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.A.Hobson in Imperialism: he finds the essence of sport of in an archaic predatory instinct: chauvinism, which is the desire of the spectator, finds its sport equivalent in “the ideal excitement of the spectator”llPierre de Coubertin assured (1910) that the sportsman had nothing to do with the violence of Nietzsche's supermanllRoman Rolland introduced a representative of younger generation in France whom he described as superficial enemy of all spoilsports, passionately in love with pleasure and violent gamesllthe sportive temperament does not always assume an openly political identity; Graña's “magically powerful male adventurer” may be a soldier, an explorer or a sportsmanllone example of sportive temperament is “the new type of popular hero, the professional player or sportsman” described by Lewis Mumford (1933): “he represents virility, courage, gameness, those talents in exercising the body”; the sports hero represents the masculine virtues, the Mars complex - he is superficially a nonpolitical type, as the “Mars complex” is the core of the fascist ideal of manhoodlNietzsche and the authority of the bodylin 1938, the Parti populaire français, a fascist movement founded by ex-Communist Jacques Doriot, issued a program which included an open promotion of the sportive bodyllthe fascist doctrine of the body has its most important precursor in Nietzsche's call for the “masculinisation of Europe”llhis book On the Genealogy of Morals (1887) refers to the psychological aspect of being human: most men are psychologically deformed and deranged, their envy & anger of “physiological well-being” is a sign of their unnaturally ascetic (self-denying) outlook - this ascetism is contrasted with a “chastity” (virginity) which does not come from any ascetic scruple or hatred of the sensesllNietzsche's idealized body is a vehicle of “robust (strong) health”; a source of vitalism for which the healthy and dynamic body is an effective metaphorllNietzsche's doctrine of the body reappears in Jean-Paul Sartre's essay on anti-Semitism (1946) - “inauthentic” Jews are said to deny the body that betrays them, separating themselves from their own “vital values”llSartre identifies 2 different attitudes toward the body: 1) “inauthentic Jew” escapes the body; 2) the “Aryans” manifest the intimate functioning the organism: grace, nobility, vivacityllSartre supports indirectly the violent image of the Italian fascist while criticising the Jew for treating his body as a mechanism and for having no feeling for the “vital values”llboth Nietzsche and Sartre suggest the body as an “ideological variation” and both respect its authoritylFascist Style and Sportive Manhoodlas Oswald Mosley notes, sportsmen figured specifically in the world of fascist types; it is now widely recognized that fascism was a political aesthetic and a phenomenon of style; Mussolini was the most enthusiastic stylistllMussolini described his own public technique as the continuation of “electric” and “explosive” atmosphere, describing Italy as the land of theatre and its leaders as those who orchestrate (plan, organize) their public contactsllMussolini created the image of “a man masculinely aware of the difficulties that exist in action and ready to face them”; every kind of sport was said to be close to his heart, especially those involving danger - his horse-riding and the speed at which he drove his car became legendary; he invited the journalists to see him fence, play tennis or ride, telling them he hoped they would report how fit and expert he wasllthis visible athleticism came both from Mussolini's sense of showmanship and from a deep physical narcissism; this glorification of body narcissism was the idea of Duce in 1930sllMussolini hated the ageing process and shaved his head to hide itllErnst Nolte has caught the style of Mussolini in his dictator's temperamental impatience with Marxist doctrine: Mussolini's separation from Marxism was a gradual process; he claimed that what divides the parties is not a table of laws but their mentalities; Nolte interprets Mussolini as a restless Marxist dissatisfied with the `dryness' of MarxllMussolini describes socialism as a society in which life will be ruled by the rhythm of machines; this kind of stylistic courage is an important element of sportive fascist charismallin Filippo Marinetti's Portrait of Mussolini, Mussolini is a kind of sportsman who has an enthusiastic, overwhelming, swift temperament; he is free as the wind; a Socialist and internationalist but only in theoryllNolte: style is the visible essence of a political phenomenon and Mussolini is the perfect