Was struck with the news lead today;
“A proposed B.C. law would allow municipal officials to enter homes to seize unauthorized and possibly anti-Olympic signs on short notice, civil libertarians say.
Violators could be fined up to $10,000 a day and jailed up to six months, the B.C. Civil Liberties Association said Friday.”
See - http://www.cbc.ca/canada/british-columbia/story/2009/10/09/bc-anti-olympic-sign-law-bccla.html
This was propagated in my mind by the writings of Ljubodrag Simonović from his book “Philosophy of Olympism”. This is available at Scribed and I have attached a summery below.
There is a fair bit to read here (aside from his book), so have included a link to a video on the Olympic ideological 18/19th century birth or resurrection by Coubertin.
In viewing the film I jotted down a few not verbatim notes as follows – much here references Coubertin’s thinking and some is extrapolated by Simonović – think he produced?
Notes:
Olympics are a capitalist resurrection – new Vatican – mythological image of a happy world – cult of the existing world – monopolistic capitalism.
With the institutionalization of sport by the end of the 1900th century a mechanism was devised for the principal ideological club for the established order in people’s heads by destroying their critical and reformatory conscious and fashioning the character of a loyal and usable minion.
The bringing up of youth in a pacifist spirit constitutes an obstacle to evolution and progress, and as such represents the worst of crimes. Sport for the working masses keeps them under control.
Olympics in 1932 LA seemed a smokescreen in America and were used to cover up the economic crises and promote the myth of the frontier promise land.
Fascism is the iron fist of capitalism – served the Olympic ideals well..
Nazi Germany – the upholder of civilization receives the sacred torch from the originator Hellenic state - hence forth the flame has precipitated to all other cities under this guise.
Coubertin nominated for the Nobel Peace prize by the Nazi regime 11th Olympiad; while the flags were hoisted the bombers were reducing Spain to rubble. [thoughts here of Obama’s Nobel Prize today].
Coubertin left the Nazi’s with his legacy while the regime made good of his request to place his hart in Pierre de Coubertin’s valley.
While the Olympic torch rested after the 1936 games, it seemed to emanate again in might from the cannon as they benched out their flames paving new roads for the torch to follow – the Americans took over the Olympic torch from the Nazi’s and along the way demonstrated its mighty fames in Japan and then on to Korea again it burned and then carried off by LBJ to Vietnam. The torch has licked its way around the world burning everything in its path while in stadiums its innocents burns for the delights of the happy global families under explosions of an artificial torchlight parade of subtle symbolism; Coubertin’s warped dream of never extinguishing the flames..
Link (approx 1 hr.) - http://video.google.com/videoplay?docid=-1310720270256316532#
The following is a brief of Simonović’s “Philosophy of Olympism” - apologies for posting this, in this way, as it is long, however, it offers the reader, if they don’t want to read his book in entirety, a picture of his thinking on Coubertin and the Olympics.
“A proposed B.C. law would allow municipal officials to enter homes to seize unauthorized and possibly anti-Olympic signs on short notice, civil libertarians say.
Violators could be fined up to $10,000 a day and jailed up to six months, the B.C. Civil Liberties Association said Friday.”
See - http://www.cbc.ca/canada/british-columbia/story/2009/10/09/bc-anti-olympic-sign-law-bccla.html
This was propagated in my mind by the writings of Ljubodrag Simonović from his book “Philosophy of Olympism”. This is available at Scribed and I have attached a summery below.
There is a fair bit to read here (aside from his book), so have included a link to a video on the Olympic ideological 18/19th century birth or resurrection by Coubertin.
In viewing the film I jotted down a few not verbatim notes as follows – much here references Coubertin’s thinking and some is extrapolated by Simonović – think he produced?
Notes:
Olympics are a capitalist resurrection – new Vatican – mythological image of a happy world – cult of the existing world – monopolistic capitalism.
With the institutionalization of sport by the end of the 1900th century a mechanism was devised for the principal ideological club for the established order in people’s heads by destroying their critical and reformatory conscious and fashioning the character of a loyal and usable minion.
The bringing up of youth in a pacifist spirit constitutes an obstacle to evolution and progress, and as such represents the worst of crimes. Sport for the working masses keeps them under control.
Olympics in 1932 LA seemed a smokescreen in America and were used to cover up the economic crises and promote the myth of the frontier promise land.
