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Whitman Leaves "The Antichrist" by Nietzsche and fascism inevitable


Antichrist is within the third and final phase of the philosophy of Nietzsche, which opened Thus Spoke Zarathustra by and finished with Ecce homo. At this stage, says the style and thought of this strong German thinker, and clearly outline their thematic pillars constant: the death of God, the will to power, the eternal return and Superman, and, within them, a profound contempt and opposition to the masses, crowds, great people, they reveal from their own synthesis formulation of bourgeois thought in a higher stage of social development.

In Antichrist Nietzsche expresses this time, not only the death of God, and previous research with irrefutable force, but also the character alienating, negative and corrupt Christianity along its black history. For him the Christian idea of \u200b\u200bGod is one of the most corrupt concepts that have been invented to define the divinity, and notes that "perhaps even represent the lowest level in the downward trend of such gods. God degenerated to be the contradiction of life, instead of being its transfiguration and eternal yes! In God declared hostility to life, nature, the will to live! God, all slander formula 'here and now', all lie 'beyond'! In God, the nothingness deified, the will to nothingness canonized ...! ".

Esta forma pertinaz y agresiva atraviesa toda la obra, donde el pensador del martillo que es Nietzsche no se detiene para nada ante los tópicos más caros del cristianismo. Su lenguaje es injurioso, violento, burlón y certero. Nada del cristianismo –de esa “moral de esclavos”– queda en pie. Incluso sus conceptos de mayor peso, como la propia idea de Dios, de Cristo y de la actitud correcta del creyente quedan derribados por la puntería imbatible del filósofo.

Lo que más reprocha Nietzsche al cristianismo es esa mansedumbre decadente que va contra el hombre, contra la vida. Afirma que la forma máxima de autoenvilecimiento del hombre es el concepto cristiano del pecado. El mismo cristianismo and, for him, the greatest of all imaginable corruptions, because it poisons life through the idea of \u200b\u200bsin. Compare to Christianity as a state of "parasitism" because it feeds on poverty moments of the human soul. He added: "This eternal accusation against Christianity I shall write on all walls, wherever there are walls, I have lyrics that make even the blind see ... I call Christianity the one great curse, the only major intimísima corruption, the only great instinct for revenge for which no means is quite poisonous, stealthy, subterranean, small, I call the one immortal blemish dishonorable of humanity ... "

At this point we must ask, however, what is the real target of attacks by Nietzsche. It faces to Christianity because of its usefulness brutalizing, or its idealism and moral coercion servile apparatus run by the ruling classes, nor by the mass of falsehoods and lies that leads to the terror of the humble and ruthless exploitation, is facing mainly for daring to promote equality between men, without distinction or privileges. "Discovery of God: in fact, only the moral God is refuted," he says.

Christian claim against the latter actually lines up all his artillery. Odia al cristianismo con odio utilitario; es decir, sólo en la medida en que se ha opuesto a las “diferencias naturales” que existen entre una minoría selecta y la gran mayoría. Así escribe: “Una cultura superior sólo puede surgir allí donde haya dos castas distintas en el seno de la sociedad: la de los trabajadores y la de los ociosos, capacitados para disfrutar verdaderamente de su ocio; o, para decirlo con palabras más fuertes, la casta del trabajo forzado y la del trabajo libre.”

Es que Nietzsch es, en el fondo, como todo gran filósofo, un pensador de su época, que supo reflejar parte simportantes del pensamiento burgués que iban en aumento gracias a las condiciones social that made them necessary. This was none other than the spread of capitalism, with all its forces in the imperialist stage and all its proxy wars that came with it.

But Nietzsche's uniqueness lies in covering the vast cultural mosaic that was holding the capitalist development, and conflict of this with their material conditions. Nietzsche could see that the capitalist system could not survive without war, genocide and global operations, but sublimated these needs with its aristocratic theory of Superman, it would no longer feudal ruling class, aging and outdated, but the lineage of intelligence bourgeois marked by the fire of war and the will to power. From there it was easy acceptance among the Nazis and is considered one of the thinkers who influenced the ideological development of fascism.

Superman would be the replacement concrete embodiment of the idea of \u200b\u200bgod. The cry of "God is dead" also implies that God, the Jewish establishment that represents the anti-human Christ, what antivital, and destroys all true hierarchy by equality of souls before him, is finally overcome by will alone dominating . And the real example of what Superman is nothing less than the Bismark, but certainly criticized on the grounds that its policy was not sufficiently imperialist and reactionary.

