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Opinion | How to Save a Sad, Lonely, Angry and Mean Society

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a photograph of a marble bust in a museum with a man standing behind it using his hands to explain something

Credit…Matthew Monteith

Recently, while browsing in the Museum of Modern Art store in New York, I came across a tote bag with the inscription, “You are no longer the same after experiencing art.” It’s a nice sentiment, I thought, but is it true? Or to be more specific: Does consuming art, music, literature and the rest of what we call culture make you a better person?

Ages ago, Aristotle thought it did, but these days a lot of people seem to doubt it. Surveys show that Americans are abandoning cultural institutions. Since the early 2000s, fewer and fewer people say that they visit art museums and galleries, go to see plays or attend classical music concerts, opera or ballet. College students are fleeing the humanities for the computer sciences, having apparently decided that a professional leg up is more important than the state of their souls. Many professors seem to have lost faith too. They’ve become race, class and gender political activists. The ensuing curriculum is less “How does George Eliot portray marriage?” and more “Workers of the world, unite!”

And yet I don’t buy it. I confess I still cling to the old faith that culture is vastly more important than politics or some pre-professional training in algorithms and software systems. I’m convinced that consuming culture furnishes your mind with emotional knowledge and wisdom; it helps you take a richer and more meaningful view of your own experiences; it helps you understand, at least a bit, the depths of what’s going on in the people right around you.

The novelist Alice Walker lamented that she lacked models. She wasn’t aware of enough Black female writers who could serve as exemplars and inspirations as she tried to perceive her world and tell her stories. Then she found the novelist and anthropologist Zora Neale Hurston, who, decades before, had pointed the way, shown her how to see and express, enabled her to write about her mother’s life, about voodoo, the structures of authentic Black folklore. Thanks to Hurston she had a new way to see, a deeper way to connect to her own heritage.

I’d argue that we have become so sad, lonely, angry and mean as a society in part because so many people have not been taught or don’t bother practicing to enter sympathetically into the minds of their fellow human beings. We’re overpoliticized while growing increasingly undermoralized, underspiritualized, undercultured.

The alternative is to rediscover the humanist code. It is based on the idea that unless you immerse yourself in the humanities, you may never confront the most important question: How should I live my life?

Ralph Waldo Emerson, for example, argued that we consume culture to enlarge our hearts and minds. We start with the tiny circle of our own experience, but gradually we acquire more expansive ways of seeing the world. Peer pressure and convention may try to hem us in, but the humanistic mind expands outward to wider and wider circles of awareness.

I went to college at a time and in a place where many people believed that the great books, poems, paintings and pieces of music really did hold the keys to the kingdom. If you studied them carefully and thought about them deeply, they would improve your taste, your judgments, your conduct.

Our professors at the University of Chicago had sharpened their minds and renovated their hearts by learning from and arguing against books. They burned with intensity as they tried to convey what past authors and artists were trying to say.

The teachers welcomed us into a great conversation, traditions of dispute stretching back to Aeschylus, Shakespeare, George Bernard Shaw, Clifford Odets. They held up visions of excellence, people who had seen farther and deeper, such as Augustine, Sylvia Plath and Richard Wright. They introduced us to the range of moral ecologies that have been built over the centuries and come down as sets of values by which we can choose to live — stoicism, Buddhism, romanticism, rationalism, Marxism, liberalism, feminism.

The message was that all of us could improve our taste and judgment by becoming familiar with what was best — the greatest art, philosophy, literature and history. And this journey toward wisdom was a lifelong affair.

The hard sciences help us understand the natural world. The social sciences help us measure behavior patterns across populations. But culture and the liberal arts help us enter the subjective experience of particular people: how this unique individual felt; how this other one longed and suffered. We have the chance to move with them, experience the world, a bit, the way they experience it.

We know from studies by the psychologists Raymond Mar and Keith Oatley that reading literature is associated with heightened empathy skills. Deep reading, immersing yourself in novels with complex characters, engaging with stories that explore the complexity of this character’s motivations or that character’s wounds, is a training ground for understanding human variety. It empowers us to see the real people in our lives more accurately and more generously, to better understand their intentions, fears and needs, the hidden kingdom of their unconscious drives. The resulting knowledge is not factual knowledge but emotional knowledge.

The novelist Frederick Buechner once observed that not all the faces Rembrandt painted were remarkable. Some are just average-looking old people. But even the plainest face “is so remarkably seen that it forces you to see it remarkably.” We are jolted into not taking other people for granted but to sense and respect the immense depth of each human soul.

Rembrandt’s “The Return of the Prodigal Son.”Credit…Fine Art Images/Heritage Images, via Getty Images

When I come across a Rembrandt in a museum, I try to train myself to see with even half of Rembrandt’s humanity. Once in St. Petersburg, I had the chance to stand face to face with one of his greatest paintings, “The Return of the Prodigal Son.” He painted this one at the end of his life, when popular taste had left him behind, his finances were in ruins, his wife and four of his five children were in their graves. I have seen other renderings of that parable, but not one in which the rebel son is so broken, fragile, pathetic, almost hairless and cast down. The father envelops the young man with a love that is patient, selfless and forbearing. Close observers note the old man’s hands. One is masculine, and protective. The other is feminine, and tender.

