Tag: Benito Mussolini

Can a Movie Excite an Unexpected Intellectual Adventure?

Consider the political thriller The Eagle Has Landed. There’s a scene where Col. Radl discusses Jung’s concept of synchronicity. For example, a man checking out drops a coin near the register and searches for it momentarily before giving up. Years later, he is at the same store and finds a similar coin. He rationalizes this with a mundane story, not some cosmic notion of fairness.

…Jung was working, in collaboration with Pauli, on his treatise on Synchronicity: An Acausal Connecting Principle, which was published together with Pauli’s essay on Kepler in one volume. This was evidently meant as a symbolic act: one of the greatest physicists of the century joining forces with one of its greatest psychologists. The result was a stimulating exercise in unorthodox speculation, but at the same time sadly disappointing. It did not amount to a theory in the proper sense, but rather to a universal schema, both very bold and very vague.

Jung’s treatise hinges on his concept of “Synchronicity”. He defines it as “the simultaneous occurrence of two meaningfully but not causally connected events”;1 or alternatively as “a coincidence in time of two or more causally unrelated events which have the same or similar meaning2…equal in rank to causality as a principle of explanation”.3 This is an almost verbatim repetition of Kammerer’s definition of “Seriality” as “a recurrence of the same or similar things or events in time or space”—events which, as far as can be ascertained; “are not connected by the same acting cause”. The main difference appears to be that Kammerer emphasises serial happenings in time (though, of course, he includes contemporaneous coincidences in space), whereas Jung’s concept of synchronicity seems to refer only to simultaneous events—although he includes precognitive dreams which occurred sometimes several days before the events. He tried to get around the time paradox by saying that the unconscious mind functions outside of the physical framework of space-time; thus precognitive experiences are “evidently not synchronous but are synchronistic since they are experienced as psychic images in the present as though the objective event already existed”.4 One wonders why Jung created these unnecessary complications by coining a term which implies simultaneity, and then explaining that it does not mean what it means. But this kind of obscurity combined with verbosity runs through much of Jung’s writing.

Although Kammerer’s “Seriality” and Jung’s “Synchronicity” are as similar as a pair of gloves, each fits one hand only. Kammerer confined himself to analogies in naive physical terms, rejecting ESP and mentalistic explanations. Jung went to the opposite extreme and tried to explain all phenomena which could not be accounted for in terms of physical causality, as manifestations of the unconscious mind: “Synchronicity is a phenomenon that seems to be primarily connected with psychic conditions, that is to say with processes in the unconscious.”5 Its deepest strata, according to Jungian terminology, are formed by the “collective unconscious”, potentially shared by all members of the race. The “decisive factors” in the collective unconscious are the archetypes which “constitute its structure”.6 They are, as it were, the distilled memories of the human species, but cannot be represented in verbal terms, only in elusive symbols, shared by all mythologies. They also provide “patterns of behaviour”7 for all human beings in archetypal situations—confrontations with death, danger, love, conflict, etc. In such situations the unconscious archetypes invade consciousness, carrying strong emotions and—owing perhaps to the archetype’s indifference to physical space and time—facilitate the occurrence of “synchronistic” events. The appearance of the scarab while the patient was telling her archetypal dream is considered by Jung as an illustration of this nexus. The same applies to the detonations in Freud’s bookcase during Jung’s visit, indicating the explosive nature of their father-son relationship: “Meaningful coincidences which are to be distinguished from meaningless chance-groupings—therefore seem to rest on an archetypal foundation. At least all the cases in my experience and there is a large number of them—show this characteristic?”8

Elsewhere in the essay he writes:

Synchronistic events rest on the simultaneous occurrence of two different psychic states. One of them is the normal, probable state (i.e., the one that is causally explicable), and the other, the critical experience, is the one that cannot be derived causally from the first. In the case of sudden death, the critical experience cannot be recognised immediately as “extra-sensory perception” but can only be verified as such afterwards. …In all these cases, whether it is a question of spatial or of temporal ESP, we find a simultaneity of the normal or ordinary state with another state or experience which is not causally derivable from it, and whose objective existence can only be verified afterwards. …An unexpected [mental] content which is directly or indirectly connected with some objective external event coincides with the ordinary psychic state: this is what I call synchronicity.”9