Fascism is the iron fist of capitalism – served the Olympic ideals well..
Nazi Germany – the upholder of civilization receives the sacred torch from the originator Hellenic state - hence forth the flame has precipitated to all other cities under this guise.
Coubertin nominated for the Nobel Peace prize by the Nazi regime 11th Olympiad; while the flags were hoisted the bombers were reducing Spain to rubble. [thoughts here of Obama’s Nobel Prize today].
Coubertin left the Nazi’s with his legacy while the regime made good of his request to place his hart in Pierre de Coubertin’s valley.
While the Olympic torch rested after the 1936 games, it seemed to emanate again in might from the cannon as they benched out their flames paving new roads for the torch to follow – the Americans took over the Olympic torch from the Nazi’s and along the way demonstrated its mighty fames in Japan and then on to Korea again it burned and then carried off by LBJ to Vietnam. The torch has licked its way around the world burning everything in its path while in stadiums its innocents burns for the delights of the happy global families under explosions of an artificial torchlight parade of subtle symbolism; Coubertin’s warped dream of never extinguishing the flames..
Link (approx 1 hr.) - http://video.google.com/videoplay?docid=-1310720270256316532#
The following is a brief of Simonović’s “Philosophy of Olympism” - apologies for posting this, in this way, as it is long, however, it offers the reader, if they don’t want to read his book in entirety, a picture of his thinking on Coubertin and the Olympics.
Coubertin treated Hellenic civilization much in the same way in which the European colonial conquerors treated ancient civilizations. Reading his writings on the ancient world one gets the impression that he is a looter digging the ancient sites in search for something that he might find useful. Unlike those ''noble'' representatives of "European civilization" who were after material wealth, Coubertin was after the ancient spiritual wealth - which can be fully appraised only within the civilization in which it appeared - and ruthlessly crippled and tailored it in order to make from it a means for destroying the emancipatory heritage of modern society. The very use of the term "Olympic Games" is a sacrilege of the ancient tradition. Coubertin used that term not because he was inspired by the ancient spiritual heritage, but because it seemed to have a "solemn character", which means that he saw in it a peculiar decoration for international sports competitions he planned to organize and institutionalize. His political conception is the key to understanding his Olympic idea and his relation to antiquity. Coubertin does not try to "restore the ancient Olympic Games" in order to develop sport, but with a view to contributing to the "development of France's national strength" and its colonial expansion. That is the original prism through which Coubertin observes the "ancient heritage" and the criterion he uses to select what is "acceptable" for the Modern Age. For Coubertin, Hellenic spirituality does not have a cultural, but a practical and political value; he does not regard it in terms of the cultural development of modern society, but in terms of the realization of anticultural political and economic goals of the ruling bourgeois "elite". While utilitarism is the starting point, positivism is a speculative prism through which Coubertin observes ancient Greece.
Coubertin constantly refers to the original ancient traditions and glorifies their "immortal spirit", which is actually the racist spirit of free Hellenes, and not the "international" (colonial) spirit of monopolistic capitalism. The ancient Olympic Games were the form of the Hellenes' spiritual integration and demonstrated their racial "superiority" to "barbarians". Only "pure-blooded" Hellenes were allowed to take part in the Games, provided that they had never been convicted and had not offended the gods. Ancient Olympism did not pursue globalism, nor was it a form of the spiritual enslavement of other peoples; it was meant to draw a borderline between the "civilized" world and "barbarians". Modern Olympism, by contrast, tends to be a universal and global spiritual movement, and thus follows the Christian doctrine as a universal ideology, from which it derives the "Olympic missionary work" of the Jesuitical type. It appeared as the crown of the ideology of (colonial) bourgeois "internationalism" and thus is the means for achieving certain global political and economic goals. The first Olympic Games, held in Athens in 1896, were already organized according to the Romanized Olympic Games, which were devoid of their original religious and racist spirit. In view of that, it is absurd to refer to an "original pureness" of ancient Olympism and, in the Modern Age, try to create a "Church" in which to the "immortal spirit of antiquity" - "all peoples will bow".(5)
Modern and ancient Olympic Paganism
Ancient Olympism was the center of a spiritual cosmos within which the entire life of polis was lived and in which the religious and secular lives could not be distinguished. Fustel de Coulanges says on that: "And so, in times of peace as well as in times of war, religion interfered in all human affairs. It was omnipresent, it enveloped man. The spirit, the body, the private and public lives, the rituals, the festivities, the assembly, the courts of law and the battles - everything was dominated by the city religion. It controlled all man's affairs, all the moments of his life, and set up his customs. It controlled the human being with such an absolute power that there was nothing outside it." (10)
Modern Olympism appeared and developed in the period in which man was emancipated from religion and in which the religious and secular lives were separated. Coubertin tries to return to religion the status of the dominant spiritual power, not Christian but pagan. That is why he seeks to reaffirm the myth and the cult, which, together with man's agonal activities, represented the "essential elements of the Hellenic spiritual existence" and were the "central determinant in the Hellenic people's education and in the appearance of all forms of its spiritual expression". (11) Modern Olympism involves: the myth about the ancient Olympic Games, the cult of the existing world and the agonal activity in the form of sport. As the cult of the existing world, modern Olympism seeks to become its all-embracing and impenetrable spiritual firmament. Under its wing appears the cult of a muscular body in combatant effort as a symbolic expression of the existing world.
