Traditionalism

John Michell, Radical Traditionalism, and the Emerging Politics of the Pagan New Right.

by Amy Hale

The Pomegranate 13.1 (2011) 77-97

Although the legacy and work of John Michell is frequently associated with a culturally liberal neo-tribalism, certain... more Although the legacy and work of John Michell is frequently associated with a culturally liberal neo-tribalism, certain aspects of Michell’s thought can be, and have been, interpreted as an esoteric extension of more explicitly right-wing political positions, ones which are currently convergent with the political subcultures surrounding the European New Right both in Europe and also among newly emerging right-wing groups in the US. This essay examines the ways in which the work of John Michell is resonant with many of the philosophies of the European New Right, and how in his final years and after his death new markets for his work are emerging in the various subcultures associated with right-wing Paganism.

Establishment of Tradition by Criticism of Tradition: the case of the Surakarta Style of Javanese Dance

by Michi Tomioka

in Japanese

Urban Research.VOl.12. pp. 50-64.
published in March 2010 by Osaka City University Urban Culture Research Center, Osaka: Japan

　Ramayana Ballet, a dance theater for tourists, was started in 1961 at Prambanan
Temple and has become an... more 　Ramayana Ballet, a dance theater for tourists, was started in 1961 at Prambanan
Temple and has become an Indonesian representative theater. It was choreographed
by R.T.Kusumokesowo, a dance master of the Surakarta Court. However his choreography
was criticized by Gendhon Humardani at the Seminar on National Dance
Theater of Ramayana 1970. It was the beginning of dance criticism in Indonesia, and
Humardani has had an important role in developing Javanese dance since then.
Humardani made severe comments on Kusumokesowo's choreography, especially on
the following 3 points: 1. dance forms representative and external; 2. pendhopo
(Javanese traditional hall) - oriented sense of space; and 3. art direction attaching too
much emphasis to the story. All of these show Humardani appreciated the Western
modern performing arts. It is true Ramayana Ballet produced a new genre named sendratari
(a dance theater) as well as many new character forms, but it still maintained a
conservative sense derived from the Javanese court dance. From the criticism of
Humardani, “the (out‒of‒date) Javanese tradition” has emerged behind “the (up-todate)
Western modernity.”
Humardani got the Western modern-oriented viewpoint from his study abroad in the
U.K and the U.S.A from 1959 to 1961. His viewpoint of the Ramayana Ballet criticism was
already obtained in 1961 when he wrote a criticism on a ballet performance in London.
　Humardani innovated dance both in the PKJT (Central Java Art Center) project and
the ASKI (Indonesian Art Academy), to realize his dance theory. Humardani played an
important role to bring a modern perspective into Javanese dance.
Keywords : tradition, Javanese dance, modern, Ramayana Ballet, Humardani

Annihilationism, Traditionalism, and the Problem of Hell

by Shawn Bawulski

Philosophia Christi Vol. 12 No. 1: 61-79

Logically consistent responses to the problem of hell are readily available. The Christian theologian should seek to... more Logically consistent responses to the problem of hell are readily available. The Christian theologian should seek to go beyond these minimal criteria, providing a response that is also plausible and is harmonious with both Scripture and the tradition. In this paper I examine annihilationism and two forms of traditionalism, assessing each view’s success not only in defending against the logical problem of hell, but also success with these additional criteria. I suggest that a refined version of the traditional view best succeeds.

Edmund Burke's Moral Traditionalism

by Markus Haller

Конец метафизики и темпоральность истины

by Boroday Sergey

"The end of the metaphysics and temporality of truth" [in Russian]
Тезисы к докладу на Первой... more "The end of the metaphysics and temporality of truth" [in Russian]
Тезисы к докладу на Первой международной конференции по традиционализму

Review of Ted Honderich, Conservatism

by Kevin Magill

Scroll to p.43 in pdf. Published in Radical Philosophy, 59, Autumn 1991. Got it completely wrong in relation to where the Tory Party was headed vis-a-vis the EU, and a few other things. Reply by Honderich in RP 61 ('Conservatism, Ideology, Rationale, and a Red Light').

