Dugin’s ‘dark logos’ sponsored by Russian Orthodox Church
By Andrey Kazachkin
January 6, 2023
"Whoever, after the establishment of the truth, continues to search for it - he is looking for lies" from the documents of the Second Ecumenical Council
Today, as a result of the famous tragic events, Alexander Gelevich Dugin not only received all-Russian advertising. Dugin went viral in the Russian media space overnight. Dugin at once turned out to be the most popular Russian "thinker", an ardent supporter of the "Russian tradition", a bright light of "Russian Orthodoxy", a true "patriot of Russia", etc., etc.
Most of the Russian media and pro-government social movements rushed to interview Alexander Gelevich or provide him with platforms to popularize his philosophical theories and views...
Of course, the ROC, which invited Dugin, as an honorary speaker at the "World Russian People's Council" held in October last year in the Cathedral of Christ the Savior and dedicated to the theme "Orthodoxy and Peace in the XXI Century" could not stay away from the general media trend.
So what's the problem you're talking about? Well, they invited and invited, Dugin is an honored professor, academician, etc., right? Dugin, because an authoritative philosopher, author of many scientific books and monographs.
Yes, of course it's all true! But is it possible to judge philosophers solely by their degrees, regalia, "general recognitions", positions held, the number of "works" and monographs? Aren't philosophers judged by their philosophy? Isn't they judged about "theologians" in the Russian Orthodox Church because they specifically "theologize," and in general what kind of gods do they preach?
Shouldn't the invitation first have been to clarify what kind of "god" Dugin preaches, and what philosophical meaning does Dugin himself mean when pronouncing the words "Russian culture" and "Russian tradition"?
Is Russian society so crazy that the mere media promotion of a character makes it an indisputable authority in matters of political science, theology, tradition, patriotism, culture, etc.
Maybe before gloring Dugin as an all-Russian thinker, as a great light of the "fight against international operational evil" like Vladimir Ilyich, as a certain Russian Karl Marx, it is worth looking into his, those notorious monographs and works? Maybe first you should get acquainted, in fact, directly with Dugin's philosophy itself?
Below is the completely final chapter from the Dugin program-philosophical book "In Search of the Dark Logos." I will add from myself that there is nothing new in this philosophy, because it is according to this philosophy and relevant practice that the adherents of the world deep state and its mass media satellites, in particular Hollywood (more in the revelation of Mel Gibson), live and are currently active.
So, a word to Alexander Gelevich himself:
"TO DIONYSUS!
Obviously, when we say "Dionysus," we mean not only a specific character of Greek cults, festivities, myths and tragedies. We mean a certain principle, a certain figure that can have different names in different religious, mythological, cultural and philosophical contexts and have different attributes.
In his work on Dionysus, Carl Querenyi(1) describes in some detail the mythological figures of the Dionysian type in other Mediterranean mythologies. What is associated with intoxication, dismemberment, chaotic dances, wind and percussion instruments (flutes, tympanumes, tambourines, etc.), phallophore processions, cycles of metamorphosis in various animals, masks and sacred representations, sacrifices of goats and bulls, madness and orgies, rites of the arrival (epiphany) of the gods, death and resurrection - in short, with the element of stormy, liberated, active, ecstatic, not yet ordered, but already divine life, can be included in the Dionysian circle of symbols, gestures, images, situations. Where all these things meet, under certain names and in certain combinations, there is a territory that may well be related to Dionysian philosophy, to the "dark Logos" - albeit in its most latent form. Even if the second Logos has not yet been manifested, based on the patterns we have traced, we can always try to assume that it may manifest itself under certain circumstances and that, most likely, this Logo is present in a latent form in one way or another. Therefore, in various traditional societies where these elements exist (and they exist in one way or another in most sacred societies), we could assume that if it is necessary to build philosophical models on deep and original cultural foundations, this "future" or "possible" philosophy is likely to unfold around the Dionysian Logos. K. Kerenyi suggests that the theology of the Orphics begins to take shape when the cult of Dionysus, in addition to the menad, fiads, Bacchannas, began to dedicate men more freely and en massively. What the dedicated priestesses of Dionysus experienced directly, men began to express in an orderly, mythological, theological, religious and proto-philosophical form. From the Orphics, this trace can be traced to the Pythagoreans and Heraclitus and further to the dialectics of Plato and especially the Neoplatonians. Neoplatonism in one version or another was attended by carriers of other local cults, similar structurally to Dionysian, but bearing different names. At the same time, the Dionysian communities themselves K. Kerenyi considers a version of even more archaic mythological and ritual complexes rooted in both the Creto-Minoan civilization and ancient Anatolia, Assyria, Egypt and the entire area of the Middle East. If we have so expanded the area of understanding of Dionysus - from archaic cults that do not bear his name, to philosophical methods, also free of direct mythological connotations - we will probably be able to talk about the Dionysian Logos where there is no Dionysus or Logos in the strict sense, but there is a certain cultural paradigm with quite specific features and characteristics. Finally, we can perform another action by extending the territory of the "dark" Logos not only to the area of life, phenomena, to the zone that is always in the middle, in the center, in the heart of the universe and diverging from there in all directions by the rays-vessels, but also to the remote areas of the top and bottom of the Universe, normally controlled by other mythological and philosophical orders - Apollo and Cybela.
