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Jason Reza Jorjani Adopts Hancock-Schoch-West Fringe Claims about Egypt, Falsely Implies Nineteenth Century German Philosopher Believed Them

1/16/2017

16 Comments

 
​Since today is Martin Luther King, Jr. Day and also the planned launch date for the new altright.com website of white nationalist Richard Spencer and so-called “alt-right” “intellectual” Jason Reza Jorjani (which as of this writing has not happened), this seems like a perfect time to explore some of Jorjani’s views on Africa in his 2016 magnum opus, Prometheus and Atlas, which is based on his doctoral dissertation in philosophy. Unfortunately (or perhaps fortunately), he doesn’t address sub-Saharan Africa in his universal theory of human achievement [update: I found a brief mention of West African weights and measures], but he does touch on the part of Africa most important to those who glorify the Aryan race, Egypt. Does it surprise you to learn that he casts his lot with  fringe writers who don’t think that the Egyptians were responsible for developing their own culture?
​His discussion of Egypt comes in passing during a chapter devoted to the sublime and the beautiful. The entire chapter carried vaguely disturbing undercurrents, for two reasons that I will state briefly: First, for a chapter devoted to the sublime and beautiful, it was surprising that he made no mention of the most famous philosophical work on the subject, Irish conservative Edmund Burke’s essay “On the Sublime and Beautiful.” Instead, Jorjani explores the subject entirely from a Germanic perspective, citing Teutonic philosophers’ views, especially those of Immanuel Kant and F. W. J. Schelling. This is decidedly unusual, but it feeds directly into the second reason that his choices gave me a sense of unease. He named the chapter “The Titanic Total Artwork,” and if those words don’t spark something, perhaps the German original will: Gesamtkunstwerk. The term for “total art” was used from the early nineteenth century but is best known from its use by composer Richard Wagner, from whom it influenced both Nietzsche and Hitler. It is disturbing that at every turn, with every choice, Jorjani subtly but consistently privileges those philosophical schemes that fed into the Weimar-era right-wing stew from which Nazism grew.
 
But to return to our topic for today: In discussing Schelling, Jorjani explores his conception of total art and its relationship to the deep past. To that end, he cites passages from Schelling’s works of the period from 1810 to 1815. Schelling, of course, died in 1854. In his book Clara (1810), for example, Schelling writes: “The ancient Egyptian practices have something terrible about them, but they are based on a thought that is itself true and correct” (trans. Fiona Steinkamp). In The Ages of the World ​(1811-1815), Schelling offers a similar thought, which Jorjani truncates with ellipses for a very particular reason: “The same character of closure approaches us in the mute seriousness of the Egyptians and in the gigantic monuments of the Indians that seem to have been built for no particular time but rather for eternity” (trans. Jason M. Wirth). Jorjani clips out the “Indians” (i.e. the peoples of India) and falsely ascribes the “gigantic monuments” to the Egyptians.
 
Why would he do such a thing? Why, to make Schelling into an advocate of the fantasy history of Egypt promulgated by Graham Hancock and his colleagues like Robert Bauval, Robert Schoch, John Anthony West, and their ilk.
 
Here is how Jorjani shoehorns Schelling into Hancock’s fantasy world:
Returning to The World Ages, there Schelling delivers [these] remarks on the primordially titanic character of “Egyptian” art and architecture. We should read them bearing in mind that he might be thinking foremost of the “proto-Egyptian” megalithic structures of the Sphinx and Valley temples, as well as the Osireon at Abydos. On account of being totally unmarked, unadorned, and austerely geometric, they are conferred with an especially timeless and inhuman quality.
​First, the facts: Schelling could not have been thinking of the Sphinx and Valley Temples, nor the Osireion at Abydos. The Valley Temple was excavated by Mariette in 1853. The Osireion was discovred by Flinders Petrie and Margaret Murray in 1902. The Sphinx Temple wasn’t excavated until the 1930s, by Émile Baraize and Selim Hassan, with official publication of the site delayed until 1965! Many fringe folk aren’t aware of this because Mariette mistakenly assumed that the Valley Temple was a Sphinx Temple, so older literature uses both terms, though referring to only one of the two temples. However, the absence of the Sphinx and Valley Temples from the map of Giza found opposite page 1 in the Operations of Col. Vyse (1840), a key text used by almost every fringe writer on pyramids, ought to be a clue that the temples were not known in olden days.
 
The claim Jorjani makes – but does not cite – regarding the alleged antiquity of the Sphinx and Valley Temples and the Osireion comes nearly verbatim from the books of the Graham Hancock constellation of fringe authors. They have all made identical claims, alleging a hoary antiquity for these three particular structures based on their allegedly unusual architectural style.
 
The weird thing, though, is that Jorjani couldn’t have borrowed the claims directly from Graham Hanock, the most obvious potential source, because Hancock actually knows more facts than Jorjani does. Hancock knows what dates the various temples were excavated and reports them correctly in Fingerprints of the Gods. Nor can the source be Schoch, who does not typically write about the Osireion. The most plausible source therefore is John Anthony West’s Serpent in the Sky, where the claims Jorjani makes for the three Egyptian temples are given in full, and without the excavation dates that would have undone his argument. Of course, he might have borrowed the material from a book that repeats the claims secondhand, or even a website. This is only a guess based on  the facts he presented.

