Ernst Cassirer is an oft-neglected thinker in contemporary continental philosophy. He is typically eclipsed by Martin Heidegger, whom he faced in the now famous disputation at Davos, Switzerland in the spring of 1929, which had such a dramatic effect on continental philosophy that the young Emmanuel Levinas, who attended the debate, felt as if he were "present at the creation and end of the world". In spite of Cassirer's attempt to make his three-volume Philosophie der symbolischen Formen (1923-1929) more accessible to an English speaking audience through a concise redaction in An Essay on Man (1944), he remains a marginal figure in contemporary philosophy.
However, Ned Curthoys, a researcher at the Australian National University's School of Cultural Inquiry, has recently recovered a latent conversation between Cassirer and Hannah Arendt that casts new light on the impact and significance of his work.
Arendt's vigorous annotations in her copy of Cassirer's An Essay on Man indicate that she was a diligent and consistent reader of Cassirer. Her personal library housed in the Arendt Collection at Bard College contains over a dozen titles by Cassirer. Most Cassirer’s works in Arendt's personal library contain heavy annotations and marginalia, which suggest a critical and substantive engagement with Cassirer's work. Although Arendt's references to Cassirer in her major works are sparse—once in her essay "The Concept of History: Ancient and Modern" in Between Past and Future, and four times in The Human Condition—it is clear that Cassirer had an influence on Arendt's postwar writings. The question is: What was the extent of this influence?
Curthoys has recently taken up this question and offers a persuasive argument that Arendt's philosophy of history and her philosophical anthropology were shaped significantly by her reading of Cassirer. Curthoys' early essays on Arendt explored the political significance of narrative in her work and her use of "thought-figures," like Charlie Chaplin, Franz Kafka, Karl Jaspers, Walter Benjamin, and Isak Dinesen, all of whom attempted to subvert the authoritative discourses of their times by means of counter-narratives. Curthoys discerns the marks of a German émigré consciousness in Arendt's postwar writings that suggests an intellectual dialogue with other German émigrés like Karl Jaspers, Walter Benjamin, and Ernst Cassirer. He foregrounds Arendt's status as a conscious pariah and engages in a postcolonial reading of her work that highlights her development of a counter-narrative to the Eurocentric metanarratives of her age.
More recently, Curthoys has begun excavating a latent conversation between Arendt and Cassirer. In his essay, "The Pathos and Promise of Counter-History: Hannah Arendt and Ernst Cassirer's German-Jewish Historical Consciousness" (in Power, Judgment, and Political Evil,), Curthoys explores Arendt's philosophy of history, and argues that she found a "counter-history" in Walter Benjamin and Ernst Cassirer that allowed her to challenge the Eurocentric discourse on history that had rendered her an outsider, a pariah. It is precisely this location outside the dominant identities and political narratives of Europe, Curthoys avers, that served as Arendt's Ansatzpunkt, or starting point, and allowed her to engage in a recursive investigation of history.
What is most significant in this essay is Curthoys' claim that Arendt's engagement with Cassirer's "philosophy of symbolic forms" was instrumental in the development of her philosophy of history, and his suggestion that it led to her reconsider Cassirer's defense of neo-Kantianism in the Davos debate, a reconsideration that Curthoys sees as the impetus for Arendt's return to Kant in her final years. This engagement was not a wholesale adoption of Cassirer's approach to history, Curthoys argues, but a critical and creative renewal of his thought.
Curthoys has extended this exploration of the connection between Arendt and Cassirer in a subsequent article titled, "Ernst Cassirer, Hannah Arendt, and the Twentieth-Century Revival of Philosophical Anthropology." Curthoys argues that Arendt's focus on philosophical anthropology in The Human Condition, Men in Dark Times, The Life of the Mind, and her final lectures on Kant is the result of her ongoing critical engagement with Cassirer's work. At the heart of this article is Curthoys’ assertion that Cassirer's theory of symbolic forms is refracted in Arendt's notion of a common world. Cassirer had argued in his Philosophie der symbolischen Formen that human beings are symbolic animals that express themselves in systems of signs, which mediate reality in networks of meaning. These systems of signs take form in language, myth, religion, art, science, and history. Readers of Patchen Markell's "Arendt's Work: On the Architecture of The Human Condition" will recall his claim that "work" plays a mediating role, which resonates with Cassirer's notion of symbolic forms.