Though this painting is about a parable, it’s not here to teach us some didactic lesson. We are simply witnessing an emotional moment, which is about fracture and redemption, an aging artist painting a scene in which he imagines all his losses are restored. It is a painting about what it is like to finally realize your deepest yearnings — for forgiveness, safety, reconciliation, home. Meanwhile, the son’s older brother is off to the side, his face tensely rippling with a mixture of complex thoughts, which I read as rigid scorn trying to repress semiconscious shoots of fraternal tenderness.

Experiences like this help us understand ourselves in light of others — the way we are like them and the way we are different. As Toni Morrison put it: “Like Frederick Douglass talking about his grandmother, and James Baldwin talking about his father, and Simone de Beauvoir talking about her mother, these people are my access to me; they are my entrance into my own interior life.”

Experiences with great artworks deepen us in ways that are hard to describe. To have visited Chartres Cathedral or finished “The Brothers Karamazov” is not about acquiring new facts but to feel somehow elevated, enlarged, altered. In Rainer Maria Rilke’s novel “The Notebooks of Malte Laurids Brigge,” the protagonist notices that as he ages, he’s able to perceive life on a deeper level: “I am learning to see. I don’t know why it is, but everything penetrates more deeply into me and does not stop at the place where until now it always used to finish.”

Mark Edmundson teaches literature at the University of Virginia and is one of those who still lives by the humanist code. In his book “Why Read?” he describes the potential charge embedded in a great work of art: “Literature is, I believe, our best goad toward new beginnings, our best chance for what we might call secular rebirth. However much society at large despises imaginative writing, however much those supposedly committed to preserve and spread literary art may demean it, the fact remains that in literature there abide major hopes for human renovation.”

Wouldn’t you love to take a course from that guy?

How does it work? How does culture do its thing? The shortest answer is that culture teaches us how to see. “The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way,” the Victorian art critic John Ruskin wrote. “Hundreds of people can talk for one who can think, but thousands can think for one who can see.”

Ruskin intuited something that neuroscience has since confirmed: Perception is not a simple and straightforward act. You don’t open your eyes and ears and record the data that floods in, the way in those old cameras light was recorded on film. Instead, perception is a creative act. You take what you’ve experienced during the whole course of your life, the models you’ve stored up in your head, and you apply them to help you interpret all the ambiguous data your senses pick up, to help you discern what really matters in a situation, what you desire, what you find admirable and what you find contemptible.

Another way to put it is this: Artistic creation is the elemental human act. When they are making pictures or poems or stories, artists are constructing a complex, coherent representation of the world. That’s what all of us are doing every minute as we’re looking around. We’re all artists of a sort. The universe is a silent, colorless place. It’s just waves and particles out there. But by using our imaginations, we construct colors and sounds, tastes and stories, drama, laughter, joy and sorrow.

Works of culture make us better perceivers. We artists learn from other artists. Paintings, poems, novels and music help multiply and refine the models we use to perceive and construct reality. By attending to great perceivers, the Louis Armstrongs, the Jorge Luis Borgeses, the Jane Austens, we can more subtly understand what is going on around us and be better at expressing what we see and feel.

When you go to the Museo Reina Sofía in Madrid, you don’t just see Picasso’s “Guernica”; forever after you see war through that painting’s lenses. You see, or rather feel, the wailing mother, the screaming horse, the chaotic jumble of death and agony, and it becomes less possible to romanticize warfare. We don’t just see paintings; we see according to them.

Picasso’s “Guernica.”Credit…Emilio Parra Doiztua for The New York Times

This process of refining and expanding our internal mental models is not a dry, purely intellectual process. If we’re lucky, and maybe only in rare moments, it can be gut-wrenching and intoxicating, a fusion of the head and the heart. As my friend Arthur Brooks writes, “Think of a time when you heard a piece of music and wanted to cry. Or recall the flutter of your heart as you stared at a delicate, uncannily lifelike sculpture. Or maybe your dizziness as you emerged from a narrow side street in an unfamiliar city and found yourself in a beautiful town square; for me, it was the Piazza San Marco in Venice, with its exquisitely preserved Renaissance architecture. Odds are, you didn’t feel as if the object of beauty was a narcotic, deadening you. Instead, it probably precipitated a visceral awakening, much like the shock from a lungful of pure oxygen after breathing smoggy air.”

In this kind of education, you are lured by beauty and deeply pierced by myths that seem primeval and strange. Once in college, I was reading Nietzsche’s “The Birth of Tragedy” in the library. I don’t know what happened next. The book, with its fevered prose and savage genius, sucked me into a trance. I eventually looked up and it was four hours later. I had traveled in time back into some primeval world of bonfires, dancing and Dionysian frenzy, and it left a residue, which I guess you would call a greater awareness of the metaphysical, the transcendent. Life can be much wilder than it seems growing up on a suburban street.

The philosopher Roger Scruton argued that this kind of education gives us the ability to experience emotions that may never happen to us directly. He wrote: “The reader of Wordsworth’s ‘Prelude’ learns how to animate the natural world with pure hopes of his own; the spectator of Rembrandt’s ‘Night Watch’ learns of the pride of corporations, and the benign sadness of civic life; the listener to Mozart’s ‘Jupiter’ symphony is presented with the open floodgates of human joy and creativity; the reader of Proust is led through the enchanted world of childhood and made to understand the uncanny prophecy of our later griefs which those days of joy contain.”

