Archetype is simply a symbolic expression that begins to function anywhere where either there are no conscious concepts, or they cannot happen at all due to interior or external reasons. Collective unconsciousness content is represented in consciousness by expressive tendencies or perceptions. The Individual usually treats them as conditioned by the object – this is simply a misconception due to the fact that they come from an unconscious psyche structure, only that they are liberated by the effect of the object. However, these subjective tendencies and perceptions are stronger than the effect of the object, and their intellectual value is higher, so that they impose on all impressions (G. Jung, Psychological Types). The beginning of archetype life can be sought in ancient Greece (arche – ‘start’, thyps – ‘type’).
This definition Greek invention introduced by Philon of Alexandria, it was present defined by Carl Gustav Jung, who in his works redefined and arranged this concept, giving emergence to further technological investigation on this subject.
Based on Jung's technological achievements, the 20th century brought a revolution in the knowing of archetype, which entered the field of metaphysics. According to Eliade, the nineteenth-century perception of archetype did not tie a symbol, a picture, a story with metaphysics, or spiritual life. As Eliade went further in his meditations, he added that it was through the spiritual sphere that the archetype was not possible to degrade, mutilate or root out. This symbol can become an object that acquires its value, becoming, for example, a saint, by being saturated with metaphysical values. The features predisposing him to this may be its form or location. This object becomes a reservoir of external force (spiritual, intangible), giving it meaning, value and power. specified a symbol is able to defy time, as timeless/everlasting, even understood as holy. It can besides be a tangible, material reflection of political ideology, responding to the request for a certain time, thereby fulfilling a certain function, or playing a required role. Archetype takes on importance frequently through the sacred meaning given to it, which is simply a reflection / prototype of divine mission. According to Mircea Eliade, man builds his planet according to archetype. For example, settling or harnessing unknown lands (understood as chaos) is an act of creation, a repetition of the first act- the transformation of chaos into Cosmos through the divine act of creation, thus giving it a certain form and order. Each act of transformation from chaos into Cosmos means that through ritual it is given a form that makes it real and spiritual/ordered. For archaic mentality, reality necessarily involves force/work which gives it meaning sacrum. Sacrum makes everything work effectively and takes an orderly form, and through sacrum It's a sacred job. To the sphere sacrum, The cult of strength may besides be raised, or the cult of a chief who embodies the mission of salvation and reconstruction of the nation, being a typical of the Cosmos fighting against chaos for order and order. This treatment was frequently utilized by ideologists and political leaders of the 1920s and 1930s, as the legitimacy of their leadership and leadership. Archaetype reasoning became the foundation of the ideological currents of that time, manifesting itself in both material and spiritual spheres. Julius Evola and Mircea Eliade were placed on other poles in this issue (ideologically understood archetypes). The first is an eccentric baron, dreaming of rebuilding the solar (Paganian) European empire, and the second is simply a religiousist, sympathetic to the (Christian) nationalist, Romanian legion movement of Corneliou Zelea Cordreanu - Legion of Michael the Archangel. Further on, I'm going to effort to prove that they're both on the title list. Antipodes Nationalist ideology of the 1920s and 1930s in Europe, which, contrary to appearances, looked like an ideological mosaic, and never as a political monolith which is simply a strategy for all political movement in Europe.