Curthoys' investigation and recovery of the intellectual conversation between Arendt and Cassirer is compelling, but more needs to be done to make this influence explicit. Curthoys' new book The Legacy of Liberal Judaism: Ernst Cassirer's and Hannah Arendt's Hidden Conversation (Forthcoming in September 2013, Berghahn Books) promises to offer more evidence for Arendt's creative development of Cassirer's thought. Curthoys' research opens up a new line of inquiry into the wider connections between Arendt and the German-Jewish intellectual tradition and offers further confirmation of her fidelity to Jewish thought in general.
-John Douglas Macready (University of Dallas)
Franz Kafka is hung in Israel for being a Nazi. Hannah Arendt laughs in the face of Auschwitz. Walter Benjamin cries for the lost revolution. With such visions, the Berlin-based-artist Volker März has carved out a space for himself as an artist of the thoughtful and the absurd. I met him last month at MEINBLAU, a gallery on Christinenstraße, his most recent exhibit in Berlin.
I was quickly ushered into an alternate reality. As you walk in, you must become acquainted with the März' artificial world.
This it the tale of Franz Kafka, who, in 1924, aged 41, does not die of tuberculosis but rows with his ape, Mr. Rotpeter, to Palestine, where he still lives to this day in Tel Aviv, aged 126. From here he provides a commentary on world events of the last 85 years, including the history of Israel in brief comments that I have gleaned from his letters and emails.
The exhibit that follows is titled "Israel Hangs Kafka." In März’s world, Kafka was tried and executed in Israel in 2009. He was accused of being a Nazi. In heaven Kafka finds "only a crowd of Kafkas, who tell him that every individual ends up in his own personal heaven in which he has to put up with hundreds of copies of himself." In 2010 there is a new government elected in Israel. Ashamed that the country had framed Kafka, the new government petitions God to have Kafka exonerated and return him to Israel. But as Kafka is falling back to earth, he goes astray and lands on the back of a Donkey in Ramallah in the West Bank. The Donkey carries Kafka to Pina Bausch who, like Kafka, is recently returned from heaven.
And this is just the textual frame for März's playful, gripping, and unexpected figures. The artworks themselves are thousands of miniature clay figures, hanging from the ceilings, attached to walls, and climbing throughout the exhibition hall.
They comprise a suggestive and inventive visual world. Kafka is naked, often erect, sometimes carrying an elephant or with his ape. He rides a donkey. He dances with Pina Bausch. He shoots a gun, he is blown up or drowned. Sometimes he addresses the Knesset. Behind each figure or scene is a story, but the exhibition does not provide the full narrative. For that, one should buy März's two bi-lingual volumes, Kafka In Israel, and In Search of Pina Bausch (Kafka: Auf der Suche nach Pina Bausch).
Volker März is tall, affable, and funny. "Kafka Hangs Israel" is the last of his "trilogy" of work on German-speaking Jewish intellectuals of the 20th century. His first show in the series, "Auratransfer," was inspired by Walter Benjamin. "The Laughter of Hannah Arendt/The Concentration Camp as Space of Thinking" is the show that brought März to my attention, along with his piercing motto that gets right to the heart of brutal reality of Arendt's thesis of the banality of evil: "Auschwitz is human." März pierces Arendt's insight that the evil of the holocaust—as evil—was enabled not by monsters but by human beings who were merely human, or, in other words, who did not think. The banality of evil is an expression of the awful potentiality of human action when mankind abandons the truly human capacity to think.
There is a sense in which the provocative motto “Auschwitz is human” gets Arendt wrong in a small way. For Arendt, the fact that Eichmann is banal is not to say that he is human. It is rather to point to the loss of his humanity. This is the reason that Arendt disavowed a connection between her work and the Stanley Milgram experiments, in which people applied increasing doses of electricity to test subjects when told to do so by the scientists running the experiment. For Arendt, the fact that most people do act with banality shows not that humans are evil, but that in the modern age human beings are in danger of losing their humanity. The motto “Auschwitz is human” gets at the heart of Arendt’s insight that Eichmann—and all real evil in the modern era of the bureaucratic machinery of evil—was rather thoughtless than monstrous. But she never acquiesces to the motto that thoughtlessness is human. On the contrary, the highest activity of humanity is to think.
