Showing posts with label dark triad. Show all posts
Showing posts with label dark triad. Show all posts

15 Jul 2023

Reflections on Nietzsche and the Dark Triad


 
First proposed by Delroy L. Paulhus and Kevin M. Williams in 2002, the dark triad is a psychological theory of personality that collates (sub-clinical) narcissism and psychopathy with Machiavellianism [1].
 
Whilst these three things are conceptually distinct, they clearly intersect with one another and each is associated with often callous and manipulative interpersonal conduct [2]. Narcissim, for example, is characterised by self-obsession; psychopathy by anti-social behaviour; and  Machiavellianism by moral indifference to others. 
 
An individual located within the dark triad might not be prone to committing criminal acts, but they're almost certainly a cold fish at best, or a really nasty piece of work at worst.
 
Interestingly, however, although each of these personality traits are regarded as being problematic by psychologists, Nietzsche seemed to think they are vital to human well-being: man needs what is most evil in him for what is best in him, as Zarathustra famously says [3]
 
Nietzsche argues that a certain level of self-love is essential, for example - certainly preferable to self-loathing and shame; that narcissism has its place as an active joyful force within an economy of desire. Indeed, Zarathustra suggests that it is from out of such that a new type of virtue may develop [4].
 
As for Machiavellianism, well, whilst Christian moralists might react with horror at the thought of any one acting in their own interest rather than loving their neighbour, or indulging in self-sacrifice, Nietzsche thought highly of the arguments set out in The Prince, Machiavelli's seminal essay, published posthumously in 1532, and acknowledged as one of the founding texts of modern political philosophy [5].    
 
Does this mean, therefore, that the Übermensch is some kind of psychopath? 
 
Hardly. 
 
It might, however, indicate that there remains something troubling in Nietzsche's political philosophy (particularly in its grand phase) and it's interesting to note how individuals with dark triad personalities - and I would number my younger self amongst them - are often attracted to extremist ideologies and prone to authoritarianism (often at odds with the radicalism they dream of) [6].      
 
However, we must note in closing, this is true for romantic idealists on the far left of the political spectrum, as well as young fascists. Indeed, today, it is often the wokest amongst us who are the most darkly triadic and who, whilst masquerading as the compassionate, leap into the black hole of fundamentalism [7].      
 
 
Notes
 
[1] I'm aware that a fourth trait - sadism (defined as the enjoyment of cruelty) - has now been added to this theory of personality, creating a so-called dark tetrad, but here I'm discussing the original concept in relation to Nietzsche's philosophy as  proposed by Paulhus and Williams in 'The Dark Triad of personality: Narcissism, Machiavellianism, and Psychopathy', Journal of Research in Personality, 36 (6): 556–563, (Dec. 2002).   

[2] In 1998, John W. McHoskey, William Worzel, and Christopher Szyarto provoked a controversy by claiming that narcissism, psychopathy, and Machiavellianism are more or less interchangeable. See their 1998 paper, 'Machiavellianism and psychopathy', in the Journal of Personality and Social Psychology, 74 (1): pp. 192–210. Readers interested in having access to this text should click here.
 
[3] See the section entitled 'The Convalescent' in Book III of Nietzsche's Thus Spoke Zarathustra. I am quoting here from Walter Kaufmann's translation in The Portable Nietzsche, ed. Walter Kaufmann, (Penguin Books, 1994), p. 331. 

[4] See also Herbert Marcuse writing in Eros and Civilization (1955) where he argues that narcissistic joy passes beyond immature autoeroticism and may possibly contain the germ of a different reality principle.

[5] Readers interested in the relationship between the two writers might like to see Don Dombowsky's 2004 work, Nietzsche's Machiavellian Politics (Palgrave Macmillan), particularly chapter 4 (pp. 131-167). In brief, Dombowsky argues that the foundation of Nietzsche's political thought is a radical aristocratic critique of democratic society, heavily influenced by his reading of The Prince:

"Nietzsche did not read Machiavelli as Spinoza or Rousseau did, as someone who revives republicanism and defends democratic freedoms [...] but adheres to what has been called the 'vulgar' conception of Machiavellianism. Rousseau would have considered Nietzsche to be a 'superficial and corrupt' reader of Machiavelli. What Nietzsche adapts from Machiavelli are his conceptions of virtù (at the operational basis of his ethics) and immoralism (at the operational basis of his political conception) based primarily on a reading of The Prince." (131-32)

[6] I discuss all this at length in Outside the Gate (Blind Cupid Press, 2010).

