft of any legitimacy,
an elite with a negative image. The postcommunist elites have
perpetuated the "they/us" dichotomy.
There is an old
Romanian proverb that says: “The mouth of a sinner tells the
truth”. It will then suffice to quote a
few lines written by Sorin Antohi, one
of the ‘boyars of the mind’, known now as the
pseudo-Doctor (he falsely claimed to hold a
Ph.D. in History from the University of Iași) who had
also served as an informer for Romania's communist-era Department
of State Security. In an article entitled “Romanian culture is
a fiction”, published in Contrafort 3-6 (77-80), March-June
2001, Antohi has jotted down a short note about his fellow
neo-culturniks: “The cultural elite…ultimately a tiny
minority, is totally alienated from the society it comes from and
which it should help orient itself. From the political and
ideological viewpoint, most top cultural and intellectual figures of
contemporary Romania have broken their relationship with society (if
they ever had any!). Betting immoderately on a sketchy and bovaric
westernization, being (like state communism) narcissistic and
despising the people’s stirrings and ills, our cultural
elite…has failed in its historical mission…”
These are the facts we should reflect on. We should also
recall Homi Bhabha’s words: “Mimicry and masquerade are
born from the desire to be equal, accepted and recognized;
nevertheless, mimicry does not bring us closer to the essence, it
only creates empty masks and meaningless forms of imitation“.
The
world is becoming more uniform and standardized. Demythization has
become dehistorization. Specific cultural models are transported
directly from one country to another. Transnational neo-leninism
appears to have become the globalizing ‘Zeitgeist’ of the
21st century. The megadreams of situationists and neo-situationists
have been transformed into bureaucratic agencies. Never before has
the synchronization with one particular cultural pattern been of such
global dimensions and so comprehensive. Overload, noise, lack of
precision and ignorance, construct their limited and contradictory
knowledge under systems of sense that reduce cultural complexity to
chiliastic ecstasy. Systematic erasure of all cultural memory is
implicit. Leszek Kolakowski had predicted: "The specter is
stronger than the spells we cast on it. It might come back to life."
It re-appears, it circles, it re-enters the stage.
Stefan Arteni
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