Your way of perceiving the world becomes your way of being in the world. If your eyes have been trained to see, even just a bit, by the way Leo Tolstoy saw, if your heart can feel as deeply as a K.D. Lang song, if you understand people with as much complexity as Shakespeare did, then you will have enhanced the way you live your life.

Attention is a moral act. The key to becoming a better person, Iris Murdoch wrote, is to be able to cast a “just and loving attention” on others. It’s to shed the self-serving way of looking at the world and to see things as they really are. We can, Murdoch argued, grow by looking. Culture gives us an education in how to attend.

The best of the arts are moral without moralizing. Dostoyevsky’s “Crime and Punishment” is an inquiry into the knowledge of right and wrong, told through the eyes of one who suffers, with all the pity and sorrow that involves.

The best of the arts induce humility. In our normal shopping mall life, the consumer is king. The crucial question is, do I like this or not? But we approach great art in a posture of humility and reverence. What does this have to teach me? What was this other human being truly seeking?

The San Fernando Royal Academy of Fine Arts Museum in Spain.Credit…Emilio Parra Doiztua for The New York Times

One of my heroes is Samuel Johnson, the essayist, playwright, poet, dictionary compiler, one of the greatest critics of all time. He was something of a mess as a young man — lazy, envious, unreliable. Over the decades, he read, wrote and felt his way to greatness. He read with astounding sensitivity. Once at age 9 he was reading “Hamlet” when he came to the ghost scene. He was so terrified he ran to the front door so that he could look out at the people in the street, just to remind himself that he was still in the land of the living.

He wrote biographies of his moral exemplars. He wrote essays, poems and plays about the great works of the Western tradition, and especially about his own sins as if he were trying to beat it out of himself through the scourge of self-examination. (Johnson had a special weakness for envy, and so dozens of his essays in his periodicals mention the sin of envy.) His awareness of human depravity led to humility, self-restraint and redemption. And it worked. By the end of his life he was lavishly generous, a man who had the ability to see the world with absolute honesty and sympathetic perception. Johnson socialized with artists and statesmen, but he invited society’s outcasts to live with him so that he could feed and offer them shelter — a former slave, a doctor who treated the poor, a blind poet. One night he found a woman, most likely a prostitute, lying ill and exhausted on the street. He put her on his back and brought her home to join the others. Johnson was a somewhat tortured Christian. These radical moments of welcome are the essential Gospel-like acts.

When he died, his eulogist observed that he left a chasm in national life that nothing could fill up. He embodied that old humanist ideal. He had become a person of taste, a person of judgment, a person of culture. He died a wonderful man.

David Brooks has been a columnist with The Times since 2003. He is the author, most recently,  of “How to Know a Person: The Art of Seeing Others Deeply and Being Deeply Seen.” @nytdavidbrooks

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Russian Exceptionalism | Gary Saul Morson

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When Russian troops seized Crimea in 2014, German chancellor Angela Merkel, reporting on her conversation with Vladimir Putin, told President Obama that the Russian president seemed to dwell “in another world.” In a sense she was right: Russians and Westerners see the world quite differently, and our failure to understand Russia’s perspective made its actions seem surprising in 2014 and still more so when it invaded Ukraine in 2022.

How do Russians think about what their country is doing in Ukraine? If we are to grasp why so many have supported the attack on Georgia in 2008, the seizure of Crimea and eastern Ukraine in 2014, and the present war, we need to recognize that their fundamental assumptions differ from ours. Americans, for example, typically take for granted that the state exists to promote the welfare of its citizens, but Russians often believe the opposite. After all, individuals come and go, but Russia remains. And Russia is not just a nation; it is also an idea.

The “Russian idea,” throughout its many changes, has typically been messianic. It explains the world and gives life purpose; it shapes domestic and foreign policy and, more importantly, gives Russians a sense of their “Russianness”—which includes the ability to save the world. In his famous book The Russian Idea (1946), the philosopher Nikolai Berdyaev argued that Bolshevism owes as much to Russian messianism as to Marx. Medieval Russians, he and many others emphasize, often considered themselves the only true Christians. The Byzantines had, at the Council of Florence in 1439, recognized the pope to secure Western aid against the Turks, thereby betraying the Orthodox faith, which is supposedly why they succumbed to the Ottomans in 1453. From that point on, Moscow, the capital of the only independent Orthodox country until the nineteenth century, became the “Third Rome,” the heir to both Rome and Byzantium as the seat of Christendom. Russians were destined to save the world because, as the monk Philotheus explained, “a fourth Rome there will not be.”

Bolshevism inherited this messianic spirit. The Soviet Union would liberate the workers of the world and create the final utopia. It took Stalin to fuse Marxist internationalism with traditional Russian pride: internationalism would be the work of Russia, the savior nation. Stalin drew on a tradition of Russianness defined as a sort of super-nationality. Every nation manifests a special quality, but Russia, as Dostoevsky argued, displays the unique ability to absorb and perfectly express the qualities of all others. Because of this “receptivity” (ozyvchivost’), Dostoevsky concluded, Russians “may have a greater capacity than other nations to embrace the idea of the universal fellowship of humans, of brotherly love.” As proof, he adduces the Spaniards and Englishmen portrayed in Pushkin’s poems, who, he imagines, differ not a whit from actual Spaniards and Englishmen. I am reminded of the witticism that the linguist Roman Jakobson could speak Russian fluently in six languages.