So clearly, writes Nietzsche in The Antichrist : "Who are those who hate most among the rabble of today? The socialist rabble, Chandala apostles, who undermine the instinct, the joy, the feeling of fullness of the worker, that make you envious that you inculcate revenge ... The injustice lies not in never unequal rights but the claim of equal rights ... "And he adds, to round out his warrior spirit:" The maintenance of the military state is the latest and greatest action to take or maintain the great tradition, overlooking the superior type of man, the type of strong man. "

Although at this point we have shown that anti-Christian ideological conception is but a vague and poetic form of his reactionary political views, some people, however, believe that Nietzsche was able to overcome the deep alienation of Christianity for his own human will . But really the existence of this and other phenomena of capitalism, where the realigión obnubila consciences with superstitions and myths, like postmodernism or neo-eminently irrational essence, can be overcome only when the reasons for the material conditions that make them possible; ie, they are eliminated exploitation, class struggle, individualism sickly private ownership of the means of production, etc. And this is certainly not a task bourgeois, but that it has to be eliminated.

Nietzsche was not the ideologue of fascism, but made the first great stone for its construction. It was Rosenberg, with the help "critique" of Heidegger, a Jaspers, among others that the Nazi experience then washed their hands. But the bourgeoisie could not give any way to fascism, by contrast, has become more bloody and genocidal in the Hitler era, it has more fiendishly subtle and hypocritical to the point that under their leadership, humanity has been degraded to levels never achieved during his year history. Basten as examples the U.S. crimes in almost every country in the world, and widespread corruption in the minds of generations, or, in Peru this fascism has meant that our country ranks first in the world political detainees and missing persons, and the dead at our last civil war outnumber those born during the war with Chile in the last century, and, finally, that much of the population is in a state of absolute misery while a parasitic minority enjoys the benefits of this exploitation. There is no shortage, of course, intellectuals mercenaries, cunning, which grant a salary or justify the unjustifiable and generally accuse any popular movement to be fanatical, fundamentalist, sectarian, dogmatic, and so on., ie the deployment of the poor intelligence fascist.

not another, as a backdrop, Nietzsche primal position in Antichrist and his other philosophical works. Lukács saw this clearly and wrote that Antichrist supplements supplied intrinsic, ethical, social and historical development necessary for this lyrical, full of hate, Nietzsche's last period. That she is the author of ridicule and destruction everywhere, discursively, the idea of \u200b\u200bequality among men, is well known and need not be documented through special events, because, in fact, the central idea of \u200b\u200bhis career as a writer. (...) Does not reject Nietzsche never equal, of course, for ethical reasons of a general, but his attitude is a response to its position on democracy, revolution and socialism, which are, according to the Nietzschean conception, necessary fruits the domination of Christianity. (...). Therefore, when Nietzsche presents himself as the Antichrist, what really sucks is to destroy socialism. "

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The pure heart of Attila Jozsef


few decades ago had Antonio Cisneros that Hungary was the country best treated its poets. Their tickets had no military or the faces of presidents, but of poets. And there were streets and statues and monuments under the protection of the names of poets Endre Ady, Zsigmond Moricz, Sandor Petofi, Mihaly Babits, Dezsö Kosztolángyi, Attila József ... Just who is the saddest and poorest d ela Hungarian history is Attila József, whose death condenses and reflects the tumultuous time of rebellion and misery. József Attila

born April 11, 1905 in Budapest, Hungary's capital and intellectual capital of the country next in a suburb called Ferencváros. His father is a soap-and abandons his wife and three children (two males and a child) with the intention of traveling to America, but then you know who returns to his home province and plies his trade in various cities in Romania. His mother insists on a series of odd jobs, but because of his poor health has to leave his son. József Attila live with the peasants of Ocsöd to seven years, caring for pigs like all poor rural children.

At age eleven he wrote his first poems, while remaining committed to its laws. In 1918 he returned to Budapest with the intention to work and help his family. But shortly after his mother dies and the Orphan Asylum chosen tutor to his brother Odo Makai, lawyer in comfortable position.

However, the work to be performed by Attila József are endless. A seller of water and is known as a child stealing firewood, selling newspapers and postage stamps and barges working in a shipping company, is a farm worker, representing libraries, a bank clerk, editor of literary magazines, etc.

