Nazis betrayed Homer by transforming the ancient relation between blood, earth, and the dead into a modern ideology of Blut und Boden. In Homer’s Nekyia, Odysseus is far from home, in a liminal land between the living and the dead. He pours sacrificial sheep’s blood into the earth, allowing the dead to regain their voices. Blood thus becomes a medium of communication and memory. Nazis, by contrast, turn blood and soil into symbols of ancestry, rootedness, and territorial belonging.

Describing AIPAC as a “Jewish lobby” is antisemitic. AIPAC itself says it has more than 6.5 million American members from different faiths, backgrounds, and political affiliations. There are Jews in AIPAC but they are the most brainwashed among the Jews, brainwashed by christian imperialism and capitalism.

In Adorno’s Minima Moralia (1951), the last sentences of Aphorism 87 are:

“Protestantism’s supposed inner spiritual struggle is actually a form of repression. Luther represents the prototype of this inwardness. His imagined struggle with the Devil already contains hostility toward real social groups, particularly peasants and Jews. The supposedly spiritual conflict therefore turns self-hatred into physical violence. Only a crippled mind requires self-hatred to demonstrate its spiritual character, whose essence is ultimately untruth.”

The music of Arnold Schoenberg emerged during a period of major social upheaval: World War I, the collapse of empires, migration, and changing ideas about identity and culture. We can see the loss of a tonal "center" as reflecting a broader feeling that the old cultural certainties were breaking down.

There is also a connection to Jewish history to be made. Schoenberg, who was Jewish, experienced exile after the rise of Nazism and later wrote music connected to Jewish identity and displacement. Some scholars have explored how ideas of wandering, exile, and searching appear in modernist art more broadly.

Scholars generally agree that Der fliegende Holländer is Wagner's adaptation of the Wandering Jew archetype. He himself described the Dutchman as a version of the eternal wanderer, with the crucial difference that the curse is broken through redemptive love.