After the fall of the USSR, ideologies competed to replace communism. Liberalism, considered foreign, was overwhelmed by various types of nationalism, one of which, Eurasianism, seems to have achieved the status of a semiofficial ideology. Putin uses Eurasianist phrases, the army’s general staff academy assigns a Eurasianist textbook, and popular culture has embraced its ideas and vocabulary. The better to build an empire, Eurasianism, like Stalinism, carries the banner of anti-imperialism, claiming to unite the world under Russian leadership in order to liberate it from Western cultural colonialism. It could be no other way. As Aleksandr Dugin, the movement’s current leader, explained, “Outside of empire, Russians lose their identity and disappear as a nation.”

Eurasianism began a little over a century ago. Unlike most of its rivals today, it has engaged some truly creative minds. Russian intellectual history, in fact, offers several movements in which powerful thinkers arrive at absurd and often repulsive conclusions. To understand them is to grasp how intelligent people anywhere can accept preposterous beliefs and claim “scientific” certainty for ideas counter to the very spirit of science.

Finding themselves in exile after the revolution and civil war, a group of Russian intellectuals, mostly from the nobility, regarded recent events as a catastrophe unrivaled in history. They experienced profound alienation from both their homeland and the European world in which they found themselves. In his essay “Two Worlds,” Pyotr Savitsky, the movement’s first leader, observed, “Russian exiles are like immigrants ‘from another world,’ like inhabitants of other planets.” Like earlier Russian émigrés, they found a home in the ideology they created.

“Two Worlds” is included in Foundations of Eurasianism, a collection of important texts from the movement, many of which appear in English for the first time. The Bolshevik coup, Savitsky and his fellow émigrés reasoned, simply accelerated the disastrous policy of Westernization pursued by Romanov tsars since Peter the Great. Russia must at last realize that it does not belong to European civilization. It belongs instead to the entirely separate world of “Eurasia.” Culturally, historically, and psychologically, Russians are a steppe people who resemble the Turkic and Mongolian (or “Turanian”) peoples of Central Asia. Far from being a calamity, the Mongol conquest of Russia (roughly 1240–1480) constituted a blessing precisely because it isolated Russia from Europe. It was in this period that the modern Russian character was formed, as a synthesis of the Slavic and the Turanian.

Absolutism, the only rule suitable for steppe peoples dispersed over a vast territory, came to Russia from Genghis Khan and his successors. When the Mongol Empire disintegrated, Russia became its heir. “And hovering over all Russia is the shade of the great Genghis Khan,” wrote the Eurasianist Nikolai Trubetskoy in The Legacy of Genghis Khan (1925). “Whether Russia wants it or not, she remains forever the guardian of this legacy.”

The Eurasianists included two great linguists, Trubetskoy and Jakobson, who discovered the phoneme and are often regarded as the founders of modern structuralism. They devised a theory justifying Eurasianism linguistically. What really matters, they reasoned, is not the common origin of languages, as other linguists and earlier philologists claimed, but their shared destiny. The Pan-Slavists of the nineteenth century had mistakenly proposed that Russians most resembled speakers of other Slavic languages, many of whom had been corrupted by Western culture. Russia’s destiny was to be found elsewhere, in the East. Or as Jakobson observed, “The question ‘to where’ has become more important than ‘from where.’”

Trubetskoy and Jakobson attributed linguistic change to the dynamics of a self-enclosed system. That system is heading somewhere, or, as Trubetskoy explained, “the evolution of a phonemic system at any given moment is directed by the tendency towards a goal.” Balkan languages, they pointed out, were highly diverse in origin. They include not only languages from different branches of Indo-European (Romanian is a Romance language, Serbian is Slavic, Albanian constitutes a branch of its own), but also Turkish, which is not Indo-European at all. And yet the interaction of speakers has led to a number of shared features. In much the same way, they maintained, Russian and Turanian languages form a “language union” bound to draw ever closer. And if that was so, Jakobson and Trubetskoy concluded in a leap of logic, the same must be true of everything else in Russian and Turanian cultures.

Unlike European colonial empire-building, therefore, the Russian conquest of Siberian, Caucasian, and Central Asian peoples was entirely “friendly”—an argument so preposterous it occasioned some of the Eurasianists’ most imaginative historiography. Ukraine proved an obvious sticking point because, from the beginning, Eurasianists had to confront Ukrainian nationalists in the diaspora. From their perspective, all the Eurasianists had demonstrated was that Ukrainians, who share European culture, do not belong with Russians.

What exactly ensured a common destiny for a group of people? The answer was geography, what Savitsky called mestorazvitie—“topogenesis” or, more literally, “place-development.” Geographical environment shapes culture, he argued, so the peoples of the Eurasian Steppe, which extends from Hungary to Manchuria, are bound to display common psychology and therefore to have harmonious relations. By the same token, Savitsky reasoned, an unbridgeable chasm must always divide “oceanic” and “continental” cultures. The former embrace risk, entrepreneurship, and individualism—think of Renaissance Italy or republican Holland or imperial Britain—while the latter prefer tradition, conservatism, and collectivism. The continental world favors centralized authoritarian rule, which is why “geography itself” has preordained Russian rule over the vast territory extending from Poland to the Pacific. “Continentality” dictates isolation from alien influence through economic and social “autarky,” or self-sufficiency.

