George Sorel
- Born: 1899
- Died: Jan 19, 1948
- Occupation: Actor
- Active: '30s-'40s
- Major Genres: Drama, Comedy
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The French philosopher and political and social thinker Georges Sorel (1847-1922) has been said to have inspired both Communist and Fascist ideologists.
Georges Sorel, born into a bourgeois family in Normandy, became a civil engineer working for the government. At the age of 45 he retired on a small pension and spent the remainder of his life living in the suburbs of Paris studying, reflecting, and writing.
Sorel belonged to the generations of Frenchmen who were greatly affected by the French defeat of 1870 and the civil war of the Paris Commune in the following year. He meditated on the ways whereby society could be held together. His first published work was on the Bible and on the educational value of the biblical story. Then he wrote about Socrates, the arrogant intellectual who by his questioning undermined the certainties of others, and about the decline of the ancient world. During the 1890s Sorel fell under the influence of Marxism and admired a philosophy which he considered to be objective. But he was quickly caught up in the Dreyfus Affair and with the movement which sought to put right the injustice which had been committed in imprisoning a Jewish army officer, Capt. Alfred Dreyfus, as a spy. This led him to proceed to a revision of Marxism and reappraise socialism in terms of action.
In Sorel's two most famous works, Reflections on Violence and The Illusions of Progress (both 1908), he expressed his scorn for the bourgeoisie and for bourgeois values. He believed that the proletariat was now ready to seize power, not through Socialist politicians or parliamentary and trade union politics, since these were a part of bourgeois deceit and decadence, but through the general strike. However, they would have to isolate themselves, indulge in class war, and engage in physical clashes with employers and with the state authorities. In this way the workers would become pure and heroic, would be held together by their struggle, and would found a new civilization.
Thus Sorel emphasized violence, emotion, and myth as the means of overthrowing the prevailing decadence and demoralization. On the type of society which would emerge after the general strike had made its break-through, Sorel was vague. But he believed that once the organized workers had succeeded, their cohesion and enthusiasm would engender further cooperation and progress.
Before 1914 Sorel became interested in the movement of monarchist nationalism; he admired Lenin; and he made some equivocal references to Benito Mussolini, who came to power within a few weeks of Sorel's death.
Further Reading
Studies of Sorel include Richard D. Humphrey, Georges Sorel: Prophet without Honor (1951); James H. Meisel, The Genesis of Georges Sorel (1951); and Irving L. Horowitz, Radicalism and the Revolt against Reason: The Social Theories of Georges Sorel (1961). Also useful is H. Stuart Hughes, Consciousness and Society (1958).
Additional Sources
Meisel, James Hans, The genesis of Georges Sorel: an account of his formative period, followed by a study of his influence, Westport, Conn.: Greenwood Press, 1982, 1951.
Portis, Larry, Georges Sorel, London: Pluto Press, 1980.
(1847-1922) French philosopher and social theorist of syndicalism whose Reflections on Violence (1906) put forward a highly original conception of the role of apocalyptic vision (‘myth’) in sustaining revolutionary struggle. He argued that the general strike must be grasped as the great mobilizing myth capable of uniting the proletariat in its efforts to overthrow capitalism.
— Keith Taylor
For more information on Georges-Eugène Sorel, visit Britannica.com.
Sorel, Georges (1847-1922). A powerful and original political thinker, unclassifiable as either ‘Right’ or ‘Left’, Sorel was, through his revolt against reason, to have a profound influence on 20th-c. ideologies. He started late; in 1892 he resigned from the civil service in order to study. He was a revolutionary syndicalist, and his Réflexions sur la violence (1908) depicted violence as alone being capable, through the use of ‘myths’ such as that of the general strike, of revitalizing decadent modern society. In the years before World War I Sorel moved nearer to the authoritarian Right. He has been seen as a precursor of fascism.
[Richard Griffiths]
Sorel, Georges (1847-1922) French engineer, philosopher, and social theorist. Sorel is principally remembered for Réflexions sur la violence (1908, trs. as Reflections on Violence, 1914). Sorel argues that one cannot deplore violence in the hands of opponents of the state (itself no stranger to the violence of war and legal coercion) without understanding the situation and the aims of those who use it. Perhaps the most scandalous part of the doctrine was Sorel's recognition that violence might equally be used against those who, appearing to sympathize with a movement, in fact lure it into collaboration with the system that it aims to overthrow. Sorel also perceived the central role of myth and image in creating a dramatic focus for political emotions: myths are the product of vigorous and living social forces, which may transform societies in ways that are necessary to create their own truth. Although Sorel was a theorist of the left, his contempt for democratic liberalism was most closely echoed by the violent and myth-governed fascist regimes of the 20th century.
Bibliography
See J. J. Roth, The Cult of Violence: Sorel and the Sorelians (1980); J. R. Jennings, Georges Sorel (1985).