At 17 Nygatan magazine (the West) published some of his poems. "I saw a child prodigy," said József, "and yet was not an orphan." His interest in literature when a child wakes up reading the adventures of King Attila, whose name Share. Approves exams easily and without complications. "When I finished the sixth year, has József," I left high school and boarding school because, in my isolation, I was an idler, not studying, because I knew the only lesson the teacher had to explain it. " Preceptor and approved works simultaneously for two consecutive years of high school. The funny thing is that haunt him for having "blasphemed against God" in one of his poems, but the Supreme Court acquitted him. Work

all. In deciding to devote himself to literature, is part of the Faculty of Arts at Szeged. But his teacher said that while he lived Attila József High School teacher would never be. The reason: his poems published in local newspapers. József says: "Often we usually speak of the ironies of fate, and it was truly, as the offending poem, pure heart, it soon became famous. Seven items were consecrated you. " This beautiful poem, written in 1925, reads in translation of Hugo Acevedo: "I have no father or mother, / I have not kiss or lover. / I live without God and country, / And no birth and no shroud. / / Van three days do not like / nothing too much or too little. / I put my twenty years in sales, / the power of my state. / / If nobody buys then the devil arree with. / Heart pure: steal / - why not - and even kill. / / I caught and hung me / and bury me in the Holy Land. / And grass death traveling / on my heart grows and grows. " Then Attila József

is Banished. Travel to Vienna, where he lives miserably and leads the life of poor students. "Milk, cheese and poems," he writes in a letter. There comes into contact with the Hungarian émigré and communist writers. He travels to Paris and meets Tristan Tzara, studying Marx and Lenin and after a short summer season returns to Budapest. Meet wandered Márta, bourgeois family that opposes the marriage. "I wanted to a wealthy girl: / I stole his class, "writes József.

appears In 1929 his third book: I have no father or mother. Had previously published Beggar Beauty (1922) and not that I cried (1925). The economic crisis in Hungary is terrible and there are big strikes and demonstrations. After winning the first five-year plan Stalin invades Europe a revolutionary wave. In 1930 Attila József joins the persecuted and underground Hungarian Communist Party, which will depart organically years later without ever renouncing their principles or their comrades. Meet Judit Szanto, blonde and beautiful, "I knew, at the same time, cook and give a kiss" and with it finally seems to have found much-needed balance.

But Attila József is a sick man. From childhood deprivation and persecution have undermined his body. From an early age has attempted suicide and was hospitalized several times in nursing homes for nervous depression. But he continues to write. Public Nights Arrabal, and an anthology entitled Dance of the bear itself. Meet Flora K., rehabilitation specialist, and she spends her last and most beautiful love poems.

His poetry is a combination of diverse influences: folk ballads, French surrealism, expressionism, German, Hungarian folklore, terminology and industrial workers, etc. The presence of the mother is consistent in his poetry, a symbol of proletarian mother: "Fragile was my mother. He died soon / washers die early because ... "Avoid poetry schematic workers, but he gives intensities insurmountable life of the masses. Along with symbolic poems, written in clear and simple: "Go, poetry! I know your class fighter! "The misery and disease of the poet are innumerable, and yet it has theoretical insight about his craft, as when he writes:" The essential reason which needs the poet is, no doubt because the poet is able to find a way to so many contradictory realities. "

health status worsens József and outlines his schizophrenia. Flora is like the embodiment of their dreams, and his last poems are painful and life balance of its entire people, "Beautiful are the spring and summer / winter and it is beautiful, even more than the fall, / for which awaits a family and a home / and decisively to others. " Travel

a deserted seaside resort on the shores of Lake Balaton. Flora and her friends are in Budapest. In 1937, a December 3, at 32 years, Attila József, who is condensed in the pain of his time, was thrown under the wheels of a long freight train crowded. And yet His death is symbolic: as with Hitler in power, the Nazis invaded central Europe shortly after the tragedy occurs.