The imagination of the European Empire according to the Italian Baron is composed of ancient beliefs a compilation of the traditionalist thought of that time with esoteric historism, and its most crucial work on the subject. On Antipodes of Modernism, already in the title itself, he places his postulates outside the mainstream of the nationalist 1920s and 1930s. However, what is interesting, despite rejection, the sense of the largo, the explanation of the European Empire according to Evola, many ideologists and activists of that time Europe drew from his work selected thesis, which with years permanently entered into political programs of movements and parties of nationalist, totalitarian and authoritarian color. On the 1 hand, Evola, with his ideology, created a hermetic imagination of the empire, and on the another hand paradoxically created a kind of universalist ideaism, which is selectively acceptable to many ideological currents, not necessarily related to the right. Evola is 1 of the most interesting minds of the generation of war [worldly]. He truly has amazing knowledge, these words spoken by Eliade accurately reflect the direction and form of the Baron's philosophy. The mythological capture of the pan-European creation has built a fresh planet and a civilization to grow on rubble Semitic wave, dark and barbarian, hostile to himself and the world, [whichIt was indeed poison the size of Rome. In the 20th century, Europe was not his Europe for Evola, the strict sense was not Europe at all, and he himself referred to as an anti-European. He believed that Europe at the time was an antithesis of the conventional world, besides understood as the legacy of the ancient world, especially Roma Aeternum. The Italian Baron believed (in the work entitled Heathen Imperialism) that the Greek-Roman Europe as well as the full "Nordic world" has been semititized, which, being a primitive force (in the barbarous half), standing below culturally than the ancient legacy, has demolished the foundations of actual Europe, becoming the mythical army of Goga and Magoga, whose opposition must be given a fresh (understanding in ancient terms) Alexander. We have here the first example of the conflict between chaos and space, in which the emanation of chaos is Christianity, understood as dark forces conducting spiritual infiltration traditional Nordic peoples of Europe. As a consequence of the chaos, Europe has evolved into a materialistic monster, worshipping gold, machines and numbers. The place of warriors was replaced by soldiers, and kings in folk stands who turned the human soul into a mechanism. Evolian thesis then followed the doctrine and reflection of European thinkers like Oswald Spengler and his Twilight of the West Or Edgar Julius Jung's works. The power of mediocrity. Its dissolution and replacement by the fresh Empire. Interestingly, both German philosophers stood in the position of a conservative revolution, in the spirit of the Christian reconquist of the German people, who would yet become the nucleus of the national Central Europe. The basis of the Spengler imagination of life was the explanation of the unity of the cosmos and the universal character of the life-ruled laws of origin (Dasein and Wachsein). In this theory, he did not mention to spiritual beliefs but to the planet of nature, which lived according to cycles as, according to him, civilizations.
However, what was a peculiar novelty in the concept of the European empire so far understood was the notion of “solar Europeanism”, according to which the Italian baron advocated the restaurant “Solar Europe” which was to be revived by the power of tradition centuries ago. The way of Bierdayev (and his work on Bierdayev). New mediate Ages), Evola felt that the resurrection of ancient solar spirituality was possible through the emergence of a fresh mediate Ages, or interior (spiritual) and outer (forceful) revolution, leading to the reconstruction of the Aryan ethos- forces of the Norse-Roman tradition, the meaning of the largo he identified in the eagle symbol. The very concept of "solarity" is not defined by the Baron, mostly referring to the transcendent order of the world, supernatural and independent from another conditions. This order comes from a deity (which is besides more specific). Evola believes that the order proposed by him is an perfect solution, due to the fact that everything divine comes from heaven, from the sun (salt). This thought in the Evolian sense is the kingdom of heaven on earth, sacrum regnumwhere Europe is the point of contact between the earth and the heavens. The imagination of the planet portrayed by the Italian baron is militant, and all hero who devotes himself to fighting for order, hierarchy and order of the earth is deified, becoming equal to the gods. The means of the planet both spiritually and materially are Rome (which identifies the full of Europe). Middle-Rome, is simply a region sacrum. Road to sacrum is simply a difficult, dangerous and winding road. The rite of passage profanum au sacrum is essential for a restaurant order, changing materialistic chaos (demonic collective force) into Cosmos, a solar order based on Cast society and qualitative hierarchy. Interestingly, Evola, who frequently refers to the past of the Charles the large empire, the traditions of the Templars and another knightly orders, does not erstwhile usage the word Christianity or Latin civilization. Europe Evoli is the title Imperialismo pagano.
In the sphere of material symbolism, the perfect for the Italian Baron was ancient pagan Rome, in which he was born. He was fascinated by pagan strength, vitality, and warfare depicted on columns, sculptures and coins. Roma aeterna was to him the last incarnation of the Norse spirit, which was externally embodied in the forms of the Wolf, the Eagle and the Topor, which for him was the embodiment of heroic ideals. The Evollian Roman is simply a kind of aristocratic-Aryan warrior, man of action- sword and spear. It is simply a solar emanation of mystic masculinity, chaotic but besides full of majesty worthy of deities. The question may be asked, Why did Evola have specified a matrimony of the ancient planet with the Norse / Aryan spiritual - material element? He saw the future European Empire as an alliance of 2 eagles—German and Roman. According to the Baron, the German-Roman planet was the origin of strength and symbol of Western civilization. Western civilization was to unite under the banners on which swastika and eagle were to appear on 1 side, and on the another the eagle and fasces. This symbolic flag was expected to form the core of the solar revolution, according to Evola. Against modern world.
