Hitler and the Aestheticization of Politics
The aesthetic and political value is determined by the fundamental aesthetic nature. The aestheticization of politics together with the politicization of art is the potentiality inherent in the historical change of human senses due to technological progress. This paper is relevant to observe that one of the main aesthetic points of policy in Nazi ideology is the idea that the community is a work of art.
Walter Benjamin about the Aestheticization of Politics in Nazi Germany
Since Plato, the relationship between ethics and aesthetics has been a matter of sharp debate. Benjamin Walter (1892-1940) was a German critic, writer, and sociologist of the art of the leftist orientation (Lee 127). Being a supporter of the idea of the proletarian revolution, Benjamin did not view it as the locomotive of history but the emergency brake that served to prevent the catastrophe - the end of world history. Benjamin’s article “The Work of Art in the Age of its Technical Reproducibility” had the greatest influence on the neo-Marxist social philosophy and the sociology of art. In this article, he proposed the idea that according to a swarm, the technically reproducible product of art finally loses its aura. Furthermore, it breaks a connection with the religious cult and with the aesthetic deification, entering into contact with politics and becoming a tool of the mass political struggle for the revolutionary overthrow of capitalism.
This idea is relevant to the culture of today, particularly with regard to the use of media technology, such as in mass political conventions and popular talk shows that make art mass, and mass consciousness that seemed to them the most authoritative one (Lee 132). Since then, critics have called it cryptic because the community was a work of art, and they should acquire some forms similar to it.
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Various Theories that Seek to Explain Hitler’s Appeal
Any psychiatrist is capable of diagnosing all Hitler’s mental illnesses and combine them in a rather succinct and comprehensive formulation. Jung argued that Hitler used magic assuring the German people of their exclusivity as a nation (Shirer and Rosenbaum 76). According to Spielvogel and Redles, Hitler’s aggression was the result of the oedipal hatred toward his father (28). It is believed that his crimes are partly the result of revenge for those abuses that he had suffered as a child as well as hidden contempt for his weaknesses. Hitler suffered from neurosis, paranoia, hysteria, and schizophrenia.
There were two opposing theories that argued about Hitler’s leadership style. The first, the structuralist theory, explained his ineptness as a leader because he was unable to plan or create an efficient administration. Therefore, he had to make his own decisions. By contrast, the intentionalist theory claimed that Hitler’s confusion was planned, trying to secure his absolute power that was connected with his belief in Social Darwinism. It was based on the idea that the fittest person would win in the end.
From the mentioned-above theories, it is obvious that the emergence of fascism in Germany lies between the “general field theory” and Hitler’s charisma that makes him a perfect leader. Numerous theorists used hidden theories that tried to find hidden variables to explain Hitler’s charisma.
True Facts and Legends about Hitler
Many historians say about Adolf Hitler’s connection with the occult and otherworldly forces (Shirer and Rosenbaum 82). The fact that Hitler killed himself on April 30 (the eve of Walpurgis Night) was just a coincidence (Spielvogel and Redles 98). He realized that he had only a few hours left, so he drank cyanide and shot himself in the head. Before that, Hitler bequeathed to douse his body with gasoline and burn it. It is possible that he attached some esoteric meaning to this because the rite of purification after death by fire was known in many cults of the East.
The seminal role of Leni Riefenstahl’s propaganda film Triumph of the Will lies in her desire to turn the masses into mindless individuals willing to obey their leader Hitler. It was a kind of political indoctrination that defined fascist aesthetics. Thus, Nazi aesthetics tried to close down what should remain open regarding the realm of art. For the director and his supporters, it was a historical document of the political vision and the total transformation of reality.
One of the main aesthetic points of the policy in the Nazi ideology was the idea that the community was a work of art. Thus, the aesthetic quality policy provided that the masses should acquire some form similar to art. Hitler, who had many psychological problems, affected millions of people in Germany and outside of it. The above-mentioned movie successfully displays the phenomenon of Hitler and his regime. The Nazi’s idea of the aestheticization of politics served to turn people into the mindless mass.