Above all, this “Russian world” must acknowledge that its greatest enemy is and always will be Western liberalism. The Bolsheviks mistakenly adopted Western, atheistic Marxism, but they correctly established total control over individual lives in the name of a higher ideal. “Modern democracy must give way to ideocracy,” Trubetskoy argued, referring to rule based on abstract ideals. Pluralist democracy entails no all-encompassing and uniform philosophy of life, but ideocracy does. Therefore, “ideocracy presupposes the selection of the ruling echelon according to its faithfulness to a single common governing idea…united in a single ideological state organization” that will “control all aspects of life.” This collectivism ensures that the “last traces of individualism will disappear” and that a common outlook will “become the inalienable ingredient” of everyone’s psyche. From the start, Eurasianism was not an alternative to totalitarianism but a different form of it.

Western liberals, Trubetskoy explained, affirm putatively universal values like human rights, progress, and cosmopolitanism. Viewing people as individuals, they scorn national cultures and consider respect for tradition to be retrograde. The superiority of Western civilization, they presume, lies in its discovery of universals, which are supposedly as free from local prejudice as logic and mathematics. And so Westerners present distinctively European values as objective. Those non-Europeans who accept this claim, as many in Russia and other modernizing cultures have, aspire to become more “civilized” by thoroughly Westernizing, an impossible task necessarily leading to self-contempt.

The book that catalyzed the Eurasianist movement, Trubetskoy’s Europe and Mankind (1920)—selected excerpts of which appear in the first volume of Foundations of Eurasianism—maintains “the equivalence and qualitative incommensurability of all cultures and all peoples of the globe…. There are no higher and lower cultures, there are only similar and dissimilar.” European arguments to the contrary are but “a means of deceiving people and justifying the imperialistic and colonial policies…of the ‘great powers’”—that is, all the great powers but Russia.

Remarkably enough, Trubetskoy’s relativism leads him to the conclusion that because cultures are equal, Europeans, who suppose otherwise, are worse than all others. All are equal, but some are less equal than others. The non-Western world must therefore unite against Europeans, because for relativists “the consequences of Europeanization” are “an absolute evil.” All countries must recognize that “there is only one true confrontation: that between the Romano-Germanics and all other peoples of the world, between Europe and Mankind.”

Lev Gumilev, who corresponded with Savitsky, developed Eurasianist ideas in imaginative and at times ridiculous ways. The son of two great poets, Nikolai Gumilev and Anna Akhmatova, Gumilev boasted a pedigree that commanded attention. In a country where literature enjoyed immense prestige, the persecution of his parents—his father was shot and his mother became the target of nationwide denunciation—only added to Gumilev’s inherited charisma, enhanced still more by two terms in the Gulag. (One “for papa” and one “for mama,” he liked to say.) Born in 1912, Gumilev became a specialist in the Mongols, Turks, and other peoples of Central Asia. His engagingly written books, some of which could be published only during glasnost, challenged traditional accounts of Russian history and developed his own form of ethnology, which he called a new hard science.

As Mark Bassin points out in his illuminating book The Gumilev Mystique, it would be hard to overstate Gumilev’s influence. He eventually enjoyed support at high levels of the Communist Party, the General Staff of the Armed Forces, and the Ministry of Foreign Affairs. In 1995 the State Duma awarded one of his books on Russian history a prestigious prize. Approved by the Ministry of Education of the Russian Federation as a high school textbook, it was reissued in a print run of 100,000. Gumilev’s celebration of Central Asian peoples also made him a hero of Kazakhstan’s former autocratic president Nursultan Nazarbaev. In the Kazakh capital, Astana, students attend Gumilev Eurasian National University. On the hundredth anniversary of Gumilev’s birth, Nazarbaev named a mountain for him (Gumilev Peak). In Russia, Gumilev’s ideas penetrate everywhere, and his central terms—“passionarity,” “complementary,” “chimaera,” and others—have entered common usage.

Gumilev arrived at his core idea in the Gulag, where, without paper, he somehow (the story goes) contrived to write a book on the paper used to wrap food supplies. His theories represent a fantastic excursion into pseudoscience, which thrives in Russia even among serious scholars and scientists. In Gumilev’s view, an ethnic group, which he calls an “ethnos” (“ethnoi” in the plural), is not a social but a biological phenomenon, analogous to a herd or flock among animals. Developing according to biochemical laws, an ethnos constitutes “a biophysical reality…. Ethnic belonging, which manifests itself in the human consciousness, is not a product of…consciousness.”

Gumilev argues that ethnoi, because they are rooted in biology, reflect the human instinct to divide people into “us” and “them.” It followed that, Enlightenment thinkers notwithstanding, the sense of belonging cannot be extended to humanity as a whole, because then there would be no “them” to give “us” meaning. In much the same spirit, Trubetskoy had maintained, by dubious analogy, that just as phonemes are meaningful only by opposition to other phonemes, so “humanity” cannot be a meaningful group, because there would be nothing to which it could be opposed.

Gumilev reasoned that ethnogenesis (the formation of ethnoi) requires enormous

work (in the physical sense)…. And to do that work, energy is needed, very ordinary energy measurable in kilogram-meters or calories…. Let me explain. The stone blocks at the top of a pyramid were not raised by [conscious] ethnic self-awareness but by the muscle power of Egyptian workers on the principle of heave-ho!