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Miguel Gutiérrez: In Search of violence and


Miguel Gutierrez has published (1991), breathtaking novel "The violence of time" in three volumes, and just before (1988) the beautiful and vibrant fresco is "Man of ways." That same year he published an essay that has become the work of literary criticism more widespread in recent times: "The generation of 50: a divided world." In the latter study, we observed the passion of one who has a conviction, a faith, a social consciousness and thinking philosophy that is not afraid to suffer the test of practice, specific criticism and open to the contemporary literary topics. While the author himself says: "Thought and passion, more love of words: this is the test, invention and passion, more love and strife with the word: this is literature." Male

road reveals the desperate and legitimate violence of the peasants through banditry, that form of popular rebellion so entrenched throughout our territory. But it also shows the other face grim: the presence and incredible repression of the landowners and particularly genocidal use retaliation by the state as present and close echo of current events. This novel, with its vibrant epic beauty, is only part of the long and tortuous history of Villar, the farm family whose core is none other than the suffering of the majority classes in Peru. And not only the sufferings also rebellions, mistakes, victories, disappointments, the hopes.

time Violence breath is impressive. But it is his large extent that matters, but its cast of characters in a constant process and enlightening events in Peruvian history in which they participate. Certainly the novel is an exploration historical, social, psychological, mythical, behavior and consciousness, and also a field of language and technical experimentation. Your are not paragons of Latin America, although we recognize the strong force or a Carpentier Guimaraes Rosa. The relationship is rather the result of Tolstoy's War and Peace , with its sort of historical exploration, in human social and individual, with a mosaic of lives disrupted by war and heroic deeds and disgusting that any violence occurs. And here in Peru, the approach is on the side of Ciro Alegria and The world is wide and removed . In both Tolstoy and Joy, and of course in Gutierrez, the point line is unyielding love for the people, by the immense mass of conscience whose new destination is injured and will be the product of their own hands, his own heroic passion. Miguel Gutierrez

When the magazine ran Narration (important for the Peruvian letters in his search for a literature rich in resources and modern techniques and its affiliation rather than class) advocated realism enriched by new techniques developed in this century. Now this proposal takes unexpected scope and concretions. First, the use of modern techniques and resources of literature, returns to its origin instrumental in convincing proportions. Beyond of its intrinsic literary values, the technical range displayed by Robbe-Grillet, Vargas Llosa, Cortazar, Fuentes mystified or technical use. The new narrative was nothing that human vacuum sublimation and deployment instead of artificial structures and resources. The instrumental nature of these means was obscured, deliberately hidden. The argument or the story was no longer valid as the best form of expression of human events, but relegated to museum pieces that the self-styled postmodern could not tolerate. In contrast to Gutierrez technology (and with it the magical element) and use it demystifies lush and measured only serves to magnify the human fact of literature.

Hence the experiential enjoyment for the epic narrative of the novel seeks to us, is a kind of reminder of the almost physical communication of Dostoevsky. The communication link has not yet deep and tears Dostoevsky, but gains in wealth emotions: rage, anger, laughter, solidarity, in short, a multiple and painful joy that only privileged works are capable of producing. By

technique clarifies the argument and opens to both a range of interpretive possibilities. But the story narrative is coupled to the emotional outcome of events are rare and difficult to misunderstandings. The pleasure is so total, integral, and total (in full on the novel) is the narrative effort to reflect and express the world.

While the novel depicts the story of five generations of the family Villar, family farmers concentrated contradictions, synthesis of a torn and rebel Peru is also an alternative history of the efforts of Martin Villar, the last member of this family hectic lifestyle, to reconstruct the history yet to experience various forms of narrative. The novel is also building its metalanguage and explores its limitations and possibilities. This clarity only points to a realistic path to point to, despite its wealth, the narrow margins fiction versus reality in tumultuous change.

Peruvian history, history that is reviewed and decanted through the novel, the story of the humble men who were able to respond with heroism and dignity to the needs of his time, is not the official story of heroes, aristocrats and petty motivations . Fiction novel presents us with a world apart, different, where the official Peru definitely not ours, nor belong to us heroes or symbols and ideology. Peruvian history has other paths and other destination. Since the presence of tallanes in the Piura, the Incas, English conquistadors, the trustees and feudal lords the Republic of Chile (for whom the aristocracy knelt caring and humble), Ecuadorians and the new owners of the landowner and semicolonizado Peru, the story was a multitude of embarrassments to those who hold and maintain power: military cowardly politicians thieves, corrupt judges, intellectuals, mercenaries, and a mass of hungry, desperate with rage and tragic, his exemplary heroism denied that the official story, hidden and distorted.

not forget that there is a passage in the novel left blank, in brackets, as a symbol of censorship exist in our environment. Revise history, to judge the past is also confronted with future, it will fly, find an address.