[7] Jordan Peterson is very alert to this and often warns about the zen fascism of those on the woke left who claim to act in the name of Love and social justice (or diversity, equity, and inclusion). So too is the writer, broadcaster, and satirist Andrew Doyle, and readers might find a recent discussion between these two figures on the political puritanism of our age interesting: click here.  
 
 
Interactive bonus: readers who wish to know if they perhaps have a dark triad personality might like to take a short online test: click here.


9 Feb 2020

Bad Boys (With Reference to the Cases of Johnny Strabler and George Costanza)

Two Bad Boys: Marlon Brando as Johnny Strabler 
and Jason Alexander as George Costanza



I.

Last night, on TV, they showed The Wild One (1953) - László Benedek's classic biker movie starring the impossibly beautiful Marlon Brando in an iconic role as Johnny Strabler, leader of the Black Rebels Motorcycle Club.

When Johnny meets good-girl Kathie Bleeker (played by Mary Murphy) working at the local café-bar, he asks her out to a dance. Although she politely (somewhat coyly) turns him down, she's clearly intrigued (and excited) by Johnny's brooding personality.

In other words, Kathie digs the bad boy ...


II.

I don't know if we should classify the bad boy as a cultural archetype, stereotype or trope, but I do know that there's something in the idea that at least some women - who probably should know better - find the rebellious rogue male or romantic outlaw figure irresistibly attractive.

These women might claim to want caring, sharing boyfriends who are in touch with their feminine side and happy to help with the housework, but the evidence suggests otherwise; namely, that self-obsessed psychopaths with a cool persona and striking good looks always triumph over  the former when it comes to getting the girl.

There are many types of bad boy - including the punk, the pirate, the gangster, and the mad, bad and dangerous poet in all his Byronic splendour - but they all share a dark triad of personality traits: narcissism, thrill-seeking, and deceitfulness. I don't know if these traits have a genetic component - or if the women who find them attractive are genetically predisposed to do so - but it wouldn't suprise me if that were the case.


III.

The female susceptibility to bastards was very amusingly spoofed in a season eight episode of Seinfeld, when George suddenly finds himself playing the role of bad boy (which mostly consists of chewing gum). 

Elaine warns her colleague Anna (Rebecca McFarland) to keep her distance from her friend George, even though he seems harmless: "He's a bad seed. He's a horrible seed. He's one of the worst seeds I've ever seen." Of course, this immediately makes Anna interested in him.

Jerry, of course, is familiar with the syndrome and so when George expresses his surprise at being contacted out of the blue by Anna - after she has previously rebuffed his advances with extreme prejudice - he knows exactly what's going on: "Anna digs the bad boy" - much to George's bemusement ...

For George has never been the bad boy before. He likes the role, however, and intends to exploit his new (unfounded) reputation for badness, setting up a rendezvous with Anna in the park. Elaine's attempt to put an immediate stop to their relationship only makes Anna more attracted to George and soon she's wearing his Yankees jacket. 

Things only cool off when Elaine persuades Anna that, actually, George is a good and decent soul - a fine seed. Desperate to prove his bad boy credentials, George attempts to bootleg a movie. Of course, George being George, he bungles the operation and is arrested.

Worse, when the police officer shouts at him, George begins to cry and has to be comforted by Anna. Now, of course, it's really over; for girls hate cry babies as much as they love bad boys.


Watch: Seinfeld, 'The Little Kicks' (S8/E4), written by Spike Feresten, directed by Andy Ackerman (NBC, 10 October, 1996): the bad boy scenes between George and Anna can be viewed by clicking here