It would seem that during the interwar period of the 20th century, which came under the sign of the crisis of democracy and triumph of totalitarianism, the Evolian explanation will gain acclaim among the emerging nationalisms. Europe, which has become 1 of the large emergence of social revolts against the order proposed at the 1919 conference, has developed a spectrum of chaos driven by the adverse situation of the post-war economy (especially in the case of Germany) by territorial losses, national conflicts linked to the emergence of fresh states and expensive, inflation and unemployment. The polarized political society, on the 1 hand, feared the emergence of socialist tendencies that would lead to revolutionary riots, and on the another hand, the improvement of nationalist and fascist groups, whose doctrine led to a dictatorial and totalitarian regime, caused concern. How, then, did theoretical evolianism play out? Well, the Italian baron thought that definitive nationalism was... a threat to his ideology. Evola accused nationalism of demolishing conventional aristocracy, which in turn led to alignment in the laws of the 3rd state with the ruling class, harmonising everyone within a single national community. He besides felt that nationalism was an obstacle to his pan-European imagination of the Empire, destroying conventional order and undermining the office Pontifex Maximus, or the chief king/priest watching over the Empire. In summary, nationalism is for Evola an archetype of chaos, an enemy of its traditionalist revolution against modernity.
Opposite Julius Evola's explanation is Charles Mauras, a French author and ideologist of integral nationalism. The French view Europe as an alliance of ancient Rome and Christianity, from which the European civilization originated. Charles Mauras in a Work La Démocratie religionuse He wrote that: I am a Roman, for from the consul Mary and the divine Julius to Theodosius the first perfect of France was drawn. I am a Roman due to the fact that it was Rome, Rome priests and popes who gave eternity to feelings, methods, worship, political works of full generations of officials and judges. [...]. I am a Roman in the wealth of historical, intellectual and moral existence. I am, due to the fact that if I wasn't, there wouldn't be anything French about me. Thanks to this vault that he received from Athens and passed on to my Paris, Rome became a civilization and humanity. The Mauritanian archetype of Europe is simply a Latin empire, united by a common symbol - Catholic Rome, the mediate of the planet - where the earth meets the sky, a city celebrating its tradition throughout Europe. Mauras sees his Romanity as a metaphysical spiritual sphere without which there would be no civilization that shaped his way of thinking. Although he frequently treats religion rather instrumentally, it is the fundamental foundation on which France and Europe are based in his ideology.
History Roman Empire As the foundation of European civilization, it became an example of which they drew their inspiration from the ideological movement of Western Europe 19th and 20th centuries. Symbolism, naming, and ancient solutions were readily identified with the foundations of civilization, while demonstrating their continuation in modern times. Ancient Rome appeared to be a modern - day empire built through sacrifice, love of homeland, and a certain strategy of values. This is reflected in the written legacy of Gabriella D’Annunzio, Benito Mussolini, Leon Degrell, Drieu La Rochelle and Cornelius Zelea Cordreanu. The civilian war in Spain was just seen by the prism of “the conflict of civilization”. The right-wing propaganda communicative believed that it was a war in defence of European civilization and Spain, a conflict against the barbarous flood of Bolshevikism (adopted with the ancient threat of the Empire by the peoples barbaricum). As an example, 1 of the symbols that legitimizes this fight can be cited as the propaganda poster of the Spanish Falanga, depicting the figure of the winged young female who holds the sword in 1 hand and the flag of Spain, Falanga and Karlist. Next to it is simply a laurel wreath, with its swords, which symbolizes the triumph. The full thing is topped with: El hombre tiene que ser libre pero no existe la libertad sino dentro de un ordenwhich in translation reads: A man must be free, but there is no freedom beyond order. This poster is simply a reflection of the ancient symbolism of the goddess Victoria, which was almost mirrored in coins struck on the occasion of the conflict victory. Thus, this poster's pronouncement is simply a unambiguous- winged goddess, a forerunner of the triumph of Roman/European civilization, carries a forerunner of Spanish triumph in the fight against the threatening civilization of Bolshevikism. So again we are dealing with 2 figures, the Cosmos embodyed by General Francisco Franco, upon whom lies the burden of conducting a crusade against the forces of chaos understood by the Bolshevik threat.
