By Anna Yeatman, Charles Barbour, Phillip Hansen, Magdalena Zolkos
Motion and visual appeal is a set of essays that inspect the an important and complicated hyperlink among motion and visual appeal in Hannah Arendt's political idea. Contributed via revered students, the essays articulate round the following subject matters: the emergence of political motion whilst wondering the character of legislation, subjectivity and individuality; the connection among ethics and politics; the nexus of (co-)appearance, considering and fact; and Arendt's writing as motion and visual appeal. For Arendt, motion is a cosmopolitan, public phenomenon that calls for the presence of others to have any influence. as a result, to behave is greater than to determine because it is additionally to seem. a lot has been stated approximately Arendt's thought of motion, yet little cognizance has been paid to her method of visual appeal as is completed during this quantity. motion and visual appeal explores either Arendt's well-known texts and formerly unpublished or lately rediscovered texts to problem the verified readings of her paintings. including to verified debates, will probably be a different source to somebody attracted to Hannah Arendt, political suggestion, political idea, and political philosophy.
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Extra info for Action and Appearance: Ethics and the Politics of Writing in Arendt
Has a predictable end. (Arendt 1970: 144) The end of work, whether in a work of art in the strict sense or the work of artifice and fabrication in the wider sense, is the work itself as an item made. Work comes to an end in a work and the array of man-made works provides the furniture and stuff of a world. Work is the building of the world. Considered at its simplest, worldliness is ‘the capacity to fabricate and create a world’ (Arendt 1977: 209). But the loss of the world, what Arendt calls by turns ‘world alienation’ and ‘worldlessness’, does not require the actual, physical destruction of the works in the world.
The world worlds and is more fully in being than the tangible and perceptible realm in which we believe ourselves to be at home. (Heidegger 2001: 43; Heidegger’s emphasis) Arendt does not agree with Heidegger’s distinction between the world and the tangible perceptible realm; she cleaves to the sensory character of the world even as she agrees with Heidegger that a world carries significance beyond the sheer collection of things that comprise it. She eschews the portentousness of Heideggerian phrasing of the world’s worlding [sic] but the sense in which a work, most especially an artwork, reveals (opens up) a world is Arendt’s as much as it is Heidegger’s.
Malpas (2006: 211–305) argues for the emphatic significance of place and space in Heidegger’s drawing together of poetizing and thinking. On Benjamin and literature, see Theodor Adorno’s ‘A Portrait of Walter Benjamin’ (Adorno: 1967, 227–43). Arendt herself concluded her memorial essay on Benjamin with the comment that he possessed ‘the gift of thinking poetically’ (Arendt 1973: 203; Arendt’s emphasis). 2 The specific intimacies and warmth of worldlessness are not restricted to the involuntarily worldless peoples such as the pre-war European Jews but occur as well in the context of the voluntary eschewal or retreat from the world that Arendt locates in the ‘Christian principle of worldlessness’, and in the turn to inwardness as a response to an ‘estrangement from the world’ that she finds in the Stoic philosophers of late antiquity.
Action and Appearance: Ethics and the Politics of Writing in Arendt by Anna Yeatman, Charles Barbour, Phillip Hansen, Magdalena Zolkos