By Anna Yeatman, Charles Barbour, Phillip Hansen, Magdalena Zolkos
Motion and visual appeal is a suite of essays that check out the the most important and complicated hyperlink among motion and visual appeal in Hannah Arendt's political concept. Contributed by means of revered students, the essays articulate round the following topics: the emergence of political motion whilst wondering the character of legislations, 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 impression. as a result, to behave is greater than to determine because it can be to seem. a lot has been acknowledged approximately Arendt's conception 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 motion and visual appeal explores either Arendt's commonly used texts and formerly unpublished or lately rediscovered texts to problem the verified readings of her paintings. including to confirmed debates, it is going to be a different source to a person attracted to Hannah Arendt, political notion, political concept, and political philosophy.
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Additional info for Action and Appearance: Ethics and the Politics of Writing in Arendt
Action, though it may have a definite beginning never . . 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).
Arendt’s references to the space age, the Atomic Revolution, and the advent of automation (Arendt 1977: 271, 278; 1970: 4–7) seem somewhat dated now. Yet the analysis of what she calls ‘the world we have come to live in’ (Arendt 1977: 59) remains thought-provoking in two fundamental (and interrelated) dimensions. The first is the dimension of what Arendt calls ‘mass society’, the second the dimension of an emergent future dominated by automatic processes and artificial lives in which the final human ambition is that of ‘cutting the last tie through which even man belongs among the children of nature’ (Arendt 1970: 2).
The public realm as the common world gathers us together and yet prevents our falling over each other, so to speak. What makes mass society so difficult to bear is not the number of people involved, or at least not primarily, but the fact that the world between them has lost its power to gather them together to relate and to separate them. (Arendt 1970: 52–3) Arendt wrote these lines fifty years ago and the idiom of mass society, prominent in sociology, and crossing over into intellectual and pseudo-intellectual conversation of the time, barely survived the end of the nineteen seventies.
Action and Appearance: Ethics and the Politics of Writing in Arendt by Anna Yeatman, Charles Barbour, Phillip Hansen, Magdalena Zolkos