The Alt Right And The Arts

The Alt Right & the Arts

2,386 words

Vig Scholma

Vig Scholma, Furor Teutonicus

The Road to Alt Right Artistry

Since Hillary Clinton’s mention of the Alternative Right in one of her speeches, there have been countless discussions about what the Alt Right is and represents, with everyone and anyone, no matter how inappropriate, suddenly declaring they are part of the Alt Right. I think it is quite easy to define what the Alt Right is: it is the postmodern manifestation of what Julius Evola termed the True Right. 

The True Right has been almost completely disprivileged from the mainstream arts scene in the present day. The political Left, meaning firstly the Whiggish Left and then the socialist Left, realized as early as the late eighteenth century the power art had to shape political discourse by altering the masses’ perceptions of the world. They thus sought to seize the artistic mainstream as a means towards political power.

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Wagner’s Place in the Germanic Tradition Part 7

Wagner Bicentennial Symposium

Wagner’s Place in the Germanic Tradition
Part 7: Siegfried & Götterdämerung

Collin Cleary

Siegfried and Rhinemaidens
Siegfried and Rhinemaidens

3,645 words

Part 7 of 8

Siegfried

If Wotan is the main character of the Ring, Siegfried is its hero. However, in dealing with the character of Siegfried we do not depart from our discussion of Wotan at all. This is because Siegfried, like many of the other characters in the Ring, is a kind of hypostatization of an aspect of Wotan himself.

We have already seen this in several cases. Loge represents the crafty, creative-destructive intellect utilized by Wotan, which eventually leads him astray. Fricka is the personification of Wotan’s rigid and barren laws. Brünnhilde is the embodiment of Wotan’s will. Alberich is Wotan’s dark side, which he finds himself tending toward, as he confesses in Die Walküre. What, then, does Siegfried represent?

Let’s consider once more Wotan’s words to Brünnhilde: “To my loathing I find only ever myself in all that I encompass! That other self for which I yearn, that other self I never see; for the free man has to fashion himself – serfs are all I can shape!”[1] Siegfried is somehow a counterpart self to Wotan. Of course, the same could be said of Alberich. But here the relationship is of an entirely different order. Alberich represents Wotan’s dark alter ego, which he abhors, whereas Siegfried represents a kind of ideal that Wotan longs for. In some sense, Siegfried possesses something Wotan lacks. But just what is this? The most obvious answer is freedom – Wotan makes this clear in the lines just quoted. Siegfried is free of the entanglements that restrict Wotan. But there is something else at work here as well.

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Wagner’s Place in the Germanic Tradition Part 5: The One-Eyed God

Wagner Bicentennial Symposium
Wagner’s Place in the Germanic Tradition
Part 5: The One-Eyed God

2,522 words

Part 5 of 8

The story of the Ring involves four ages, similar to those taught in Tradition.

The Age of Titans is the period represented by figures somehow more primordial than the gods: Erda, the Norns, and possibly the Rhine daughters. Events in this age are not depicted in the Ring; they are merely referred to (primarily in Götterdämmerung).

The Age of Gods is the time dominated by Wotan and the other divinities (who, aside from Fricka, have little to do in the Ring). It is depicted in Das Rheingold, and the stage is set for its passing away in Die Walküre.

The Age of Heroes is portrayed in Siegfried, and the Prologue to Götterdämmerung. However, it is really only truly inaugurated in Act Three of Siegfried, at the moment when the hero shatters Wotan’s spear. Of all the ages, its duration in the Ring is the briefest.

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