Download Der Untergang des Abendlandes Umrisse einer Morphologie der Weltgeschichte Ebook é 492 pages ë Gwairsoft

Ebook Æ Der Untergang des Abendlandes Umrisse einer Morphologie der Weltgeschichte é Oswald Spengler

T into his sweeping study of Western culture have kept The Decline of the West alive As the face of Germany and Europe as a whole continues to change each day The Decline of the West cannot be ignored The abridgment prepared by the Untergang des Abendlandes Epub #217 German scholar Helmut Werner with the blessing of the Spengler estate consists of selections from the original translated into English by Charles Francis Atkinson linked by explanatory passages which have been put into English by Arthur Helps H Stuart Hughes has written a new introduction for this edition In this engrossing and highly controversial philosophy of the Dawn of the evening land read all through a gnostic lens metahistory as the archonic scar of reality metahistory as how people in history saw themselves in history spirit unfolding the creation of Spheres to immunize from the Real all responses to death all morphologies of a blossoming Vishnu a bored Demiurge using civilization itself as a board game on a rainy day O weep dance of millenia an ur Text marking the rise of the new unified field theory of metahistory if there is indeed a gnostic thrownness and a Spenglerian Dasein this opens the door for entire new dimensions of thought hitertho unremarked the Platonic Idea of a plant mirrored in the waters of history with which we swim the non object of the amniotic fluid that builds this simulation before we even begin to interact with it forming our a priori foundations of the Mind Spengler unconsciously began to describe the astral garden of the Death Rose the Negative Rosarium where the gnostic is tested by Oblivion's vitriol The spine bearing limbs of these abyssal flowers bind and penetrate the Seeker winding out of a substrate of annihilation mechanization Limitation the form problems of our world image our death feeling coalescing with space feeling the ur Symbol of each civilization manifesting in it's architecture art number world philosophies Polis body social soul image and so on and so forth The development of perspective in painting turns into the dissolving of the figure to the pure background; thus borne the Dutch landscape painting then the hyperdimensional object of surrealism and cubism all tending towards a higher understanding of the space feeling of the West; at once Spengler here predicts the moon landing and the Internet by noting the early intimations of aviation through Da Vinci The metaphysical residue of our death feeling in our mathematics our Art gleaning off our God idea the resonant echoes of the soul image in our atom idea motion and force the colossal dimensionality of the Rose shaping everything the phenomena of the Self awakening to the Light of Day Recall that the Rose thrives on bone blood and ordure geniuses are the obverse forebrains of civilization the rest are pulled by the vector of humanity All nodes on the network of the metahistorical Rose its blossom and decay America is a worm hole into the future The Omega Point You have entered into the final phase of what might be called homeostatic obsolescence what Spengler saw as the inevitable decline of cultures into twilight of civilizations the sedentarization of a once vital species or dusk as ontological principle when you put down your spears and planted your roots in the earth agriculture neotenized your skulls made your forms and thoughts and beings baby ish you were laid by the Death's Head and grew bored in your yokes Punched through the Egg's shell into the mirror ball of the self I believe the Cut was made with the first man bored of creation After that you were never yourselves again What cities do is convert White Noise into Platonic fantasia Dead grey time into technicolor Contraction into the tech singularity Your Throat is getting narrower and narrower You are children locked in your father's closet

Book Der Untergang des Abendlandes Umrisse einer Morphologie der Weltgeschichte

Der Untergang des Abendlandes Umrisse einer Morphologie der WeltgeschichteHistory Spengler describes how we have entered into a centuries long world Untergang des Abendlandes Umrisse einer ePUB #199 historical phase comparable to late antiuity Guided by the philosophies of Goethe and Nietzsche he rejects linear progression and instead presents a world view based on the cyclical rise and decline of civilizations He argues that a culture blossoms from the soil of a definable landscape and dies when it has exhausted all of its possibilities Despite Spengler's reputation today as an extreme pessimist The Decline of the West remains essential reading for anyone interested in the history of civilizatio Nietzsche's finest moment It only had to come 3 decades after his collapse in Turin In fact a lot of this reminds one of reading Nietzsche at his best and most synthetic like in The Birth