That energy must come from somewhere. It cannot come from the consciousness of individuals or their immediate surroundings; such a view, according to Gumilev, “infringes the law of the conservation of energy.” It followed for him that the energy must come from outer space. Otherwise, “entropy…would have smoothed out all ethnic differences and converted the diversity of the human race into a featureless anthroposphere.” The earth receives “more energy from outer space than is needed to maintain equilibrium of the biosphere,” and it is that surplus energy on which ethnogenesis draws.

The process works like this: during some periods of the solar cycle, “the defensive qualities of the ionosphere are reduced, allowing individual quants or bundles of energy to approach near to the earth’s surface.” This energy causes genetic mutations, giving rise to a few people endowed with great “passionarity.” People with passionarity display the ability to absorb large amounts of energy from their surroundings. As lemmings or swarms of locusts sometimes expend great energy in self-destruction, so “passionaries” overcome the survival instinct. They take risks to accomplish great deeds for no reason except to accomplish them. Why did Alexander the Great and his army march all the way to India when they could not hope to bring their booty home to Macedonia? They must have done so out of passionarity. Gumilev regarded passionarity as his greatest discovery, since it explains what no social theory ever could. Heroism, self-sacrifice, supreme devotion to an ideal regardless of the consequence to oneself, loved ones, or friends: these actions, which shape the world in lasting ways, cannot be explained by rational, social-scientific theories because they are not rational, and their origin is biological rather than social.

Using “induction,” passionaries attract others, who attract still others, until an ethnic group forms. Anyone, regardless of race, may be drawn to a passionary, and so ethnoi are rarely homogeneous in origin. (This is how Gumilev refutes accusations of racism.) It is not race that links people into an ethnos; it is “behavioral stereotype.” A certain behavioral repertoire seems natural to members of one ethnos but odd to members of others. Bassin mentions Gumilev’s example of a Russian, a Tatar, a German, and someone from the Caucasus on a train who encounter a drunken youth harassing a woman: “I know, and we all know, that the Russian will say to him, ‘hey you, pal, you’re going to get caught. Look, get off at the next stop’”; the German will use the emergency brake and call the police; the Caucasian will “simply lose control and hit the offender in the face”; and the Tatar will just “turn away in silence.” Behavioral stereotypes develop as responses to the natural environment, and so steppe people are bound to differ from sea people. Gumilev here adapts Savitsky’s idea of topogenesis.

Entropy, Gumilev claims, ensures that passionary energy diminishes at a mathematically calculable rate. That is why all ethnoi pass through a series of precisely defined stages until, after about 1,500 years, they become mere “relicts,” as happened to the ancient Khazars of Central Asia and the Yakuts of Siberia.

If an ethnos lives among other ethnoi, relations may be either friendly or hostile, depending on their behavioral stereotypes and according to natural laws. Groups well adapted to each other enjoy “complementarity.” That, Gumilev says, is emphatically the case with Russians and other steppe peoples.

Most earlier historians considered Russia’s Mongol rulers (“the Golden Horde”) a barbaric and hostile force, an error Gumilev calls the “Black Legend.” It was fabricated, like almost everything else Gumilev needs to explain away, by evil Westerners intent on dividing Slavic and Turkic peoples. To begin with, in Gumilev’s account Russians were not conquered by the Mongols (whose armies destroyed entire cities) but submitted voluntarily. If not for the Mongols, Russia, like Western Slavs, would have succumbed to the domination of Westerners intent on destroying their culture.

Gumilev claims that the Russian ethnos was formed at the Battle of Kulikovo in 1380, traditionally represented as Russia’s first great victory over the Mongols. Gumilev offers an entirely different account of the battle. The Russians fought a mere faction of the Horde, ruled by the “illegitimate” military commander Mamai, who enjoyed support from Genoese merchants. By defeating Mamai, the Russians demonstrated their loyalty to the Horde’s legitimate ruler, Tokhtamysh. To be sure, Tokhtamysh went on to burn Moscow, but Gumilev proves creative enough to explain away this inconvenient fact as well.

If ethnoi are biological phenomena, then it is essential to maintain their gene pool, and so exogamy must be avoided. Sometimes crossbreeding creates a new ethnos, but usually it deforms or destroys an existing one. “But it never happens without a trace,” Gumilev writes. “That is why neglect of ethnology, be it on the scale of state or country, tribal union, or monogamous family, must be qualified as irresponsibility, criminal in regard to the offspring.”

The worst thing that can happen to an ethnos is transformation into a “chimaera,” by which Gumilev meant not a mirage but a monster—“a combination of elements not organically united,” like a beast with lion’s head, goat’s body, and serpent’s tail. “An example of a chimeric relationship in zoology,” he explains,

is that which forms when tapeworms are present inside an animal’s organs…. By necessitating an increased inflow of nutrition and introducing its hormones into the blood and bile of its host organism, the parasite alters its host’s biochemistry.

In much the same way, a parasite ethnos “sucks its sustenance out of the indigenous ethnos.” Jews are Gumilev’s prime example, and his hatred of them amounts to an obsession.

The Babylonian Empire fell, Gumilev supposes, because the king’s advisers were Jews who, divorced from geography, neglected to maintain Babylon’s irrigation networks, which led to crop failures and civilizational collapse. What’s more, Jews married off their women to produce generations of “‘métis’ or ‘bastard’ offspring,” who eventually seized power in the name of the intruder.

