Gonzo Marketing:Winning Through Worst Practices The Bombast Transcripts: Rants and Screeds of RageBoy
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Friday, October 24, 2003
Science Fiction / Double Feature

Yes folks, there he is, The Father of the Self-Esteem Movement as pictured on the back cover of The Psychology of Romantic Love. Now tell me he doesn't look a lot like Exeter in This Island Earth. in fact, I'm convinced it's the same guy! [thanks to Don Williams for the scan -- of NB, that is.]
from With Charity Toward None: A Fond Look at Misanthropy

page 124: "At the age of sixty-three she [Ayn Rand] expected thirty-seven-year-old Nathaniel Branden to find her sexually desirable because she was his 'highest value.'"

page 126: "Rand cloaked her misanthropy in various lesser guises: aloofness, and intimidating formality, the half-loaf of misogyny, and contempt, 'a term she used again and again to describe her feelings for most of the people around her,' writes Barbara Branden [Nathaniel Branden's ex]. 'It is a term that -- accompanied by a dismissive wave of her hand and a grimace of distaste -- dotted her conversations.' She [Rand] advised her followers, 'Don't withhold your contempt from men's vice,' a practice she herself followed so often that she was constantly breaking off relations with friends of many years' standing. Said one, 'She seemed almost to invite a break, as if it would confirm her attitude toward the world.'"

Narcissistic Personality Disorder Diagnostic Criteria
from DSM-IV-TR, American Psychiatric Association, 2000
[slightly modified]

Individuals with Narcissistic Personality Disorder often have a grandiose view of themselves, a need for admiration, and a lack of empathy that begins by early adulthood and is present in various situations. These individuals are very demanding in their relationships. This pattern is indicated by five (or more) of the following:

  1. Has an inflated sense of self-importance (e.g., exaggerates achievements and talents, expects to be recognized as superior without corresponding achievements).
  2. Is overly concerned with fantasies of unlimited success, power, brilliance, beauty, or ideal love.
  3. Believes she is "special" and unique and can only be understood by, or should associate with, other special or high-status people (or institutions).
  4. Requires excessive admiration. Is often an "artist" or calligrapher.
  5. Has a sense of entitlement, i.e., unreasonable expectations of very positive treatment or automatic compliance with her expectations.
  6. Takes advantage of others to achieve her own ends.
  7. Lacks empathy: is unwilling to identify with the feelings and needs of others.
  8. Is often jealous of others or believes that others are jealous of her.
  9. Shows arrogant or domineering behaviors or attitudes.
from Individuation and Narcissism:
The Psychology of the Self in Jung and Kohut

"At the end of the eighteenth century the development of the Narcissus theme was lent new impetus by Herder and the Romantics. The mirror symbol became very important and was frequently used. One of the prominent themes of the period was that of genius, the glorification of the great individual's creative power. The soul of the artist was seen as a mirror of the world, thus justifying artistic subjectivism despite the attendant danger of self-admiration. The artist-as-Narcissus motif cropped up first in the works of W.A. Schlegel (1798), who said: 'Artists are always Narcissi!' The more that attention was focused on Narcissus and his reflection, the more the story as a whole receded into the background. This narrowed view is often blamed on the psychoanalytic concept of narcissism, but in fact it goes back to the Romantic tradition, which also revived the neo-Platonic interpretation. In the work of F. Creuzer (1810-12) the searching soul finds mere illusion instead of existence, and Eros, insulted by overweening pride and egoism, demands expiation. Much is made, too, of the narcissus flower, seen as a symbol of the artist who has lost his real self and can find it again only in the dream world of poetry.

A very well-known twist on the theme of a man in love with his own mirror image was created by Oscar Wilde in his book The Picture of Dorian Gray (1890). Narcissus/Gray gives up his soul so that his portrait will grow older instead of his physical body. The portrait mercilessly records the traces of his excessive, unscrupulous life style, until he can no longer bear the sight of his 'mirror, mirror on the wall,' slashes it with a knife and thus destroys himself. Quite another view of the matter was developed by André Gide (in La Traité du Narcisse, 1891), Rilke (Narziss, 1913), and the late Valéry (Fragments du Narcisse, 1926). All three writers saw in Narcissus the symbol of the ascetic, meditative spirit, for whom unification with another in love would mean diminution and waste. Rilke has Narcissus draw back into himself the beauty he had radiated outward. This rather ascetic concept of Narcissus clearly influenced the naming of the character Narcissus in Hermann Hesse's novel Narcissus and Goldmund (1930). The contrasting character is Goldmund, whose life flows outward into the world of the senses, especially of women."

7:29 AM | link |

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"RageBoy: Giving being fucking nuts a good name since 1985."
~D. Weinberger
28 October 2004

Chris Locke's photos More of Chris Locke's photos

Until a minute ago, I had no photos. I still have no photos to speak of. I don't even have a camera. But all these people were linking to "my photos." It was embarassing. It's still embarassing. But I'm used to that.

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