philosophical works are certainly to read
Posted: Thu Jul 10, 2025 8:12 am
All art is a form of propaganda. Art, along with politics and religion, disseminates an ideology, whether the artist is conscious of it or not. Art which idealises Nordic beauty and moral values strengthens our community. Nihilistic art weakens it. Today few writers pay explicit tribute to the Northern aesthetic, but thousands of pornographers and admen pay an implicit and backhanded tribute to Northern beauty by exploiting the ideal for fun and profit.
cultural conditions are not conducive to the creation of great Northerners. If any are created they will have to search long, hard and deep for their ennobling inspiration and character forming ideals." (Richard McCulloch, The Ideal and Destiny, Coral Springs, Florida, Towncourt Enterprises Inc. 1982, p.351).
The works of the artist and intellectual Baron Julius Evola are classics, classics to the kind which are often quoted, often referred to, whose status is unquestioned, but which have nevertheless lead a phone number list cryptic, even marginal existence in the history of modern European thought. Part of the reason for this in Evola's case may be that his and many readers cannot understand Italian and must wait for a translation.
Evola is not classifiable, not in relation to his main themes, still less in relation to specific spiritual or political positions. How far the word "political" can usefully apply to Evola at all is debateable. He followed the early development of Fascism in Italy in the twenties with considerable, even enthusiastic sympathy, but he was a thorn in the side of Fascism once it had itself become the established order. In Germany, where he went on a lecturing tour during the war, he was met with polite scepticism. He was badly injured in an air-raid in Vienna in 1945 and remained a cripple until his death in 1974. He was not active in any of the post-war rightist movements in republican Italy, although he continued intellectual discussions with the sons and grandsons of former Fascists.
cultural conditions are not conducive to the creation of great Northerners. If any are created they will have to search long, hard and deep for their ennobling inspiration and character forming ideals." (Richard McCulloch, The Ideal and Destiny, Coral Springs, Florida, Towncourt Enterprises Inc. 1982, p.351).
The works of the artist and intellectual Baron Julius Evola are classics, classics to the kind which are often quoted, often referred to, whose status is unquestioned, but which have nevertheless lead a phone number list cryptic, even marginal existence in the history of modern European thought. Part of the reason for this in Evola's case may be that his and many readers cannot understand Italian and must wait for a translation.
Evola is not classifiable, not in relation to his main themes, still less in relation to specific spiritual or political positions. How far the word "political" can usefully apply to Evola at all is debateable. He followed the early development of Fascism in Italy in the twenties with considerable, even enthusiastic sympathy, but he was a thorn in the side of Fascism once it had itself become the established order. In Germany, where he went on a lecturing tour during the war, he was met with polite scepticism. He was badly injured in an air-raid in Vienna in 1945 and remained a cripple until his death in 1974. He was not active in any of the post-war rightist movements in republican Italy, although he continued intellectual discussions with the sons and grandsons of former Fascists.