Whether Jewish or not, chimeric intruders typically reject the material world, as the various gnostic groups—including Manichaeans, Zoroastrian Mazdaists, and Albigensians—have done. Embracing “vampire concepts that embody a deep and diabolical sense of purpose,” they subscribe to a life-denying worldview detached from the soil, fetishize the written word, adopt lies on principle, and maintain a different morality for themselves than for outsiders. Gumilev claims that the Talmud and Kabbalah, which he evidently knows only from the accounts of Russian antisemites, state that the Jewish God who spoke with Moses was really a demon, Satan’s best friend. He also claims that the Talmud instructs Jews to “kill the best of the goyim.” It is a remarkable feature of Russian thought that creative minds keep inventing new theories demonizing Jews.

During the Yeltsin years, which many called Russia’s “Weimar Era,” the young, bohemian Aleksandr Dugin flirted with occultist and extreme rightist ideas. He seems to have been especially fond of Nazis and adopted the nom de plume Hans Sievers, an allusion to Wolfram Sievers, whom Himmler made director of a group studying the paranormal. Eventually Dugin found his way to Eurasianism, which he synthesized with the work of practitioners of geopolitics from Halford Mackinder on, along with structuralists, postmodernists (Jean-François Lyotard, Gilles Deleuze), French “traditionalists” (René Guénon and Alain de Benoist), and various Nazis or ex-Nazis, including Julius Evola, Carl Schmitt, and, of course, Martin Heidegger.

It is routine to refer to Dugin as “well-read,” but it would be more accurate to say “well-skimmed.” He is one of those pseudoprofound commentators who love to call things “ontological” and “metaphysical” while endlessly dropping the names of thinkers, with many of whom he has a flyleaf acquaintance. If there are fashionable terms to deploy—“rhizome,” “bricolage,” “Dasein”—he is sure to pile them one on another. He speaks of the “hermeneutic circle”—the paradox that we interpret a whole work in reference to the parts and the parts in reference to the whole—as if it meant a worldview. He baffles with what might be called the emperor’s new prose:

The new age of modernity, with its linear vectors of progress and with its postmodern contortions,…are taking us away into the labyrinths of the disintegration of individual reality and to the rhizomatic subject or post-subject.

Real, if wacko, thinkers like Trubetskoy, who identified the phoneme and helped found structuralism, and Gumilev, who was a genuine scholar of the Mongols and peoples of Central Asia, would probably be embarrassed that Dugin is their successor.

Dugin’s most influential book, The Foundations of Geopolitics, began as a lecture series at the General Staff Academy and continues to be assigned at military universities. As the historian John Dunlop observed, “There has probably not been another book published in Russia during the post-Communist period which has exerted a comparable influence on Russian military, police, and statist foreign policy elites.” And not just elites: Dugin’s ideas—cited, recycled, adapted, and plagiarized—fill bookstores and saturate mass media. In the late 1990s the Duma formed a geopolitics committee, and Dugin became an adviser to the Duma’s speaker, Gennady Seleznev.

Dugin stresses Eurasianism’s apocalyptic element. Russians face a final battle of good and evil, a “cultural, philosophical, ontological, and eschatological struggle.” Evil is variously identified as Atlanticism (opposed to Eurasianism “in everything”), modernity (“an absolute evil”), America (“a country of absolute evil”), and above all liberalism, which he says is powerful today because evil is strongest at the end of days. Gumilev imagined he was doing science, but Dugin expresses animus toward “materialistic physics,” Francis Bacon, and “the supremacy of quantitative concepts and secular theories.” In his introduction to Eurasian Mission he also rejects “homogenous space,” “linear time,” and “progress.”

Logic is not his strong point. Progress, he explains, is a form of racism because the assertion that the present is superior to the past constitutes

humiliation of all those who lived in the past, an insult to the honor and dignity of our ancestors…and a violation of the rights of the dead…. The ideology of progress represents the moral genocide of past generations—in other words, real racism.

In Dugin’s view, Eurasianism, suitably adapted, provides the best ideology of resistance to liberalism. Russia must lead not only other steppe peoples but everyone oppressed by the West; in this sense, Eurasia is everywhere. Dugin calls this updated Eurasianism “the fourth political theory,” which he elaborates in his book of that name. Totally rejecting the first theory, liberalism, Eurasianism borrows generously from the other two, communism and fascism. Like Lenin and Stalin, Dugin advocates using any means whatsoever in the struggle against “blood-sucking American, oligarchic, liberal scum.” And we must get over making Hitler into a bogeyman, because apart from its antisemitism, Nazism was no worse, and maybe better, than liberalism.

Like earlier Eurasianists, Dugin argues that all cultures are equal and incommensurable, but he makes an exception for Americans, who possess no “deep identity” because they lack “a pre-modern legacy.” With similar disregard for contradiction, Dugin demands that no country should dominate others while arguing that Russia must wield total power in the fight against America. If Uzbekistan and Turkmenistan don’t want to be united with Russia, that is only “to exploit their recently achieved national sovereignty for their own gain”—which, one might think, is what nations are supposed to do.