  1. Jung (1960), p. 441 [ref]
  2. Jung (1960), p.551 [ref]
  3. Jung (1960), p. 435 [ref]
  4. Jung (1960), p. 445 [ref]
  5. Jung (1960), p. 511 [ref]
  6. Jung (1960), p. 436 [ref]
  7. Jung (1960), p. 438 [ref]
  8. Jung (1960), p. 440 [ref]
  9. Jung (1960), pp. 444-5 [ref]
Arthur Koestler, The Roots of Coincidence, Picador, 1974 (first published by Hutchinson & Co. Ltd., 1972), pgs. 94-97.

Can a movie trigger an unexpected intellectual adventure?

Usually, when considering this question, you might see a film on a specific subject, then perhaps read an article or try to find a book about it.

In his essay on Synchronicity (Jung’s term for meaningful coincidences of events separated in space and/or in time,1 Jung examined some of the beliefs surrounding apparently related incidents which seem to have no causal connection. These incidents could be, for example, the coinciding of a patient’s dream with an actual event corresponding to its occurring at the same time some distance away, it could be ESP phenomena—response to some event that does not become known through any sense; it could be a horoscope reading which corresponds to the observed character of the individual or his self-image, or an astrological prediction which seems to be borne out in subsequent events. The possibility of finding meaning in these correspondences had tantalized Jung for many years. The beginning of his serious study goes back to the days when Albert Einstein was developing his first theory of relativity. During this time he was a guest on several occasions for dinner in Jung’s home. In a letter on Einstein and synchronicity, Jung wrote: “It was Einstein who first started me off thinking about a possible relativity of time as well as space, and their psychic synchronicity.”2

  1. In The Structure and Dynamics of the Psyche, C. W. 8, pp. 417-531. [ref]
  2. Letter to Dr. Selig dated 25 February, 1953, in Spring, 1971, p. 127. [ref]
June Singer, Boundaries of the Soul: The Practice of Jung’s Psychology, Anchor Books edition, 1973, p. 398.

The Eagle Has Landed begins with newsreel footage depicting Mussolini’s rescue by the Germans during the Gran Sasso raid. This probably inspires the plot to abduct Churchill. Come to the present. Did the operation to capture Venezuelan president Nicolás Maduro and his wife, Cilia Flores, stem from this, or is there no causal connection? All of this is the intellectual adventure of Jung’s synchronicity.

Education and the Historical Swirl: Part II

We concluded Part I on this topic with the following comments which we wish students to incorporate into their educations, irrespective of the major, field or concentration:

The gold standard itself, dominated from London led to intricate problems: Golden Fetters: The Gold Standard and the Great Depression, 1919-1939 (published in 1992) by Barry Eichengreen, the leading historian of monetary systems, shows the downstream pitfalls of the gold standard.

In other words, the de facto emergence of Britain/London as the world commercial and policy center and the relation of this emergence to empire and international tensions and rivalries, means it is very problematical for any country to steer a course other than staying in tandem with British moods and ideologies, such as free trade. Any country by itself would find it difficult to have a more independent policy. (Friedrich List of Germany, who died in 1846, wrestles with these difficulties somewhat.) The attempts to find “autonomy and autarky” in the interwar years (Germany, Japan, Italy) led to worse nightmares. The world seems like a “no exit” arena of ideologies and rivalries.

The “crazy dynamics” and the semi-anarchy of the system, which continues to this day and is even worse, means that policy-making is always seen through a “dark windshield.”

History in the globalizing capitalist centuries, the nineteenth and the twentieth, is a kind of turbulent swirl and not a rational “walk.”