The idea of personal achievement, without which (modern) sport cannot be imagined, does not exist in ancient society. Victory is not the expression of the human powers and thus a human achievement: it is the expression of the divine will. Miloš Đurić refers to that: "The glory of Dories, the youngest Diagora's son, who was three times the winner at Olympia, seven times at Eastham and six times at the Nemean games, was so great that during the Peloponnesian war the Athenians released him as a prisoner of war without offending him, since in his victories they saw a divine providence." (46) The same goes for physical qualities, strength and speed: they are not the qualities of man, but the divine gift. There do not exist any free will, personal initiative, personal achievement and personal responsibility: man is "Gods' toy". The purpose of fighting is not to develop the human powers, but to earn "honour" by winning the divine mercy and thus insure victory and "immortality". In his Olympic poems (epinike) Pindar does not praise the winners as humans, but as gods' electees and the objects of divine mercy. (47) Coubertin's and ancient concepts share the view that the purpose of a sports competition is not, ultimately, to develop man's individual powers, but the tyrannical power of the "master race".
To strive to be better than one's compatriots involves being above the "barbarous peoples". In antiquity agon is the highest form of man's cultural manifestation and thus the indicator of his divine nature, while in Coubertin Olympism deals with the cultural heritage of mankind and eliminates all civilizatory barriers to man's (bourgeois) "animal nature". Coubertin abolishes the modern citizen and rejects the view according to which man is a zoon politikon. The main integrative force of society is not the will of the citizen, based on his inalienable "human rights", it is the tyrannical power of the ruling class, based on the principle "might is right"; the foundation and ideal of social structuring is not a political, but an animal community. "Sports republic", which Coubertin offers to those deprived of their humane and civil rights, is not the prototype of a politically organized society which should be sought for, it is the means of the parasitic classes with which the oppressed should be "taught" how to obediently accept the order ruled by the stronger. In Coubertin, we find no universal good: the class interest is above the interest of society. As far as the Olympic Games are concerned, man appears at them not as an emancipated individual, but as the toy of the ruling Social Darwinist and progressistic spirit which, by means of a racial (national), class and gender collectivity, abolishes the individual and from man, in the form of a "sportsman", creates a fanaticized crusader: the hoisting of the flag symbolizes the victory of the ruling order and the defeat of the human.
Capitalist society removed the divine (normative) firmament that conditioned the religious (spiritual) nature of the ancient agon, which had a restrictive rather than an expansionist character. "Religious demands" that Coubertin, departing from antiquity, poses to the modern athlete, are actually meant to deal with the ancient religio athletae, which is the expression of the highest religious (philosophical) principle gnothi seauton. Coubertin insists on a strict ritual form of the Olympic Games in order to arouse a "religious feeling" similar to that in antiquity. At the same time, he "forgets" that he cannot do it without the gods, who symbolize the normative firmament as an indisputable starting point for determining the behavior of people and the criterion for distinguishing between good and bad, and without the ancient world, which is totally pervaded with religion, and the ancient man, who is fatally submitted to the divine will. In order to arouse the "feeling of sublimity", (49) Coubertin needs a value that transcends the existing world and that can take man "out" of it. Coubertin's religio athletae is reduced to a means for fanaticizing man, for killing his humane dignity and his (critical) conscious and for his complete submission to the ruling order. What connects the ancient and modern Olympic Games is their belligerent spirit: they are a peculiar war tournament at which the contestants do not fight with arms, but with their bodies, and are thus a combat with the pacifistic mind and a preparation for war. Hence ruthless "rivalry", which invol- ves readiness to kill the "opponent", represents the main feature of sports "friendship".
