NIETZSCHE & GODARD ON THE CENTRALITY OF THE JEWS IN WESTERN HISTORY

January 20, 2007 at 5:04 am | Posted in Arabs, Books, Globalization, History, Israel, Judaica, Philosophy, Zionism | Leave a comment

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CENTRALITY OF THE JEWS IN WESTERN HISTORY AS DESCRIBED BY NIETZSCHE AND GODARD

In the nineteenth century, Friedrich Nietzsche (1844-1900) who was strongly against antisemitism, nevertheless highlights the centrality of the Jews in Western and hence world history.

Godard’s movie, “Notre Musique”(2004) also highlights the centrality of the Jews, as expressed by the famous Palestinian poet who appears in the movie, Mahmud Darwish (see below).

This helps to explain the neocon/Ziocon hold on Washington and hence world policy. Jews are now seen as a kind of Western “cudgel” or “bludgeon” to beat Arabs, Muslims and the Third World in general. Zionist Jews like Henry Kissinger on TV shows like “Charlie Rose” constantly peddle a kind of unrelenting Islamophobia which acts like a fog on America’s ability to conceptualize the future, by instilling fear and creating an anti-Muslim paranoia and pall.

Friedrich Nietzsche: The Antichrist

http://praxeology.net/antichrist2.htm

“Precisely for this reason the Jews are the most fateful people in the history of the world: their influence has so falsified the reasoning of mankind in this matter that today the Christian can cherish anti-Semitism without realizing that it is no more than the final consequence of Judaism.”

The Jews are the most remarkable people in the history of the world, for when they were confronted with the question, to be or not to be, they chose, with perfectly unearthly deliberation, to be at any price: this price involved a radical falsification of all nature, of all naturalness, of all reality, of the whole inner world, as well as of the outer. They put themselves against all those conditions under which, hitherto, a people had been able to live, or had even been permitted to live; out of themselves they evolved an idea which stood in direct opposition to natural conditions — one by one they distorted religion, civilization, morality, history and psychology until each became a contradiction of its natural significance. We meet with the same phenomenon later on, in an incalculably exaggerated form, but only as a copy: the Christian church, put beside the “people of God,” shows a complete lack of any claim to originality. Precisely for this reason the Jews are the most fateful people in the history of the world: their influence has so falsified the reasoning of mankind in this matter that today the Christian can cherish anti-Semitism without realizing that it is no more than the final consequence of Judaism.

In my Genealogy of Morals I give the first psychological explanation of the concepts underlying those two antithetical things, a noble morality and a ressentiment morality, the second of which is a mere product of the denial of the former.

The Judaeo-Christian moral system belongs to the second division, and in every detail. In order to be able to say No to everything representing an ascending evolution of life — that is, to well-being, to power, to beauty, to self-approval — the instincts of ressentiment, here become downright genius, had to invent another world in which the affirmation of life appeared as the most evil and abominable thing imaginable. Psychologically, the Jews are a people gifted with the very strongest vitality, so much so that when they found themselves facing impossible conditions of life they chose voluntarily, and with a profound talent for self-preservation, the side of all those instincts which make for decadence — not as if mastered by them, but as if detecting in them a power by which “the world” could be defied. The Jews are the very opposite of decadents: they have simply been forced into appearing in that guise, and with a degree of skill approaching the non plus ultra of histrionic genius they have managed to put themselves at the head of all decadent movements (– for example, the Christianity of Paul –), and so make of them something stronger than any party frankly saying Yes to life. To the sort of men who reach out for power under Judaism and Christianity, — that is to say, to the priestly class — decadence is no more than a means to an end. Men of this sort have a vital interest in making mankind sick, and in confusing the values of “good” and “bad,” “true” and “false” in a manner that is not only dangerous to life, but also slanders it.

Godard’s movie, “Notre Musique” (2004) also highlights the centrality of the Jews, as understood by the famous Palestinian poet who appears in the movie, Mahmud Darwish:

Notre Musique (2004)

Director: Jean-Luc Godard

Part poetry, part journalism, part philosophy, master filmmaker Jean-Luc Godard’s Notre Musique is a witty and lyrical reflection on war through the ages. The film is structured into three Dantean Kingdoms: Hell, Purgatory and Heaven. The journey begins in Hell, represented by modern war and then moves to Purgatory, set in Sarajevo. Finally, Paradise is conceived as a small beach guarded by Marines from the United States. At the same time, the film also follows the parallel stories of two Israeli Jewish women, one drawn to the light and one drawn towards darkness.

A Palestinian poet laments that the world is interested in the Jew, how they have survived, it is an enemy we cannot win against he claimed, as Israeli leaders still believe in the War of Independence, an unresolvable legacy left by the British. Too bad Israel remains simply an appendage to Washington’s military establishment not concerned with its human rights abuses.

Again something that interests Godard, the “wound” of the current state of the globe; yet he situates the Middle East in a distance as a metaphor in fragments for other places,and seems to want to expose what is wrong with the landscape of the West, and cannot see a way out of this impasse/ paradigm.

 

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