Here’s a bizarre but necessary comment on this sense of turbulent and surprising swirl propelling history forwards and backwards and sidewards at the same time:

The historian, Barry Eichengreen (mentioned above), is a distinguished analyst of world monetary systems at U.C. Berkeley and perhaps the leading expert today on the evolution of such systems.

From movies such as Shoah and Last of the Unjust by the great filmmaker Claude Lanzmann, we know that Barry Eichengreen’s mother was Lucille Eichengreen, a Jew born in Hamburg, Germany (1925) and deported to the Łódź Ghetto in Poland during World War II. She survived through many miraculous accidents and contingencies, then wrote about her experiences.

We get a deeper insight into “the way of the world” by seeing that the Holocaust itself has as a backdrop the anarcho-craziness of the world. The Fascists and Nazis were jumping from the “frying pan into the fire” by imagining that world conquest and world-murdering could “stop the world.” They and their favored populations could “get off” and step into a racial dreamworld. They were taking today’s concept of “gated community” and applying it to the “racial community” (Volksgemeinschaft, in German).

This led to the phenomenon depicted in Goya’s famous aquatint: The Sleep of Reason Produces Monsters.

The perceived madness of the world and the madness of leaders that this perception leads to have never been analyzed together.

The fact that the behavior of world leaders could be “crazy like a fox” (half-insane, half-opportunistic, or Machiavellian “clever”) is a complicating factor or twist from Mussolini until today.

Education and the World’s Confusion

Students need to understand that the world and history and the mood of the moment are always a “confusing swirl,” as experience shows, and that implies the present intersection of world/history/mood is also such a confusing “opaque windshield.”

Take the example of Europe after World War I. Mussolini leaves his position at the left-wing paper Avanti! (English: “Forward”) and founds the bellicose Il Populo d’Italia (English: “The People of Italy”), which is nationalist and warlike.

Avanti! was an Italian daily newspaper, born as the official voice of the Italian Socialist Party, published since 25 December 1896. It took its name from its German counterpart Vorwärts, the party-newspaper of the Social Democratic Party of Germany. Il Populo d’Italia, was an Italian newspaper which published editions every day with the exception for Mondays founded by Benito Mussolini in 1914, after his split from the Italian Socialist Party.

Mussolini was a complete tactical opportunist and his profound flip-flops indicate that “the winds” of mood and opinion were capricious and somewhat blind to its own twists and turns.

Take the case of the (later) famous anti-fascist Arturo Toscanini, the great music conductor. His trajectory is non-linear and as “jumpy” as Mussolini’s, going the other way:

“From the start Fascism was an eclectic movement and in its early days in 1919 it attracted a number of people who, including some, such as the great conductor Arturo Toscanini, who soon became its most determined opponents.”

(James Joll, Europe since 1870: An International History, Penguin Books, 1976, page 266)

Toscanini ran as a Fascist parliamentary candidate in Milan (1919) and this is a clue as to the tremendous disorientation in the wake of World War I.

In 1983, the outstanding Hebrew University scholar, Professor Sternhell, wrote Ni droite ni gauche. L’idéologie fasciste en France, which was translated to English three years later under the title, Neither Right nor Left: Fascist Ideology in France. The title of this classic by Sternhell—“neither right nor left”—captures via its very title, the indeterminate fusion and hodge-podge quality of modern ideologies. If they’re neither right nor left, where are they?

We could say there’s a deep pattern: World War I (yielding communism and fascism and Nazism) and then World War II (with atomic weapons and Auschwitz) and the Cold War have all left very disorienting legacies and since people in 2022 are legatees of these three wars, outlooks are very foggy. As the world becomes extremely confusing, people react accordingly and veer from mood to mood and opinion to opinion.

Education and the Movies: The Issue of Political Irrationality

The Prime of Miss Jean Brodie is a movie masterpiece that is enormously educational not for the particular details of the story but for the phenomenon of politics as an outlet for personal problems: The Prime of Miss Jean Brodie is a 1969 British drama film, based on the novel of the same name by Muriel Spark. Directed by Ronald Neame, it stars Maggie Smith in the title role as an unrestrained teacher at a girls’ school in 1930s Edinburgh.