Dionysus penetrates everywhere and everywhere brings with him the breath of divinity and life, a gesture of paradox, a smile of royal game. Rising to the higher floors of solar contemplation, the Logos of Dionysus discovers on the other side of the sun "darkness above light", an apophatic nothing, ἕν, the mystery of divine nostalgia. Thus, he brings a dark point to the abyss of light and illuminates the preontological darkness. Thus, he opens the first Logos, makes it alive, and if it collapses under the weight of its closedness, turning into logic, then into rationality, and finally into nothing, then he resurrects it, gives it another Beginning. Dionysus is not against Apollo. Being fundamentally different, he is in solidarity with him and at some point in the outbreak of the event is identical to him. At the same time, the "dark" Logo penetrates into the zone of absolute darkness of hell, into matter and eternal sterile femininity and deprivation itself. And here, in the very last darkness, a step below its lowest border, He (there are no boundaries for Dionysus), Dionysus "descending", lights his light, awakens the mother's bosom with the fascination of his male divinity - a child, a beloved, a father. The darkness lights up, comes to life, begins to move, tremble and create. And here the logos of Dionysus reveals the light that is hidden under the last border of absolute darkness - a light that no slender and strict male mythology, theology, philosophy suspects about the existence. Dionysus reaches the bottom of the abyss and discovers the meaning of its bottomlessness. The flat and devoid of ontological volume of the choir begins to breathe, turns into an infinite wealth of spiritual potencies (becames an "absolute place", "bass" in Nishida or "spiritual space", "god" - "spissitudo spiritualis" in Cambridge neoplatonic Henry More). Thus, the "darkness exceeding the light" discovered above the highest limit of heaven, and the "flaming darkness" that revived below the lower limit of Mother Matter, turn out to be two gifts of the Dionysian Logos. But any "two" of Dionysus is "not-two." Therefore, it is the second Logos, the dark Logos, the Logo of Dionysus that can combine in a single picture the entire map of cosmic, hypercosmic and hippocosmic life, the entire map of open ontology, including in a subtle and playful non-dual balance and the radical exclusivity of Apollo and the radical inclusion of Magna Mater. Dionysus is the radical heart of the world. Therefore, the Orphics considered him the king of the next century. This is Schelling's mysterious "future God." He is destined to replace Zeus on the throne of Olympus (this was the secret of Prometheus, who knew the name of the one who would overthrow the father of the gods at the end of the time, but kept silent). Dionysus is the "victor of God and nothing", the tamer of tigers, panthers and leopards, a friend of Apollo, a secret confidant of the Great Mother. Eternally dying, eternally resurrecting, eternally conceived, eternally embaring, mad god. Playing royal child. The Last God."
Apprise.
I quote from: Scientific edition, Dugin Alexander Gelevich, "IN SEARCH OF THE DARK LOGO PHILOSOPHICAL AND THEOLOGICAL ESSAYS". It is published by the decision of the Department of Sociology of International Relations of the Faculty of Sociology of Moscow State University. M.V. Lomonosov.
PS see also: A. Dugin, "LENIN - RED AVATAR OF GNEV," (2nd essay for Lenin)
Akathist to Satan performed by Dugin, at the celebration of the memory of Satanist Alistair Crowley:
https://www.youtube.com/watch?v=X26mgR3wQx0
Source: https://dzen.ru/a/Y7f6h9tsdHkUHIVh?sid=211121451343297633