In contrast, the foundations on which the ideology of Romanian nationalism was built are different, which was besides supported by Mircea Eliade. Romanian nationalism, like most movements of this kind of Europe at the time, sought inspiration in abroad solutions. 1 of the foundations of Romanian ideology was anti-Semitism, whose roots we can look for in the work of the Romanian poet Mihai Eminescu, who expressed his views about the judaic population min. in his own poetry. Eminescu was 1 of the leading poets of Romanian Romanticism and the largest Romanian poets in the past of the country. By Romanian historian Nicolae Iorga, he was considered the father of modern Romanian language, which combined with his conservative views created the icon of Romanian right. So we have the first ideological foundation in the form of classical poetry, which, through prose, became a supporting form of ideological anti-Semitism, which found its support in literature recognized by the people of the witch. What is peculiarly visible and crucial in the knowing of the "Jewish question" among Romanian society was the anti-Jewish program that was universal and supported by intellectuals. The group of intellectuals on anti-Semitic views includes specified persons as Emil Cioran, Miracea Iorgulescu, Victor Eskenasa, Adrian Marino, Miracea Eliade and the aforementioned Nicolae Iorga. The "Jewish issue" in Romanian nationalism was extended and attached not only in science, history, but besides culture (Eminescu poetry). specified a strong archetype of representatives of chaos, which the Romanian people are fighting “all” has gained popularity among the vast masses of Romanian society. Unlike European anti-Semitism, which in most cases promoted the image of Jews as inferior racially, Romanian nationalism with strong support in mysticism identified the judaic community with the devil, giving them diabolical qualities. Codreanu as leader Crusades for the renewal of the Romanian people He decided to quit the fight to diabolical semenwho wanted to destruct the Romanian people. In addition to this, the emerging Romanian legionarianism became firmly established in Romania's folk tradition. They referred to the metaphysical sphere of Christianity (under the prism of Orthodoxy, but besides referring to pagan beliefs and myths) and the symbolism of the father's land and blood ties. Romanian nationalists, like talismans, wore sacks of land collected from battlefields where clashes were crucial to Romanians. Mysticism embodyed in leaders- Corneliou Codreanu created strong foundations of the ideology of Romanian nationalism, a mixture of mesianism, pagan ancestral cult combined with Christian religion and racial theories. How did Eliade find himself in all this? By the end of the 1930s, he maintained contacts with the paramilitary organization- The Iron Guard, among which pro-German sympathies were visible. After the war broke out, Eliade was called up as a cultural attaché function at the Romanian embassy in London. In 1942, Eliade came to Romania for the last time to personally deliver the message of Portuguese dictator Antonio Salazar to Romanian dictator, General Ion Antonescu. At the end of the years of war, his return to his homeland was closed. He was considered a supporter of “Roman Nazi”. His conservative and nationalistic sympathy was best expressed by a book devoted to Antonio Salazar and his “peaceful revolution” (his conservative-national political imagination was possibly the most evident here). It is actual that Eliade, like most of the then right hand, passively sympathized with German national-socialism, but his later claims of active collaboration are the consequence of communist propaganda, which had the pretext to discredit Romanian spiritual scholar.
Returning to the Augustinian peninsula there is no way not to remember Benito Mussolini, the creator of Italian fascism. Mussolini as a erstwhile socialist, compromised in this environment by a change in the political front, creating a fascist ideology he had to base it on solid foundations that would go to the disappointed Treaty of Versailles Italian society. As in the above examples, ancient Rome proved to be a natural appeal. The imagination of rebuilding imperial Italy was based on the symbolism of power Roman Empire. Fascist propaganda, seeing the possible of ancient symbolism, transplanted ancient patterns into the 20th century ground. Coins and medals that carry propaganda began to appear in circulation. Thanks to its advanced circulation and wide dissemination, it has proved to be an excellent material promoting the individual Mussolini and his fascist imagination of Italy. Another relay of the imperial ideas of Italy was postage stamps, referring to the past of imperial Rome to advancement smoothly into the subject of fascism. Ancient symbolism became the main foundation of fascist ideology, even in architecture. Mussolini knew that it was not only his charisma and personality that would follow the crowds, but the tangible-material symbols that would bring to the audience the longing for the greatness and strength of Italy, which then plagued with interior conflicts became a weak country and fragmented into different regions. The march on Rome can be read as an effort to transform chaos into space, and Duce himself as an evolian Pontifex Maximus, “the provident father” repeats the divine act of creation - to tame chaos and establish universal order and hierarchy. The mystical creation of Mussolini as a man of providence charmed the Italian people for a long time. The end of this mystical creation brought a war alliance with the 3rd Reich and lost Italian blood by Duce on the fronts of planet War II.
