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The Jock/Creep Theory of Fascism

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In un articolo semiserio su Unpopular Front, John Ganz parla di alcuni aspetti estetici e antropologici di fascismo e nazismo individuando due anime diverse:

A little while ago, I came up with the idea that that the difference between Italian Fascism and German Nazism was that Fascism essentially had “Jock-Douche” vibes while Nazism had “Creep-Loser” vibes. Now, I’m going to try to develop this fancy into a full-blown (or rather, half-baked) theory.

Le definizioni traggono ispirazione dalla filmografia sulle scuole superiori americane:

The Jock-Douche ideal-type proceeds in the world with confidence and the presumption of immediate physical domination, while the Creep-Loser ideal-type has been thwarted some way and is therefore reflective, and is resentful, a plotter, a schemer, and a fantasist dreaming up grand historical vistas of triumph or doom. […] Fascism as its own ideal-type can be understood as a synthesis between the Jock-Douche and the Creep-Loser: a cult of sheer physical of strength and action wedded to a wounded and brooding consciousness of impotence and humiliation.

L’articolo continua esempi e approfondimenti cominciando da Mussolini e Hitler:

The most obvious representation of the Jock-Douche and Creep-Loser duality is in the leadership of the respective movements: Benito Mussolini vs. Adolf Hitler. Mussolini was socially successful, a popular and esteemed figure in the Italian socialist party. […] On the other hand, Hitler was a loser. A marginal type in post-war Munich, he was a failure at his chosen vocation as artist. In an unintentionally revealing passage in Mein Kampf, Hitler describes how he was bullied and chased away from a construction job by union organizers.

Dopo aver applicato queste categorie anche alla destra statunitense contemporanea, Ganz conclude sottolineando che le due anime non sono alternative tra loro, ma perfettamente complementari:

They complement and attract each other: the dull seek to give their actions the appearance of historical grandeur, while the dowdy look for a figure who embodies the strength they lack. They also both reflect fascism as it really is: as simultaneously both silly and sinister.

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