illustration of this principlellSorel's myth was defined as a `body of images' - the contrasted physical images of the New Man - young, masculine and athletic - and of the old representative of the democratic order - with large stomach, short-sighted, slow-movinglThe Marxist Lacks Dynamism and a Taste for Risklas the eccentric fascist Marinetti writes, “you cannot escape these two idea-feelings: patriotism and heroismllthe Communist temperament, the opposite of the futurist temperament, is the opposite of the sportive temperamentllthe “political athlete” is one version of the risk-taking nationalist who is denied authority by the Marxist tradition - José Antonio found such ideological hostility to nationalism politically stupid almost beyond beliefllMarinetti's idea of heroism is foreign to Marx and Engels; the health-promoting, risk-avoiding attitude deeply rooted in Communist sport is the temperament for which Marinetti felt only contempt, which was shared by Nazi sport theoristsllthe sportive temperament, as Marinetti well understood, is impulsive and having the tendency to the stylish gamblellMarinetti interprets play as freedom, honouring that sportive style which represents the upward force of the racellit is only his attitude toward the dignity of sportive style that puts Marinetti in respectable intellectual company, on the other hand, he is most fascist in the hidden brutality of his idea of machines as superimages of bodily forces and in the loving image of Mussolini's body which justifies “physiological patriotism”lNazism, Athleticism and the SS Warriorlin a 1981 preface to The Crisis of German Ideology, George Mosse notes that if he were to write this book again, he would put more emphasis on the role of the male stereotype in the myths and symbols of Volkish thoughtllit was fascism that chose the symbolic male body as its own political theory; but the symbolic male body and the athletic body are not necessarily the same thing - the `idealized Nordic manliness' whose outline Mosse has drawn cannot be reduced to an athletic ideal - this the distinctions which must be strengthened if we are to understand the relationship between Nazism and athleticismllthe most notorious of all the fascist para-athletic types are the merciless warrior and the Waffen-SSllB.H [ Pobierz całość w formacie PDF ]
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.A.Hobson in Imperialism: he finds the essence of sport of in an archaic predatory instinct: chauvinism, which is the desire of the spectator, finds its sport equivalent in “the ideal excitement of the spectator”llPierre de Coubertin assured (1910) that the sportsman had nothing to do with the violence of Nietzsche's supermanllRoman Rolland introduced a representative of younger generation in France whom he described as superficial enemy of all spoilsports, passionately in love with pleasure and violent gamesllthe sportive temperament does not always assume an openly political identity; Graña's “magically powerful male adventurer” may be a soldier, an explorer or a sportsmanllone example of sportive temperament is “the new type of popular hero, the professional player or sportsman” described by Lewis Mumford (1933): “he represents virility, courage, gameness, those talents in exercising the body”; the sports hero represents the masculine virtues, the Mars complex - he is superficially a nonpolitical type, as the “Mars complex” is the core of the fascist ideal of manhoodlNietzsche and the authority of the bodylin 1938, the Parti populaire français, a fascist movement founded by ex-Communist Jacques Doriot, issued a program which included an open promotion of the sportive bodyllthe fascist doctrine of the body has its most important precursor in Nietzsche's call for the “masculinisation of Europe”llhis book On the Genealogy of Morals (1887) refers to the psychological aspect of being human: most men are psychologically deformed and deranged, their envy & anger of “physiological well-being” is a sign of their unnaturally ascetic (self-denying) outlook - this ascetism is contrasted with a “chastity” (virginity) which does not come from any ascetic scruple or hatred of the sensesllNietzsche's idealized body is a vehicle of “robust (strong) health”; a source of vitalism for which the healthy and dynamic body is an effective metaphorllNietzsche's doctrine of the body reappears in Jean-Paul Sartre's essay on anti-Semitism (1946) - “inauthentic” Jews are said to deny the body that betrays them, separating themselves from their own “vital values”llSartre identifies 2 different attitudes toward the body: 1) “inauthentic Jew” escapes the body; 2) the “Aryans” manifest