of Tragedy fitting or The Genealogy of Morals Also Spengler's use of Goethean philosophy especially that of living organic development contra Darwinism is just fascinating and has made his Conversations with Eckermann a priority read for me And much before I get around to reading Aristotle or Kant most likely but shoot me if I read what I find to be much poetic and sensuously compelling in philosophy rather than what is logically and soundly argumentative as is the contemporary vogue for which my own formal and sterile schooling has completely eliminated all charm of for meThis edition itself is fantastic When Spengler is great he's Great; like Nietzsche he is eminently readable if you would even put in the smallest amount of effort though you will still feel the 400 or so pages because of the density of insights but these will the very same ones that get you through it Like the best works of literature too as you read you will learn to better comprehend the writing and in the end will make a better reader out of you Still some of his lengthy ramblings about the inner nature of mathematics and the meaning of symbols for cultures have no doubt been cut down here in the abridgment so even I am grateful that I did not need to read another say 600 700 pages of that Also dispel whatever you may have heard about Spengler's political stance here even after reading every word of this book I cannot tell you with any concrete certainty what his personal political views are which is exactly as it should be and it is a great credit to Spengler that he resisted the temptation to add personal notes or rallying cries to a work like this There is material here for both monarchists and socialists alike to use as arguments and to denounce Modern buzz words whose translations are likely a stretch like blood and his determinism have a completely different meaningconnotation in context And no doubt if you really got his message here such things as petty party politics appear almost irrelevant in the continuum of world historyOne can uibble endlessly about the small details in Spengler's historical research but as the introduction suggests one should not take everything too literal mindedly but rather poetically again like Nietzsche The ones who did rail against these details who Spengler knowingly and ingeniously termed mere ant industry in this book are people you would have never heard of before; the ones who did appreciate this book and maybe to a degree even absorbed it have the names of Max Weber Ludwig Wittgenstein and Theodor Adorno on the other hand Indeed it's no surprise that it took a German language mind to understand this in the end German book and what they likely appreciated was the poetic force and brilliant imagery of the writing first and foremost for which all historical writing in the Anglo sphere has greatly lacked since Carlyle who himself was under the influence of Hegel Everyone who has ever tried to puzzle out historical and even just general linguistic terminology themselves knows how some concepts must be felt rather than be spelled out in plain speech as Walter Benjamin famously suggested as such in his essay on translation So even he would be proud at how Spengler handles this which is a large contributing factor as to why this book has had such staying power he attacks the difficult to name concepts at an obliue angle using uniue metaphors and comparative imagery to illuminate these concepts for the reader rather than reducing them Some of these extended metaphors are the cultural comparisons of the genealogy for entire cultures in themselves for which reading them gave me such a feeling that cannot be described but can be euated to completing a mathematical proof through insight alone That in so many words is the great strength of this writingIf there is one specific thing that this book utterly illuminated for me that has been obscure before is the particularly German comparison of Civilization vs Culture They can be imagined roughly as such a civilization oriented society is for the thoroughly democratized cosmopolitan city dweller that weigh the pros and cons of every material purchase who focuses politically and ethically on the greatest happiness for the greatest number as opposed to cultivation through potential hardship and baptism by fire in essence to create easily swayed but comfortable masses; a culture oriented one on the other hand is the society irrespective of political structure for which Tolstoy Dostoevsky Tchaikovsky Mussorsgky and Repin could have lived in one milieu and thought nothing of it for example Might it not be a significant indicator that while we may think of the second as fine and dandy we would rather as a political mass want the first to live in because the sight of oppressed and hard done people can guilt us so But in the end it is little matter for the preference of individuals for one or the other as is Spengler's thesis through gradual transformations in taste and politicaleconomic order the culture society will eventually become the civilization society and the many comparisons he draws which constitute the bulk of the book are if not compelling then certainly food for thought and not wanton fear mongering For once a people have stop producing admirable cultural and aesthetic works in the form of literature song and the plastic arts what historically can be pointed to by future ones as evidence that a great civilization once wasSo might I become a bit obnoxious now in the discussion of history whenever it comes up Oh absolutely but what are the true uses now of a socio historical philosophical book for the non academic if one can't allow themselves such liberties once in a while