According to Coubertin, there was something in Greek "sport" which did not exist either in the Middle Ages or in the Modern Age - and which has a paramount social and scientific importance. It is the following postulate: "Man is not made up of two parts - the body and the soul: he is made up of three (parts) - the body, the mind and the character; the character is not formed by the mind, but primarily by the body." (66) This is one of the most disastrous instructions of Coubertin's "utilitarian pedagogy" - on which the bourgeois theory and the practice of the so called "physical culture" of the 20th century and sport are based - for it singles out physical exercising from the cultural sphere and reduces it to an instrument for developing a fanatical combatant character. Coubertin deprives the body of its basic natural properties and reduces it to the object of manipulation and exploitation; the soul loses its divine character and becomes the tool with which the dominant order controls man's body, while the mind becomes another name for the character.
Unlike the sophists, who by human nature mean the "unity of the body and the soul, but above all man's internal disposition, his spiritual nature", (68) Coubertin departs from a dualism of the body and the soul, claiming that the "soul has a need to torture the body in order to make it more submissive". In antiquity, gymnastics appeared as the "ennobling of the soul"; (69) In Coubertin, sport, as a merciless fight with the bodies, appears as the basic way of creating a (sado-masochistic) character. In antiquity, "the unity" of physical and spiritual movements appears as the subordination of the mortal body to the immortal divine spirit - and not to the human soul. The divine spirit is the power that inspires the body with life, while "honour", acquired through a "good deed", insures man a place on the Olympus. Physical appearance and movement are the expressions of spiritual movement, namely, the incarnation of an endeavour to be united with the cosmos. Geometry, proportionality, harmony - these are the bases of an artistic representation and a mimetic impulse. It is a given evaluative and aesthetical paradigm (which gained its metaphorical expression in the Olympic cosmos) which seeks to preserve the established order. It is in that sense that we can speak of the "unity" of the body and the spirit in Coubertin's conception. In antiquity, the dominant ideal is that of a harmonious unity of the body with the cosmos expressing man's complete submission to the established order. The ancient physical culture involved a geometrically shaped body that became a symbolic expression of the divine construction of the cosmos. It is most clearly manifested in art, which is dominated by the "artist's faith that in the perfect shape lies the prototype of everything that is human, of the divinity itself". (70) The body on the ancient pottery illustrates Hellenic conception of the cosmos and man's position in it. Hence it is not dominated by a muscular strength but by proportionality and graciousness. The "chiseling of the body" becomes a ritual expression of man's submission to gods and the ascending of man's whole being to them, similarly to Christianity, in which the prayers are a ritual way of the soul's ascending to God. At the same time, the ancient physical culture is the means for a spiritual and racial integration of the Helens and thus the expression of their "superiority" to "barbarians". Racial exclusivity is not expressed through physical (muscular) strength, but through a sense of measure (metron ariston): crude strength and a disproportional muscular body are the characteristics of the slave. The medieval aristocratic criteria are similar: a sense of measure and grace (ordre et mesure) is the exclusive feature of the aristocracy - as opposed to immoderation and gracelessness of the serfs. Pointing out that the "western art has never overcome" - "the dualism between the body and the soul", Schefold adds that "in the Greek body, on the other hand, each nerve, each movement, reflects the movement of the soul in a way that today is seen only in children and animals."(71) Is that the quality which makes the ancient art an "unequaled model" (Marx) of modern art?
Hellenic society was an erotic community par excellence. The erotic affinity between men was one of its most integrative bonds, and the male body in combatant effort was the highest erotic challenge. The Olympic Games were a major erotic manifestation. The clash of the naked bodies in bloody fierceness, with provocative stances and movements, was a dramatic erotic performance and an exceptional erotic stimulus. The fights between naked boys (ephebos) presented a special treat for the spectators: the Olympic Games were a festivity of pederasty. Since the Olympic gods were anthropomorphic and represented the deification of the Hellenes' qualities and dispositions, it can be assumed that the Olympic Games were a superb erotic spectacle and thus a peculiar "seduction" of the gods. The road to immortality, via "honour", was paved with a passionate erotic tension.