the intimate functioning the organism: grace, nobility, vivacityllSartre supports indirectly the violent image of the Italian fascist while criticising the Jew for treating his body as a mechanism and for having no feeling for the “vital values”llboth Nietzsche and Sartre suggest the body as an “ideological variation” and both respect its authoritylFascist Style and Sportive Manhoodlas Oswald Mosley notes, sportsmen figured specifically in the world of fascist types; it is now widely recognized that fascism was a political aesthetic and a phenomenon of style; Mussolini was the most enthusiastic stylistllMussolini described his own public technique as the continuation of “electric” and “explosive” atmosphere, describing Italy as the land of theatre and its leaders as those who orchestrate (plan, organize) their public contactsllMussolini created the image of “a man masculinely aware of the difficulties that exist in action and ready to face them”; every kind of sport was said to be close to his heart, especially those involving danger - his horse-riding and the speed at which he drove his car became legendary; he invited the journalists to see him fence, play tennis or ride, telling them he hoped they would report how fit and expert he wasllthis visible athleticism came both from Mussolini's sense of showmanship and from a deep physical narcissism; this glorification of body narcissism was the idea of Duce in 1930sllMussolini hated the ageing process and shaved his head to hide itllErnst Nolte has caught the style of Mussolini in his dictator's temperamental impatience with Marxist doctrine: Mussolini's separation from Marxism was a gradual process; he claimed that what divides the parties is not a table of laws but their mentalities; Nolte interprets Mussolini as a restless Marxist dissatisfied with the `dryness' of MarxllMussolini describes socialism as a society in which life will be ruled by the rhythm of machines; this kind of stylistic courage is an important element of sportive fascist charismallin Filippo Marinetti's Portrait of Mussolini, Mussolini is a kind of sportsman who has an enthusiastic, overwhelming, swift temperament; he is free as the wind; a Socialist and internationalist but only in theoryllNolte: style is the visible essence of a political phenomenon and Mussolini is the perfect illustration of this principlellSorel's myth was defined as a `body of images' - the contrasted physical images of the New Man - young, masculine and athletic - and of the old representative of the democratic order - with large stomach, short-sighted, slow-movinglThe Marxist Lacks Dynamism and a Taste for Risklas the eccentric fascist Marinetti writes, “you cannot escape these two idea-feelings: patriotism and heroismllthe Communist temperament, the opposite of the futurist temperament, is the opposite of the sportive temperamentllthe “political athlete” is one version of the risk-taking nationalist who is denied authority by the Marxist tradition - José Antonio found such ideological hostility to nationalism politically stupid almost beyond beliefllMarinetti's idea of heroism is foreign to Marx and Engels; the health-promoting, risk-avoiding attitude deeply rooted in Communist sport is the temperament for which Marinetti felt only contempt, which was shared by Nazi sport theoristsllthe sportive temperament, as Marinetti well understood, is impulsive and having the tendency to the stylish gamblellMarinetti interprets play as freedom, honouring that sportive style which represents the upward force of the racellit is only his attitude toward the dignity of sportive style that puts Marinetti in respectable intellectual company, on the other hand, he is most fascist in the hidden brutality of his idea of machines as superimages of bodily forces and in the loving image of Mussolini's body which justifies “physiological patriotism”lNazism, Athleticism and the SS Warriorlin a 1981 preface to The Crisis of German Ideology, George Mosse notes that if he were to write this book again, he would put more emphasis on the role of the male stereotype in the myths and symbols of Volkish thoughtllit was fascism that chose the symbolic male body as its own political theory; but the symbolic male body and the athletic body are not necessarily the same thing - the `idealized Nordic manliness' whose outline Mosse has drawn cannot be reduced to an athletic ideal - this the distinctions which must be strengthened if we are to understand the relationship between Nazism and athleticismllthe most notorious of all the fascist para-athletic types are the merciless warrior and the Waffen-SSllB.H [ Pobierz całość w formacie PDF ]