In the novel there is a simultaneity of space, the argument is expanded in different eras and cities, whose central core appears to be the concatenation of the characters with certain events. The historic link is not only Peru, is also universal. Perhaps never been seen in Peruvian literature as widely represented space and time are dissimilar. The reason that links these stories is not therefore the mere passion narrative or simple coincidence of the characters and events in these cities. On the one hand, the rebellion of the Tallan against the Incas, the Peruvian man against the English conquerors, the Indians against the trustees and his Republican successors, and Peru against Chile, marks only the pattern of violence and popular rebellion constant throughout our history. But this general form of rebellion finds its historical particularity in what might be called proletarian internationalism as an aesthetic category. That is, the global unity of proletarian revolutions by their common political ideology and its attempt to quash the exploitation of man by man, his close relationship with the person above the objects of creation, and the highest moral able to direct human and create an artistic work sample. And above all, says the historic character of the whole revolution and also of the same failure.

Hence, the events of the Commune of Paris, strikes by workers in the construction of the Panama Canal, the tragic week in Barcelona and other English uprisings of the early century, the Municipality of Callao in Piura and anger and violence of the Peruvian people would, in this historic city, emotional, epic and psychological, the aesthetic category of proletarian internationalism as an expression of a larger social unit.

limitations that could bring to the novel are secondary. One of them lies in the treatment of the characters. Once said Gutierrez that the litmus test for any novelist is to create characters. In Violence time the characters are numerous and their treatment and characterization are too. But the premise remains almost Balzacian a drawing, similar to that practiced SETEFE Zweig to define human types by the passions it away. The type of character whose contradictions are unpredictable and reflect the possibility of conscious change, as the black man Chokeko in road is only one type and not a common feature. Most of the characters on the weight of a tragic fate, a dominant line at a time that enhances so limited. Perhaps destinations Villar Santos and Cruz are the most defined in advance, but so are the Innocent and Primorosa Villar, Diéguez Domitila up (after the death of her suitor), Dr Gonzales and perhaps the narrator Martin Villar. But this kind of characterization through most of the nineteenth century novels (Balzac, Hugo, Sthendal, Flaubert, Dostoevsky, Tolstoy, Gogol, Melville) and part of the twentieth century (Proust, Kafka, Joyce, Faulkner, Hemingway, Carpentier, Guimaraes Rosa Amado).

of rough language, sometimes shocking but vigorous, the novel develops various narrative styles ranging from serious to version splendid irreverent, ironic and festive. But always underlying serious style when it comes to feudal character. Odar figures Seminar Benalcázar Leon, Rodolfo Farfan Lama of the Goths, Dr. Ventura Gandamo and other bluish lineage, despite the aberrations that may be committed, despite the most despicable acts that are running, have an aura of pride, integrity and respect, rather than the reader might reject a practice repugnant product of an ideology, only rejects the act of his particular anger that the character is still worthy of respect.

Finally, these qualifications also serve as building blocks for a more detailed and comprehensive interpretation of the novel. Not free the presence of characters Metz and Bauman (as is also the presence of Galileo successful in Gall War doomsday Vargas Llosa) as a symbol of advanced consciousness and leader. We also see that the characters while closest to the intelligentsia split of practice (as the narrator Martin Villar, Dr. Gonzales, JL Diaz, college buddies) will question his conscience until dark and existential levels. Even the bond and the return of Martin Villar in the bosom of the Community of such harassment does start it seeks to make sense of existential and out of their life. He has realized that only a good man, and does not dare tell yourself that this is not enough that perhaps it is also necessary to organize, prepare, lead men to seek their release.

Finally the novel as a link with our current reality, it serves as an instrument of social reflection, human, magical, historical, psychological and temperamental to become, in the author's words when referring to blood All Arguedas, simultaneously "reflection of reality, aesthetic object with a specific language and structure and expression of world views and ideologies." And, particularly in painful and hopeful expression of the hard times we live.

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Music to open the year

Let the first post of the year is not too elaborate ... I'm a bit griposa and my mind is not to think too, hehehehe

is a song that I just found out but I was hooked .... You hear it and I can not keep my feet go back ....



video version that I have set is not wrong, only the lyrics of the song on a black background, but the original video clip seemed a little .... No, it will be the wrong connotation that I see in my profession. If anyone can find what you're curious ^ __ ^