…In Coubertin, man's muscular body in a combatant effort, as a symbolic expression of the dominant spirit of capitalism, is the highest erotic challenge. In that context, Coubertin seeks to deal with Eros which directs man to the development of his affective nature and human closeness, and turn that energy into the driving force of "progress". Unlike the Hellenic world, based on a geometrically constructed cosmos whose power is embodied in the Olympic gods, Coubertin's world is based on the expansionist power of monopolistic capitalism. To conquer the world and oppress the "weak" are the basic erotic stimuli. A love of the power to kill, as the means of establishing domination over the "weak", becomes the subs titute for the love of gods as a fateful power. Hence a love of arms, as the high- est symbol of the conquering power of the capitalist world, represents the climax of an "erotic" enthusiasm, and arms become the highest sexual symbol ("fetish"). From an early age, sexual desire is directed to an explosive muscular strength, the uniform, horses...Playing with arms replaces playing with the penis.
Coubertin's erotic energy is not only aggressive, it is (self)destructive since the relation of man to man and the relation of man to himself are mediated by the principle of "greater effort" that does not have any outer or inner boundaries. At the same time, unlike antiquity, Coubertin's Eros is not a victory over the original disorder, (81) nor is it a return to the original disorder; it is a victory over man's cultural and natural being.
As we have seen, Coubertin deprived man of the need to love and be loved. From sexual relations not only the emotional enthusiasm is eliminated, but also the enthusiasm of mating that is characteristic of animals - which only indicates the real nature of Coubertin's "naturalistic" conception. Insemination is carried out by blocking and suppressing man's erotic nature, and by eliminating imagination. The woman is reduced to the owner of the womb, a peculiar racial (national) incubator, while man is reduced to the owner of the material for insemination and the sexual relation to a sheer insemination technique. Marriage is not the relation of emancipated persons connected with love and a need for a family, but it is an institutionalized bond of reproductive organs: the spouses are reduced to the tools of racial reproduction. Pater familias treats his wife and children as a protector since, according to Coubertin, the woman does not have any human or civil rights. Coubertin does not depart from man (citizen) as a constitutive segment of society, but from the existential interests of the race, whose highest values are embodied in the ruling "elite".
According to Coubertin, the "Oedipus complex" is not possible. The family is not founded on the need for satisfying sexual desire, but on the need to insure the biological reproduction of the race and create the initial authoritarian structure of society that corresponds to the structure of the animal community and represents a direct connection with it. The family, as the "basic cell of society", is the basis of the organization of society and the means for destroying the social structure based on sovereignty and equality of the citizens. Since for Coubertin the family is "the natural" basis of social structuring and the foundation of the hierarchy of power, the role of the father as pater familias is of primary importance. The authority of pater familias has a natural and legal character and relies on his physical strength and the order in which that strength ensures the dominant economic position. He is the bearer of the will to power and thus an indisputable master of his wife and children. As far as the relation to wife is concerned, she, as the symbol of "weakness", does not deserve to be fought for, particularly because the relation of sons to their mother is not based on sexual desire, but on the model of relations dominant in patriarchal society: the woman is the national (racial) incubator and a servant. In Coubertin's conception, the father and the sons are collaborators, and their rivalry is based on the struggle for a position in the hierarchy of power. Here also we can see that Coubertin is not a consistent Social Darwinist: between the father and the sons there is no fight for sexual domination over the mother ("female"), which is characteristic of the animals. Patricide on the part of the mother and son is not possible, since it symbolizes a revolt of the "weaker" against the indisputable authority of pater familias on which the existing hierarchy of power in society is based. The sons treat their father not only as someone who is stronger then they are, but as a symbolic incarnation of the ruling power. They should not cherish any animosity to their father, since it can be the germ of a revolt against the dominant order: the father is the indisputable master, leader and idol.