Oswald Spengler é Der Untergang des Abendlandes Umrisse einer Morphologie der Weltgeschichte Reader

Download Der Untergang des Abendlandes Umrisse einer Morphologie der Weltgeschichte Ebook é 492 pages ë Gwairsoft Ü [PDF / Epub] ☄ Der Untergang des Abendlandes Umrisse einer Morphologie der Weltgeschichte Author Oswald Spengler – des Abendlandes Umrisse einer PDFEPUBits first publication in two volumes des Abendlandes PDFEPUB #230 betweenThe Decline of the West has ranked as one of the most widely read and most talked about books of our time In all its various editions it has sold nearly copies A twentieth century Cassandra Oswald Spengler thoroughly probed the origin and fate of our civilization and the result can be and has been read Der Untergang PDFEPUB or as a prophesy of the Nazi regime His challenging views have led to harsh criticism over Untergang des Abendlandes Umrisse einer ePUB #199 the years but the knowledge and elouence that wen All genuine historical work is philosophy unless it is mere ant industry Gibbon’s Decline and Fall of the Roman Empire is one of my favorite books not only because it is written so beautifully but because of the spectacle of decline—of a great empire slowly and inevitably crumbling The scene is irresistibly tragic Like a Macbeth or an Oedipus the Empire succumbs to itself brought down by its own efforts at self expansion Or perhaps the scene can be better compared to the Fall of Man in Milton’s poem a grand cosmic undoing followed by the heroic struggle against the inevitableBesides the sublime tragedy of Rome’s decline it fascinates because it gives us a foreboding of what might happen to us Indeed maybe it is already This would explain all the banality we see on television every day all the terrible music on the radio More than decline—a loss of political and economic power—this is decadence a decay of taste morals artistic skill Decadence seems observable in many historical instances the Egyptians the Babylonians the Greeks the Romans the Byzantines they all petered out losing cultural vitality until they disappeared completely Couldn’t the same thing be happening to usOswald Spengler thought so and he turned this thought into the basis for an entire philosophy of history He was not a professional historian nor an academic of any kind He worked as a school teacher until his mother’s inheritance allowed him uit his job and to devote all of his time to scholarship This scholarship was mustered to write an enormous book whose publication was delayed by World War I Probably this was very lucky for Spengler since the pessimism and anguish caused by that war set the mood for his grand theory of cultural decline The Decline of the West puts forward a radically unconventional view of history Spengler divides up world history not into countries or epochs but into “Cultures” There have been only eight the Egyptian the Babylonian the Meso American the Chinese the Indian the Classical Greco Roman the Arabian includes the Byzantine and the Western European culture beginning around the year 1000 Each of these Cultures he conceives as a super organism with its own birth middle age and dotage These Cultures all age at a similar rate and go through analogical stages in the process Napoleon is the Western euivalent to Alexander the Great for example Spengler believed that he had delineated these Cultures and traced their basic growth and aging process thus providing a valid scheme for all future history as well if any new Culture should arise Spengler is a cultural determinist and a cultural relativist This means that he does not see these Cultures as dependent on the talent of individuals to grow; the individual is a product of the Culture and not the reverse He also thinks that each of these Cultures creates its own self contained world of significance based on its own fundamental ideas There is no such thing as inter cultural influence he thinks at least not on any deep level Each of these Cultures conceives the world so differently that they can hardly understand one another let alone determine one another even if one Culture can overpower another one in a contest of arms Their art their mathematics their architecture their experience of nature their whole mental world is grounded in one specific cultural worldviewBecause Spengler is a