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>> No.13379862 [View]
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13379862

>>13378796
And the right all the guns, money, and women.

>> No.12485050 [View]
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12485050

>>12485014

>> No.12484881 [View]
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12484881

>>12484861

>> No.12479378 [View]
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12479378

>>12479299
the legitimacy of moral authority includes a mystery and when the church couldn't provide a mystery the government created one that lead to the great war. It was there that the mystery was first removed from nations, (though slowly) and placed in the realm of intellectuals, the university, the new realm of the mystery. To destroy them you simply move the mystery by breeding stupid, complacent people who are visually orientated to the world rather than rhetorically orientated to society.

>> No.12468241 [View]
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12468241

>>12468151
>doesn't hang out with musicians, cooks, poets, or entrepreneurs of any artistic sort.
(sorry)

>> No.12451284 [View]
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12451284

>>12450823
>Western sivilization is monkhood fantasies of impropriety
koan yourself a meme and vilify them, thereby making them somehow appealing to the opposite sex? Not that that would work.

>> No.12443459 [View]
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12443459

>>12442207
ideological buffers are in place around people who act more than think or critique, which gives them the advantage in marketplaces and antagonistic systems requiring rhetorical strategies for making legitimate what they cannot help but believe. It is these people I call channels, and it is them I feast upon and do injustice to by leading their validation seeking towards another's ends. While this info is known, I remain anon, a friend, and you too anon, friend.

>> No.12436998 [View]
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12436998

>>12434866
>production > consumption
protestant values repackaged

>> No.12414945 [View]
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12414945

>>12413388
>>12413400
>>12413400
>>12413405
>>12413634
> We shall have reason to return to this banning of the artistintellectual from the political, and indeed the possibility of an art that would be free
of any political position. Secondly, and no less significantly, point 16 of “The Code”
reads: “Contradict yourself. In order to live, you must remain broken up” (EWL, 29).
It is contradiction, polemical energy turned back on the self and on the coherence of
that self’s work, that is one of the structuring-destructuring principles of Lewis’s entire
oeuvre. Indeed, the very repetitiveness of that oeuvre, upon which Carey remarks
so dismissively, is arguably the repetitiveness of an iteration that, paradoxically, both
reinforces and weakens its argument.

Nietzsche among the Modernists:
The Case of Wyndham Lewis

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