Dugin expresses special hostility to independent Ukraine because, despite its cultural and linguistic closeness to Russia, it has treasonously betrayed its proper role as part of the Russian world. In 2014 he called for the conquest of eastern Ukraine months before it happened and even revived the eighteenth-century term for the region, Novorossiya, before the Kremlin started using it. He told one reporter, “Kill! Kill! Kill! There can be no other discussion.” He now demands that Putin wage war more ruthlessly.

Far from distorting earlier Eurasianism, Dugin’s bloodthirstiness represents its predictable development. As has happened so often in its history, Russia demonstrates the consequence of defining oneself with an idea. In the name of justice, one creates an ideocracy and divides the world into absolute good and evil. Immediate neighbors suffer first.

To an extent Westerners have not appreciated, concern with national identity has shaped Russia’s foreign policy over the past decade and accounts for the dramatic shift in its behavior from peaceful concern with economic development to aggressive efforts to dominate its neighbors. Since Putin resumed the presidency in 2012, Eurasianist vocabulary has populated his speeches, newspaper articles, and television appearances. Russia’s elites have embraced Eurasianist concepts defining Russia as a distinct “civilization.” The West has become the liberal “Atlantic” intent on destroying Russian culture, while Russian patriotism is now a matter of “passionarity.”

In Black Wind, White Snow, Charles Clover astutely points out that Putin has been content to let the Baltic states go, even though they have large Russian populations, but not Georgia, Kazakhstan, or especially Ukraine. The dividing line Putin has drawn between “ours” and “not ours,” Clover points out, follows “a strategic and cultural logic strikingly in tune with the theories of the Eurasianists.” The Baltic states are part of European civilization, but Ukraine belongs to Eurasia.

Time and again, Putin has stressed that Eurasian cultures belong together in a single polity under Russian leadership. He has regarded his new “Eurasian Union” with Kazakhstan not just as a trade agreement but also, and more importantly, as the union of peoples who belong together as a single “civilization.” The identity of that civilization, he explained, is based not on ethnicity but on culture—“on the preservation of the Russian cultural dominance, the carriers of which are not only ethnic Russian, but all carriers of such identity regardless of Russian nationality.” This concept of a broader civilizational identity that transcends nationality but still entails Russian dominance is a core idea of Eurasianism.

More often than not, Putin has defined Eurasian civilization negatively, as the opposite of decadent liberalism. In a 2019 interview with the Financial Times, he explained that “the liberal idea” had “outlived its purpose” and “become obsolete.” But it is still dangerous because Western leaders presume that their values are the only rational ones. Expanding NATO to the Russian border and seeking to incorporate traditionally Russian territory, they equate their interests with humanity’s and take for granted that they can “simply dictate anything to anyone just like they have been attempting to do over the recent decades.” On May 9, 2023—Russia’s most important holiday, celebrating the defeat of Nazi Germany—Putin appealed to Russian patriotism in its current fight against liberalism and the West in Ukraine. The West hates Russia, he said, precisely because it represents different civilizational values. “Western globalist elites,” Putin insisted, resent having their supposedly universal values challenged and in response have provoked “bloody conflicts, hatred, Russophobia.”

In 2016 Foreign Minister Sergei Lavrov, in an article citing Gumilev, claimed Russia’s actions in Ukraine were about resisting Western attempts “to deprive Russian lands of their identity.” Contrary to the worldview Merkel and other enlightened Westerners take for granted, existential civilizational conflict, from the Eurasianist perspective, is regarded as inevitable. In that conflict, Russia is the victim of arrogant Westerners seeking to impose their alien, “satanic” values on the rest of humanity. Its struggle, in this view, is not about conquest but the preservation of its very identity. Ultimately, it is also the fight of all non-Western powers who want to maintain their own distinct civilizations. “We will protect the diversity of the world,” Putin explained in a tone that demonstrates that, now as in the remote past, Russian messianism still thrives.

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@mikenov: путин рязанский татарин – GS https://t.co/OBhZI6a0pU Судите по его хитрым, раскосым, диким, жадным, татарским глазам! “Да, скифы — мы! Да, азиаты — мы, С раскосыми и жадными очами!” (Скифы — Блок). А настоящая Россия – несчастная, обездоленная, убогая, безгласная и https://t.co/MiLtPZpdqJ

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@mikenov: x.com/mikenov/status… Putin is the AGENT of STASI, KGB, and CHINA! #NewsAndTimes #NT #TNT #News #Times #World #USA #POTUS #DOJ #FBI #CIA #DIA #ODNI #Israel #Mossad #Netanyahu #Ukraine #NewAbwehr #OSINT #Putin #Russia #GRU #Путин, #Россия #SouthCaucasus #Bloggers…

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@mikenov: x.com/IlyaYashin/sta… ПУТИН – САМ “ИНОАГЕНТ”! Он – агент STASI – бывшей Восточно-Германской разведки, составляющей части Нового Абвера, и агент Азиатских КГБ: Китая и Северной Кореи. Судите по его делам! Putin = STASI!

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@mikenov: x.com/mikenov/status… Путин – АЗИАТ. Putin – AZIAT! #NewsAndTimes #NT #TNT #News #Times #World #USA #POTUS #DOJ #FBI #CIA #DIA #ODNI #Israel #Mossad #Netanyahu #Ukraine #NewAbwehr #OSINT #Putin #Russia #GRU #Путин, #Россия #SouthCaucasus #Bloggers newsandtimes.org…