determinist he does not present us with a Gibbonian spectacle of a civilization succumbing to its own faults struggling against its own decline For Spengler everything that happens in history is destiny People don't make history; history makes people Thus while often classed as a political conservative it is hard to put any political label on Spengler or to co opt his views for any political purpose since he didn’t think we directed our own history To be a true Spenglerian is to believe that decline is inevitable decadence wasn't anyone's fault and it can't be avertedMuch of this book consists of a contrast between what he calls the Apollonian Greco Roman worldview and the Faustian Western worldview The Apollonian world picture is based on the idea of definite form and definable shape; the nude statue is its most characteristic art the delineated human body; its mathematics is all based on geometry concrete shapes and visible lines The Faustian picture by contrast is possessed by the idea of infinity; we make fugues roving explorations of musical space; our mathematics is based on the idea of a function an operation that can create an endless series of numbers Spengler dwells on this contrast in chapter after chapter trying to prove his point that Western Culture far from being a development of Classical Culture is entirely incompatible with itHis own Culture the Western he traces to around the year 1000 at the commencement of the Romanesue How or why new a Culture begins Spengler doesn’t venture to say; but once they do begin they follow the same definite steps It was inevitable he thinks that the Romanesue transformed into the Gothic and then eventually flourished into the Baroue the high point of our Culture wherein we expressed our deep longing for the infinite in Bach’s fugues and Descartes’s mathematics Sometime around the year 1800 the Western Culture entered its late senescent phase which Spengler terms ‘Civilization’ This is the phase that follows cultural growth and flourishing; its onset begins when a Culture has exhausted its fundamental idea and explored its inherent forms A Civilization is what remains of Culture when it has spent its creative forces “The aim once attained—the idea the entire content of inner possibilities fulfilled and made externally actual—the Culture suddenly hardens it mortifies its blood congeals its force breaks down and it becomes Civilization”The ‘decline’ that forms the title of this book is just this transition from Culture to Civilization wherein major creative work is at an end Civilization is rather the age of Caesarism the consolidation of political power It is the age of world cities major metropolises filled with cosmopolitan urban intellectuals It is the age of academics rather than geniuses the Alexandrine Greeks instead of the Golden Age of Athens It is in other words the period that corresponds with the onset of the Roman Empire a period of no substantial innovation but of magnificent stability The Western Culture Spengler thought was entering just this period Whereas those who are actuated by a Culture during its creative period feel themselves driven by inevitable impulses which allow even mediocre artists to create great works people within a Civilization are creatures of the intellect not the instinct; and instead of being given creative power and direction by their Culture they are left to substitute their own subjective tastes and whims for cultural destiny Instead of for example having one overriding epoch in our artistic productions—such as the Gothic the Baroue or what have you—we have artistic ‘movements’ or trends—Futurism Dadaism Cubism—which far from being necessary phases in a Culture’s self expression are merely intellectual fads with no force behind themSpengler’s theory does have the considerable merit of being testable because he made very specific predictions about what the immediate future held We had gone through the period of ‘Warring States’ he thought in which country fought country and money ruled everything and were about to enter a period of Caesarism wherein people would lose faith in the power of self interested capitalism and follow a charismatic leader This would also be a period of ‘Second Religiousness’ a period of faith rather than reason—a period of patriotism zeal and peaceful capitulation to the status uo Nowadays one hundred years later it seems these predictions were certainly false For one he did not foresee the Second World War but thought the period of internecine warfare was coming to a close What is economic power has grown even important—far important than political power in many ways—and no Caesar has arisen despite many contenders including Hitler during Spengler’s lifetime of whom Spengler didn’t think highlyAside from its breadth one thing that sets this book apart is its style Spengler is a remarkable writer He can be poetic describing the “flowers at eventide as one after the other they close in the setting sun Strange is the feeling that then