None of this changes the fact that he seems to want to rope Schelling into fringe archaeology fantasies about Egypt, as though to wipe away questions of fact in order to present the fantastical fake history of Egypt as irrationally true, a work of total art that supersedes science through its appeal to mystical (or as he would say, spectral) higher truth.
16 Comments
Titus pullo
1/16/2017 11:30:28 am

What is surprising to me is how the historical record is glossed over. Early civilizations really up to the end of the western Roman Empire were not exclusively Northern European. Middle eastern, Southern European, North Africa, India, China all had the leading civilizations by any measure while "Germania" was hardly "advanced". Unless "Aryans" means anyone from North Africa to India to Britain....which really seems at odds with Jorjoni

Reply
Jason Colavito link
1/16/2017 11:43:30 am

His "Aryans" are the Indo-Europeans, which include his Iranian ancestry. It's pretty clear that he adopts fringe history in order to follow Donnelly and Hancock in making these Indo-Europeans into the inhabitants of the antediluvian world and thus the originators of civilization.

Reply
Titus pullo
1/16/2017 05:39:51 pm

Thanks Jason

As a southern Italian looking person I'm not sure my size (176mm), dark complexion and brown eyes would get me in the aryan army......ha ha

Mark L
1/17/2017 09:07:24 am

If you're 176mm tall, you're a medical miracle.

V
1/18/2017 03:55:14 pm

Mark, either that or he's bragging about his trouser companion. ~.^

Kal
1/16/2017 12:06:39 pm

"Proto Egyptians" is right out of that movie 10,000 BC by a fringe director.

Titanic reminds me immediately of the HMS Titanic and it broke apart and sank over a century ago. It was also a movie several times, most recently in a hit 1997 romantic action movie.

The sands buried those artifacts well into the 1800s, so a simple search would turn that up. The erosion thus is not from a flood, although it could have been a local one sometimes, but more likely a lot of sand and wind.

The structures had lesser markings on the outside due to sand and wind blasting them off.

Germanic tribes took Rome, and were not so advanced. They were just more prepared than they were.

Romans could not have built the Pyramids.

Germans could not have either.

The cradle of civilization is probably a series of cradles from upper Africa to middle, to other places lost to time.

Reply
Titus pullo
1/16/2017 05:05:50 pm

I dont disagree with ur final point but rome during octavian could have easily built the latgest pyramids. Construction techniques, animal driven machines, better mathmatics and management proceeses developed over the 1k years plus since the pryamids would have allowed rome to build them if they wanted to spend the money..,,but ur point on origin is not debatable

Reply
Elizabeth Stuart
1/22/2017 11:32:22 pm

But the pyramids were already there when the Romans arrived.

Only Me
1/16/2017 12:46:30 pm

Yeah, I'm not surprised by anything Jorjani believes. Real history? PFFFFFT!

Jason, just for clarification, are you sure about Schelling's role with the term Gesamtkunstwerk? It's believed the term was first used in K.F.E. Trahndorff's "Ästhetik oder Lehre von Weltanschauung und Kunst" in 1827.

Reply
Jason Colavito link
1/16/2017 01:54:22 pm

Great point. I'm not familiar enough with German art criticism and philosophy to know for sure. I guess the book I read must have been referring to some aspect of the discussion of it. I'll amend the line above.

Reply
Tom
1/16/2017 01:37:28 pm

If some ancient super race or aliens built the Pyramids and other follies, why would they have chosen an area baking hot, subject to sandstorms, drifting sand, and paradoxically occasional flash flooding; that is difficult to reach from most directions except from the South via Nile itself and is off all known mesolithic trade routes excepting those pioneered by the known Egyptian cultures.
Surely there are better locations for a globe spanning culture or visiting aliens to advertise themselves. The Jezreel Valley for instance is relatively nearby and is far more congenial.

Reply
Clint Knapp
1/16/2017 04:43:14 pm

You're forgetting the Shoch Factor. Shoch's first (and only) big fringe hit was dating the Sphinx back some 10,000 years to account for weathering he imagined can only have been caused by frequent rains over an extended period of time.

With that basis, the fringe can cast the Sphinx and the pyramids of the area back as far as they want. Namely, to a period of time when the area wasn't a desert and was a prime location for settlement by their superior civilization of choice.

Slap on the assumption the Ancient Super-Race of Yore was a maritime culture, and it doesn't really matter what their proximity to known trade routes may or may not have been - for they were world-travelers from an idyllic fantasy land possessed of untold power and wisdom.

Reply
lurkster
1/16/2017 04:04:16 pm

Not sure if your intention with these posts about Jorjani's book was to serve as the ultimate teasers for your academic journal book review. But man oh day, the anticipation is killing me.

Reply
Jason Colavito link
1/16/2017 05:06:42 pm

It's what I happened to be reading as I'm working through the book. Unfortunately, the book review will be limited to less than 2,000 words, so I may have an academic review and then a longer "popular" one if there is enough to talk about.

Reply
DaveR
1/17/2017 10:06:46 am

Now I know where the word "twerk" comes from.

Reply
Elizabeth Stuart
1/22/2017 11:52:33 pm

When it comes to the sphinx, it was carved out of a natural rock formation. So obviously, the scientific dating comes out exceeding old depending on where one looks, hance accounting for its ancient dating due to weathering. But as a lay person with no scientific background, I am struck by its similarities to Mount Rushmore, an ancient mountain with modern carvings.
What I am trying to say is, explaining this contradiction to unscientific types like me, need not be complicated. Mount Rushmore is a good example of this very contradiction.

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