Ars sine scientia nihil. Rôle et statut de l’art sacré dans la perspective de l’Ecole traditionnelle

by Olivier Santamaria

à paraître dans les Actes du Séminaire interuniversitaire (ULB, UCL, Lille3) "Esthétique et spiritualité".

Ars sine scientia nihil est ; l’art sans la science n’est rien. C’est par cette célèbre sentence qu’il convient... more Ars sine scientia nihil est ; l’art sans la science n’est rien. C’est par cette célèbre sentence qu’il convient d’ouvrir une réflexion sur l’art dans son rapport à la science ou, plus exactement, sur l’ « art sacré » dans son rapport à la « science sacrée ». La maxime ars sine scientia nihil est passe pour avoir été prononcée par le français Jean Mignot, « maître en géométrie » (expertus geometriae), autrement dit architecte, alors qu’il travaillait sur le chantier de la cathédrale de Milan, à la charnière des XIVe et XVe siècles . Dans l’esprit de Jean Mignot, de même que dans celui des scolastiques médiévaux, la pratique d’un art comme celui de l’architecture ou de tout autre art, en l’absence d’une connaissance appropriée — ce qui sous-entendait des connaissances non seulement géométriques mais encore mathématiques autant que théologiques — était tout simplement impossible, car le résultat d’une pratique (l’art) sans la connaissance (science) serait le néant.
Le cadre qui nous sert de réflexion est vaste, puisqu’il embrasse théoriquement l’art médiéval et même, bien au-delà, l’art traditionnel dans son ensemble. Cependant, nous n’abordons pas cet immense sujet de front, mais au travers d’un prisme, le courant de l’Ecole traditionnelle et de leur doctrine, formulée vers le milieu du XXe siècle, dans la période de l’entre-deux-guerres.

...

...leur doctrine nous intéresse ici pour comprendre trois points essentiels ;
Premièrement, ce qu’est l’art en lui-même, dans son rapport à la science et au travail technique ;
Deuxièmement, le statut de l’art dans une société traditionnelle, la place qu’il y occupe et, par conséquent, la situation de l’artiste qui en est le véhicule ;
Troisièmement, le rôle que l’art est amené à jouer à l’égard de la communauté, c’est-à-dire sa fonction.

(début de l'Introduction)

Mots-clés : perenialism, pérennialisme, traditionalisme, esthétique, art, théorie de l'art, art médiéval, art sacré, guénon, schuon, coomaraswamy.

Gelenek ve Dinlerin Aşkın Birliği

by Mehmet Vural

Vural, Mehmet, Gelenek ve Dinlerin Aşkın Birliği, Doğu Batı Düşünce Dergisi, Yıl: 7, Sayı: 25, Ankara, Kasım-Ocak, 2003-04, s. 161-175.

Geleneğin İngilizce karşılığı olan tradition kelimesi, Latince tradere’den türetilmiştir. Bu kelime, mistik anlamda... more Geleneğin İngilizce karşılığı olan tradition kelimesi, Latince tradere’den türetilmiştir. Bu kelime, mistik anlamda ilâhî bir geleneğe bağlanarak uhrevî bir kurtuluşa ermek, bir bilginin elden ele aktarılması, bir öğretiyi başkalarına iletmek ile teslim olmak ya da ihanet etmek gibi iki zıt anlamı birden içeren bir paradoks da dâhil olmak üzere birçok anlama gelmektedir.
Gelenek teriminin Arapça karşılığı olan an’ane aslında bir hadis terimi olup, hadislerin bir kişiden diğerine aktarılma (rivayet) sırasında söylenen “an fulânin an fulânin” lafzına verilen isimdir. Bu aktarım sırasında yapılan hata, örneğin bir aktarıcının (râvî) güvenilir olmaması, o hadisin sahihliğini çoğu zaman ortadan kaldırır. Bu anlamda, Latince gelenek tanımında bulunan teslim olma ve ihanet etme paradoksu hadisler için de geçerlidir. Zira hadislerde hem belli kişilere güvenilip teslim olmayı gerektirecek hâller, hem de onların yapacağı kasıtlı ya da kasıtsız bir hatadan dolayı doğacak ihanet bir arada bulunmaktadır. Aynı zamanda, hadis kelimesi Batılı oryantalistlerce gelenek (tradition) kelimesiyle karşılanmaktadır.