presses in upon you—a feeling of enigmatic fear in the presence of this blind dreamlike earth bound existence” He can be bitter biting and caustic castigating the blind scholars who couldn’t see the obvious satirizing the pseudo sauve intellectuals who populated the cities of his time He can be lyrical or epigrammatic and can write ably about art music and mathematics His most characteristic mode however is the oracular Spengler proclaims predicts pronounces His voice resonating through the written word booms as if from a mountaintop He sweeps the reader up in his swelling prose an inundation of erudition a flood that covers the world and brings us like Noah in his ark even higher than mountaintops Perhaps a flood is the most apt metaphor since Spengler is not only overwhelming in his rhetorical force but all encompassing in his world view He seems to have thought of everything considered every subject drawn his own conclusions about every fact; no detail escapes him no conventionality remains to be overturned by his roving mind The experience can be intoxicating as he draws you into his own perspective with everything you thought you knew now blurry and swirlingSpengler is so knowledgeable that at times he can sound like some higher power declaiming from above But he was a man after all and his erudition was limited He was most certainly an expert on music mathematics and the arts and writes with keen insight in each of these subjects But in politics economics religion and especially science he is less impressive He completely fails to understand Darwin’s theory for example and he thought that physics was already complete and there would be no great geniuses and this in one of the greatest epochs of physics He doesn’t even mention Einstein Spengler also thought that our scientific theories were culturally determined and culturally bound; the Western conception of nature for example would have no validity for the Chinese which doesn't seem to stop the Chinese from learning Newton's theoriesHis grand theory though undeniably fascinating is also impossible to accept What is the nature of a Culture Why do they arise why are they self contained why do they follow the same life course Why would one single idea determine every single cultural production—from mathematics to music from architecture to physics—in a Culture from birth to death All these seem like fundamental uestions and yet they are not satisfactorily addressed—nor do I see how they could beBy insisting on the Culture as the unit of history Spengler seems to be at once too narrow and too broad Too narrow because he does not allow for the possibility that these Cultures can influence one another; while it seems obvious to me that yes there was influence from the Classical to the Western as well as from the Classical to the so called ‘Magian’ his term for the Arabian Culture and from the Magian to the Western and so on And too broad because within any given Culture there are not only different ages but different areas Is the cultural difference between Spain and England ultimately superficial but between the Renaissance and Classical Greece unbridgeable Really the you think about Spengler’s claims the less credible they seem After all if Spengler were right how could he a Western intellectual living in the Civilization phase of Western Culture delineate the fundamental ideas of other Cultures and produce what he regarded as a major intellectual achievementI am certainly not saying that this book is intellectually valueless By comparison Walter Pater had this to say about aesthetic theories “Many attempts have been made by writers on art and poetry to define beauty in the abstract and express it in the most general terms to find a universal formula for it The value of these attempts has most often been in the suggestive and penetrating things said by the way” This seems eually true with regard to Spengler’s universal formula for history Although I think his theory is untenable this book is nevertheless filled to the brim with suggestive and penetrating observations especially about art architecture music and mathematics Spengler may be a failed prophet but he was an excellent critic capable of making the most astonishing comparisons between arts of different eras and epochs Even if we reject Spengler’s proposed theory we may still savor the grand vision reuired to see all of human history as a whole to scan one’s eye over the past and present of humankind in all its forms and phases and to form conjectures as to its destiny And Spengler was undeniably original in his inclusion of Babylonian Egyptian Indian Chinese and Meso American Cultures as of eual importance as Western history; indeed it is at least in part to Spengler that we owe our notion of world history Rich in ideas set forth in ringing prose invigorating in its novelty breathtaking in its scope—here we have a true classic yet another example of a book whose enormous originality outweighs every conventional defect we can detect in it