Maggie Smith (whom you know from Downton Abbey as the aggressive matriarch) plays a romantically naive schoolteacher at a girl’s school in Scotland, 1930s. She has a “big time” crush on a handsome gym teacher whom she discovers in bed with one of the young girls—“Sandy” and has a kind of nervous breakdown or better, “image of the whole correctness of the world” breakdown.

The teacher sees newsreels of Mussolini in Italy and begins to think of him as a “romantic savior and ‘world-cleaner’ who will clean up the illegitimate situation at her girls’s school in Edinburgh and salvage her dignity and place and prestige and sense of how the world should be. On the one hand Miss Brodie talks about the girls of the school as ‘la crème de la crème’ but how does that comport with ‘Sandy’ and the male gym teacher sharing their beds with each other? The ‘cognitive dissonance’ (incompatibility) in Miss Brodie’s mind is causing her to break down and flee into fantasy land (i.e., Mussolini will restore the romantic world to the way it’s supposed to be). She goes deeper and deeper into this nutty vision of salvation and romantic re-balancing and at the end of the movie, ‘Sandy’ senses that she’s coming unglued and is borderline bonkers. Thus the title ‘the prime of’ can be thought of as ironical or sardonic since the teacher Miss Brodie is flipping out and ‘maps’ her romantic frustrations” onto Mussolini. This is what makes politics so dangerous (i.e., it serves as a “Rorschach test” for people’s inner irrationalities and yearnings and they “see” what they need to see).

Harold Lasswell (died in 1978) spent his life exploring politics and people’s private lives, order, sense of things, grievances, in such books as Psychopathology and Politics.  If you watch the movie The Prime of Miss Jean Brodie you will see how people use politics as a “screen” on which they project their emotions, grievances, hurts, humiliations, hysteria, anger.

Harold Dwight Lasswell (February 13, 1902 – December 18, 1978) was a leading American political scientist and communications theorist. He was a Ph.D. student at the University of Chicago, and he was a professor of law at Yale University. He served as president of the American Political Science Association (APSA), of the American Society of International Law and of the World Academy of Art and Science (WAAS).

He has been described as a “one-man university” whose “competence in, and contributions to, anthropology, communications, economics, law, philosophy, psychology, psychiatry and sociology are enough to make him a political scientist in the model of classical Greece.”

Table of Contents for Lasswell’s Psychopathology and Politics Book

Introduction
Preface
I. Life-Histories and Political Science
II. The Psychopathological Approach
III. A New Technique of Thinking
IV. The Criteria of Political Types
V. Theories of Personality Development
VI. Political Agitators
VII. Political Agitators—Continued
VIII. Political Administrators
IX. Political Convictions
X. The Politics of Prevention
XI. The Prolonged Interview and Its Objectification
XII. The Personality System and Its Substitutive Reactions
XIII. The State as a Manifold of Events
Afterthoughts—Thirty Years Later
Appendix A. Select Bibliography
Appendix B. Question List on Political Practices
Index

(2016 reprint of 1930 edition. Full facsimile of the original edition.)

First published in 1930, this classic study of personality types remains vital for the understanding of contemporary public figures. Lasswell’s pioneering application of the concepts of clinical psychology to the understanding of power brokers in politics, business, and even the church offers insights into the careers of leaders as diverse as Adolf Hitler and, arguably to more recent figures such as Richard Nixon, Donald Trump and the Clintons.

Movies should be your off-campus alternate university. You should ask yourself does this movie and Lasswell’s notions of psychopathology in politics help me understand authoritarian leaders today and such bizarre phenomena as half-dead prisoners in Stalin’s gulags bursting into tears in March 1953 when they learned of his death. Why sob over the death of the man who’s murdering you and tormenting you and your family?