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" "Knighthood, instead, appeared as a superterritorial and supernational community in which its members, who were consecrated to military priesthood, no longer had a homeland and thus were bound by faithfulness not to people but, on the one hand, to an ethics that had as its fundamental values honor, truth, courage, and loyalty and, on the other hand, to a spiritual authority of a universal type, which was essentially that of the Empire.
Julius Evola (19 May 1898 – 11 June 1974) was an Italian far-right philosopher. Evola regarded his values as aristocratic, monarchist, masculine, traditionalist, heroic, and defiantly reactionary. An eccentric thinker in Fascist Italy, he also had ties to Nazi Germany; in the post-war era, he was an ideological mentor of the Italian neo-fascist and militant Right.
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Love for distance and order, the ability to subordinate one's individualistic and passionate element to principles, the ability to take action and work above mere personhood, a feeling of dignity devoid of vanity are features of the true warrior spirit as essential those which refer to actual combat.
Christianity is at the root of the evil that has corrupted the West. This is the truth, and it does not admit uncertainty. In its frenetic subversion of every hierarchy, in its exaltation of the weak, the disinherited, those without lineage and without tradition; in its call to "love", to "believe", and to yield; in its rancor toward everything that is force, self-sufficiency, knowledge, and aristocracy; in its intolerant and proselytizing fanaticism, Christianity poisoned the greatness of the Roman Empire. Enemy of itself and of the world, this dark and barbarous wave remains the principal cause of the West's decline.
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The enormous and spontaneous spread of jazz in the modern world shows that meanings no different from those of the physico-cerebral "classical" music, which superseded nineteenth-century bourgeois melodrama and pathos, have in fact thoroughly penetrated the younger generation. But there are two sides to this phenomenon. Those who once went crazy for the waltz or delighted in the treacherous and conventional pathos of melodrama, now find themselves at ease surrounded by the convulsive-mechanical or abstract rhythms of recent jazz, both "hot" and "cool," which we must consider as more than a deviant, superficial vogue. We are facing a rapid and central transformation of the manner of listening, which is an integral part of that complex that defines the nature of the present. Jazz is undeniably an aspect of the resurfacing of the elemental in the modern world, bringing the bourgeois epoch to its dissolution.