Teaching Old Dogs New Tricks: Four Motifs of Legal Change from Early Modern Europe

by Colin Wilder

Recently accepted for publication. Please ***CONTACT ME*** for a copy of the article. I am not uploading the whole thing here in case there are copyright restrictions.

In the past millennium in Europe, there have been thousands of polities and millions of laws. This article contributes... more In the past millennium in Europe, there have been thousands of polities and millions of laws. This article contributes to efforts by historians and sociologists to make some sense of this sprawl by constructing common types of law and legal change. Such types constitute distinctive patterns by which historical actors change names, ideas and applications of rules of law under various circumstances. Three classic forms of change, namely legislation, mutation of custom and judge-made law, were described by Max Weber. To Weber’s model I add four new types or motifs of change, which I dub legal deeds, voice-supersession, legal fictions and anthropological expansion. The major advance of the four motifs is that they each combine what could be called a semantic and a social view of legal change. That is, they take seriously the fact that law is often bound in a self-conscious tradition of thought and practice. But each motif of change is also characterized by a typified social configuration of legal operators and legal subjects, who apply competing ideas to one another in distinctive ways. The paradigm of law in which the four motifs are embedded is evolutionary, pluralist and liberal, in that it posits creative social organization by multiple, independent, interacting individuals in society, weaving cumulative, complex orders.

This theory makes several significant scholarly interventions. First, it attempts to reconcile outstanding semantic and social theories of legal change. Second, it historicizes legal pluralism, while giving evolutionary theory a healthy dose of contingency. Third, the four motifs should also be serviceable to intellectual historians as tools for describing how historical actors interact with traditions generally. Tradition need not be viewed as conservative or even overwhelmingly static. This paradigm may help historians and social scientists assess how the force of the status quo balances against the power of individuals to innovate.

Philosophia Perennis и «неоевразийство»: роль интегрального традиционализма в утопических построениях Александра Дугина

by Andreas Umland

Форум новейшей восточноевропейской истории и культуры. 2010. Т. 7. № 2. С. 169-186 (с Антоном Шеховцовым).

Secretul doctorului Eliade (Origini. Caiete Silvane, nr. 1, 2002)

by Liviu Bordas

Din nou despre Eliade şi «tradiţie» (Timpul, IV, nr. 11, 2003)

by Liviu Bordas

Der "Neoeurasismus" des Aleksandr Dugin: Zur Rolle des integralen Traditionalismus und der Orthodoxie für die russische "Neue Rechte"

by Andreas Umland

Margarete Jäger and Jürgen Link (eds), Macht - Religion - Politik: Zur Renaissance religiöser Praktiken und Mentalitäten (=Edition Diss 11). Münster: Unrast, 2006. Pp. 141-157.

Is Dugin a Traditionalist? "Neo-Eurasianism" and Perennial Philosophy

by Andreas Umland

The Russian Review, vol. 68, no. 4 (2009), pp. 662-678 (with Anton Shekhovtsov).

Comment by Mark Sedgwick: more Comment by Mark Sedgwick: http://traditionalistblog.blogspot.com/2009/09/is-dugin-traditionalist.html
Rebuttal by Anton Shekhovtsov: http://anton-shekhovtsov.blogspot.com/2009/11/is-aleksandr-dugin-traditionalist.html
The opposite view by a Duginist: http://evrazia.org/article/1315

Aleksandr Dugin’s Transformation from a Lunatic Fringe Figure into a Mainstream Political Publicist, 1980–1998: A Case Study in the Rise of Late and Post-Soviet Russian Fascism

by Andreas Umland

Journal of Eurasian Studies, vol. 1, no. 2 (2010): 144-152.