Georges Eugène Sorel (2 November, 1847 –
29 August, 1922) was a French
philosopher and theorist of revolutionary
Sorel was born in Cherbourg, son of a bankrupted wine merchant. He studied in the École Polytechnique in Paris. He became chief engineer with the Department of Public Works and retired in 1892. He was active on the side of Dreyfusards during the Dreyfus Affair.
Sorel had ties of friendship to Antonio Labriola and wrote a preface to the French translation of Labriola's Essays on the Materialist Conception of History. Although Labriola attacked Sorel's work, his books were praised by other Italian thinkers such as Vilfredo Pareto and Benedetto Croce, and he had links to the Italian nationalist-syndicalist movement from which Fascism branched.
Sorel had been politically monarchist and traditionalist before embracing orthodox Marxism in the 1890s, but throughout his career continued to support values more commonly associated with conservatism. In his earliest writings he attempted to fill in what he believed were gaps in Marxist theory, but ultimately created an extremely heterodox variation of the ideology. He criticised what he saw as Marx's rationalist and utopian tendencies, believing them to be out of keeping with the pessimistic and irrationalist core of Marxism - a philosophy he considered closer in spirit to early Christianity than to the French Revolution. He rejected Marxist theories of historical materialism, dialectical materialism, and proletarian internationalism. He did not see Marxism as 'true' in a scientific sense, as orthodox Marxists did; rather, it was 'true' in that it promised a redemptive role for the proletariat within a terminally decadent society.
Sorel came to favour the anarcho-communism of Bakunin. Like Proudhon, he saw
Sorel's was a voluntarist Marxism: he rejected those Marxists who believed in inevitable
and evolutionary change, emphasising instead the importance of will and preferring
direct action. (He may even have coined the phrase, "direct action".) These approaches
included
He echoed the Jacobin tradition in French society that held that the only way for
change to occur was through the application of force. Sorel praised Charles Maurras,
Action Française, Lenin and
Sorel is an important component of the history of European politics in that his thought reflects the cross-fertalization (and even confusion) of ideas among anarchists, socialists, syndicalists, communists, Marxists and nationalists in the time period of about 1830-1930.
As political theorist Isaiah Berlin has demonstrated, the French philosopher, Georges Sorel was clearly a holder of antiscience views.
He dismissed science as "a system of idealised entities: atoms, electric charges, mass, energy and the like – fictions compounded out of observed uniformities…deliberately adapted to mathematical treatment that enable men to identify some of the furniture of the universe, and to predict and…control parts of it." [1; 301] He regarded science more as "an achievement of the creative imagination, not an accurate reproduction of the structure of reality, not a map, still less a picture, of what there was. Outside of this set of formulas, of imaginary entities and mathematical relationships in terms of which the system was constructed, there was ‘natural’ nature – the real thing…" [1; 302] He regarded such a view as "an odious insult to human dignity, a mockery of the proper ends of men," [1; 300] and ultimately constructed by "fanatical pedants," [1; 303] out of "abstractions into which men escape to avoid facing the chaos of reality." [1; 302]
As far as Sorel was concerned, "nature is not a perfect machine, nor an exquisite organism, nor a rational system." [1; 302] He rejected the view that "the methods of natural science can explain and explain away ideas and values…or explain human conduct in mechanistic or biological terms, as the…blinkered adherents of la petite science believe." [1; 310] He also maintained that the categories we impose upon the world, "alter what we call reality…they do not establish timeless truths as the positivists maintained," [1; 302] and to "confuse our own constructions with eternal laws or divine decrees is one of the most fatal delusions of men." [1; 303] It is "ideological patter…bureaucracy, la petite science…the Tree of Knowledge has killed the Tree of Life…human life [has been reduced] to rules that seem to be based on objective truths." [1; 303] Such to Sorel, is the appalling arrogance of science, a vast deceit of the imagination, a view that conspires to "stifle the sense of common humanity and destroy human dignity." [1; 304]
Science, he maintained, "is not a ‘mill’ into which you can drop any problem facing you, and which yields solutions," [1; 311] that are automatically true and authentic. Yet, this is precisely how too many people seem to regard it.
To Sorel, that is way "too much of a conceptual, ideological construction," [1; 312] smothering our perception of truth through the "stifling oppression of remorselessly tidy rational organisation." [1; 321] For Sorel, the inevitable "consequence of the modern scientific movement and the application of scientific categories and methods to the behaviour of men," [1; 323] is an outburst of interest in irrational forces, religions, social unrest, criminality and deviance - resulting directly from an overzealous and monistic obsession with scientific rationalism.
And what science confers, "a moral grandeur, bureaucratic organisation of human lives in the light of…la petite science, positivist application of quasi-scientific rules to society – all this Sorel despised and hated," [1; 328] as so much self-delusion and nonsense that generates no good and nothing of lasting value. In essence, something of a Romantic like Blake, Sorel would say, "the artist creates as the bird sings on the bough, as the lily bursts into flower, to all appearance for no ulterior purpose." [2; 196]
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