It is impossible to mention German national-socialism in this work. The strategy created by Adolf Hitler became a pathological strategy based on pagan occult practices and pseudoscientific racial theories. Hitler himself knew that Germany, bitter with global restrictions, would be susceptible to rhetoric referring to dreams of greatness. Hitler's aggressive speeches, which spread before Germany the imagination of a bright future, were supported by symbolism specified as swastika, 1 of the most recognizable and widespread organization signs in Germany. Drawing from various ideological movements Hitler created a kind of ideological mosaic, in which he grouped the most aggressive and mischievous postulates, which, with the ubiquitous cult of force and the belief of the superiority of the German race, over the years controlled the imagination of our western neighbour. Many German Conservatives, who, for the words of criticism, lost their lives during the reign of national-socialism, did not forgo the 3rd Reich of long life. What's the reason? At the outset, the metaphysical aspect of the archetype was mentioned, which caused the "immortality" of the idea/ symbol. National socialism in Nazi terms was built on a strictly materialistic foundation, and the symbolism utilized by the national- socialists proved to be in fact only empty signs. Hitler's full defeat is besides evidenced by the alternatively low consequence of the European nations, which did not fall for the slogan of fighting for a European civilization, which in fact Hitler was a gravedigger.
Finally, it is worth to devote a fewer words to Polish nationalism, which, in European terms, placed alternatively (using the Evolian terminology) on Antipodes The then right-wing and authoritarian movements. Polish nationalists, from positivism, passing through the parliamentary-democratic period, created mainly thanks to the fresh young generation Christian nationalism, which is immune to ideological currents flowing from the west (except for superficial loans, mainly from Italian fascism). In addition to the symbols of Mieczyk Chrobry and the characteristic dress, the archetype to which was frequently referred and in which the search for legitimacy of the aspirations for the creation of the large Poland was sought was the Piast times. Radicalism of young people from Camp of large Poland, SM National Party, or later post-break- The National extremist Camp and RNR Falangi tried to make their own independent thought.
Bottom line. Archetypal renewal of time in many cultures involves a circumstantial regeneration, i.e. "cleaning of sins" before entering a fresh time/breaking. It can be read as a transition from the chaos in Space, or from disorder in order. The renewal of time is identified with the conflict of good with evil, in which it yet wins the good. This mechanism, as can be seen from the above examples, has frequently been utilized in building the identity of societies, nations or circumstantial ideologies. These ideologies frequently referred to the boastful and imperial past, identifying it with the times of glory that all citizen yearns for. Thanks to the symbolism, which is kind of tangible proof, it is easy to confirm the legitimacy of their own aspirations or ideas, which, by referring to consciousness, become part of the metaphysical sphere- sacrumThat's mythical order and order.
Bartek Tomczak.
Bibliography:
- G. Jung, Psychological Types, Warsaw 1996,
- Eliade, Images and Symbols,
- Rostkowski, Wolf, eagle, hatchet. Evolian concept of Europeanism in pagan imperialism, Templum Novum, 2009, No. 8 of the year VI,
- Spelnger, Twilight of the West, Warsaw 2014,
- Evola, Imperialismo Pagano. Il Fascismo di fronte al pericolo eurocritiano, Todi-Rome 1928,
- Volovici, Nationalism and the “Jewish Question” in Romania in the 1930s, Budapest 2016,
- Schumacher, fascist propaganda reception, Poznań 2003,
- Multi-male, Latin Fascisms. A dream about a revolution another than Russia and Germany, ed. I, Capital Book,
- Podemski, Expedition to Fiume 1919- 1920, Toruń 2005,
- Evola, On Antipodes of Modernism. Selected Letters, White Podlaska 2014,
- J. Chodakiewicz, W. J. Muszyński, To make Poland Polish. An Anthology of Publicism of the Conspiring National Underground 1939- 1950, Warsaw 2010,
- Rostkowski, The Europaeum Empire. Twilight and dawn of Europe in the capture of Julius Evoli, Templum Novum, 2018, No. 16, XV.
