In contrast to the asexual chasteness of official communist art, Nazi art is both prurient and idealizing. A utopian aesthetics (physical perfection; identity as a biological given) implies an ideal eroticism: sexuality converted into the magnetism of leaders and the joy of followers. The fascist ideal is to transform sexual energy into a "spiritual" force, for the benefit of the community.
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"Fascinating Fascism" (1974), published in The New York Review of Books (6 February 1975) and reprinted in Sontag's Under the Sign of Saturn (1980), p. 93Susan Sontag
We are Communist, you are Capitalist. You have your ideas, we have ours. But I tell you this much: many American generals are very often sorry that they have no ideal to plant in the heart of the American soldier, so he will be willing to die for that ideal. You are jealous of us for this. The Communist soldier, the Red Army soldier, has such an ideal in his heart. He has it because he considers the ideal of the commander his own ideal. Your generals in Korea were sorry that Americans were not fighting willingly. We couldn't tell them why this was so, but I will tell you why. There is a difference between us. We have an advantage over you. We have an ideal for which we are prepared to die. You have not.
Rodion Malinovsky
When sexuality is operating in the service of intimacy, it is the fact that it is the particular other who is responding to the vulnerability inherent in sustaining desire that generates intensity and meaning. It is precisely the physiological intensity of the sexual response that lends the sexual encounter its dramatic interpersonal significance. This suggests that it is a mistake to regard the role of sexuality in relation to needs for relatedness and attachment as a "sexualization," which implies that sex is carrying something that can and somehow should be attended to in other ways. (Although this is sometimes the case.) The distinction between preoedipal and oedipal developmental levels often implies such an artificial and misleading separation between sexual experience and issues of attachment and connection. There is perhaps nothing better suited for experiencing and deepening the drama of search and discovery than the mutual arousal, sustaining, and quenching of sexual desire.
Stephen A. Mitchell
Her [an anorexic's] natural bent is towards perfection, purification, aesthetics. Her ideal is to remove all the superficial veils until only essence is left.
Marion Woodman
The sex-energy is the greatest power of the mind and the body. This is the supreme strength in the human body, embodying all powers and assuming all forms. The mind and the body receive their strength and life from this sex-energy. Instead of allowing this Shakti or energy to become the gross seminal fluid, it is to be conserved, it is to be converted into a form of subtle energy called “Ojas” and thus made a source of spiritual life instead of the cause of physical death. With the extinction of sexual desires, the mind is released of its most powerful bond. Sex-energy moves towards two main directions, viz., one is downward and the other is upward. It takes the downward course in the form of gross sexual enjoyment; but when one tries to observe Brahmacharya (celibacy) in thought, word and deed, it takes the upward course. When the sex-energy always takes the downward course in a person, such a person becomes weak mentally and physically. From such a man or woman we cannot expect anything great and original. Sexual life dissipates the powers of the mind and the body.
Swami Narayanananda
If modern painters feel qualms about applying the term "masterpiece" to describe a work of capital importance, this is because it has come to convey a notion of perfection: a notion that leads to much confusion when applied to artists other than those who made perfection their ideal.
Andre Malraux
Sontag, Susan
Sophocles
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