Modern Olympism represents an eroticized "cult of the existing world". It is no accident that Coubertin speaks with great enthusiasm of the French colonial exploits and that he is so delighted with militaristic ceremonies, which are the highest form of the eroticized conquering (oppressive) power of capitalism. Instead of a "love of God", the highest challenge becomes the love of the laws of evolution, which in the "progress" reach their highest and final form. In Coubertin, the deerotisation of man and the relations between people (sexes) is accompanied with the erotisation of the relation to sport (especially boxing) and sportsmen as the symbolic incarnations of the spirit of capitalism, particularly with the erotisation of the Olympic Games. The rhythmic pulsation of a mystified dominant power appears in the form of militaristic pederasty: rhythmical marching, flags, hysterical euphoria... The Olympic spectacle, with its aggressive choreography, represents a peculiar foreplay, which is meant to stimulate the senses and keep man in the state of erotic tension. The Olympic Games become the superb ritual of giving oneself to the dominant spirit of capitalism, similarly to the ancient Olympic Games, where man was giving himself to the Olympic gods. However, in Coubertin, we see the deerotisation of the ancient physical culture through a Jesuit Puritanism and progressism which involves quantification and the industrial mimesis. Olympism becomes the climax of man's dehumanization and denaturalization. Coubertin follows the tendency of a "desexualisation of organism that is necessary for a social utilization of organism as the working tool", (82) and extends it to the bourgeois in order to create the ideal tool for the realization of the expansionist strivings of monopolistic capitalism. The development of the capitalist way of production, which appears in the form of quantification and mechanization of the relations between people and man's relation to himself, represents the power with which the laws of evolution are "superstructured". Sport becomes the capitalist form of denaturalizing Social Darwinism.
Like Coubertin, Freud deprived man from the need for and the capability of loving and reduced him to a murderer, sadist, beast... Freud: "A small part of a readily denied truth, hiding behind all this, is that man is not a meek being who needs love and can defend himself when attacked, but that because of his instincts he must be considered strongly inclined to aggression. Therefore a fellow man represents not only a possible assistent and a sexual object, but also a temptation to satisfy on him his aggression, to use his labour without compensation, to sexually abuse him without his consent, to appropriate his property, to humiliate him, to injure him, to torture and kill him. Homo homini lupus. Does anyone have the courage to reject this saying after all the life and historical experiences?
Departing from Freud's conception of the structure of personality, it could be, only conditionally, said that Coubertin's "lazy" animal nature corresponds to Id, and that the conquering and oppressive character represents Ego - which is under control of Superego as the embodiment of "progress" in man, and which directs Ego to deal with his instinctive nature in order to obtain energy that it will transform into a tyrannical practice. However, in Coubertin, Superego does not have a normative nature and does not appear in man as a moral conscious (conscience), but derives from the life "circumstances" and affects man through the logic of relations based on the principle "might is right" and natural selection. Since Coubertin abolished history by "progress" and placed the past and future at the same time level, Superego is not based on the confrontation between past and future, especially not on the confrontation between necessity and freedom, since freedom is impossible.
Coubertin found the building material for his "overman" in the parasitic classes characterized by the "animal nature", the status of the "master" and a conquering fanatism. His "new man" is the result of crossing the crippled and depersonalized ancient "hero", the medieval knight, the English gentleman, the militant Jesuit, the greedy bourgeois, Nietzsche and Nazi's "overman" - all the members of the "master race", which by way of tyranny acquired power and wealth. A love of arms and a contempt for work - these are the main "virtues" of the rich "elite", which proclaimed conquering and plundering the cardinal principles of life. Coubertin turns them into heroic figures that become the role models of the bourgeois youth. They are the synthesis of the best racial features and thus the personification of an idealized model of members of the "master race". Hence the "strength of blood" becomes one of the main sources of the conquering (oppressive) force of the white race, while the preservation of "pure blood" is the basic presupposition of racial stability and racial domination. However, "great people" of the Modern Age do not draw their strength only from their racial roots, or aristocratic heritage, but from the expansionist power of monopolistic capitalism (the spirit of "progress"). Basically, it is a direct instrumentalization of the bourgeois youth on the part of capitalist monopolies, in their attempt to colonize the world and exercise totalitarian power over the working "masses" and women.
To create from the European bourgeois youth, through sport and militaristic physical drill, the "master race" capable of dealing with the emancipatory heritage of mankind and of creating from the world a concentration camp of the West-European colonial states - this is Coubertin's life-long obsession. His Olympic ideal represents the bridge connecting the Victorian England and the imperialist France with the Nazi Germany, and the latter with today's (American) "new world order".