The transformative power of thinking lies behind Arendt’s own interest in Franz Kafka. For Arendt, Kafka's parables and texts were examples of thinking. Arendt is taken above all by Kafka’s account of the space between past and future, an image she took as the title of her 1954 book Between Past and Future. The parable concerns a person shoved forward from the past, pressed backwards by the future, someone who can jump outside the forces of history and find a space for thinking freely outside of history and free from social scientific predictions of the future. The space of thinking is found, she writes, in "the experience of thinking."
März’s exhibition in Berlin contained only a fraction of the Kafka figures he has created and tell only a fragment of the elaborate story that knits them together. That story is told in his two books on Kafka that can hardly be called the exhibition's catalogues. They are rather books in themselves, bilingual in German and English, and fantastic to read.
The first book is Kafka in Israel. It tells the story I have outlined above, up until Kafka's execution. In it we are introduced to Kafka and also Rotpeter, Kafka's ape. On the occasion of Kafka's 100th birthday the writer is invited to address the Israeli Knesset where he says: "Among all human beings, the Monkey is the one and only outsider." The ape, human but inhuman, is excluded. Which is why "we're pretty much agreed now that an ape is in urgent need of a continent of its own, one inaccessible to humans."
The second book, Kafka in Search of Pina Bausch, takes place after Kafka has been executed by Israel and returns to the West Bank where he meets the German choreographer Pina Bausch, herself recently returned from the beyond. More political than the first volume, the search for Pina Bausch is a raucous and often biting look at the hypocrisies and tensions in the political and culture divisions between Israel and Palestine.
Together, these two volumes make a fascinating journey in both pictures and text. They are accessible and brief, but compelling. You could do worse than to order yourself a copy. And while you are at it, don’t forget to order also März’s volume on Hannah Arendt, The Laughter of Hannah Arendt. These books by Märx are your weekend read.
Political thought is representative. I form an opinion by considering a given issue from different viewpoints….This process of representation does not blindly adopt the actual views of those who stand somewhere else, and hence look upon the world from a different perspective; this is a question neither of empathy, as though I tried to be or to feel like somebody else, nor of counting noses and joining a majority but of being and thinking in my own identity where actually I am not.
-Hannah Arendt, “Truth and Politics” in Between Past and Future, p. 241
In response to the shootings in Aurora, Colorado in July, President Obama had this to say:
While we will never know fully what causes somebody to take the life of another, we do know what makes life worth living. The people we lost in Aurora loved and they were loved….They had hopes for the future and they had dreams that were not yet fulfilled. And if there’s anything to take away from this tragedy, it’s the reminder that life is very fragile…What matters at the end of the day is not the small things; it’s not the trivial things…Ultimately it’s how we choose to treat one another and how we love one another.
This speech was disturbing for a number of reasons. Yes, it was full of clichés and tired appeals to the hopes and futures of people who are nothing but a vague idea to Obama’s audience. But most disturbing of all was the fact that it revealed the response of the country’s highest public official to a breakdown of public safety was essentially a complete abdication of responsibility for the public.
In this speech, Obama refuses to articulate what Arendt calls political thought, instead luxuriating in the experience of empathy and asking the audience to the do same. The problem with speaking and thinking of politics as a sphere in which individuals must try “to be or to feel like somebody else,” as Arendt saw it, is that feeling with another does nothing to acknowledge and maintain the plurality that is so necessary to politics. In empathy, one remains isolated and alone as an individual, albeit an individual with a different set of emotional experiences than what one had before. In this instance, Obama puts himself into the shoes of those individuals who lost family and friends in the shooting and asks his Florida audience to do the same. In so doing, he transforms the event from one that confronts the American polity with questions about our shared public space—about national gun control laws and issues connected to the lack of appropriate physical and mental health care—into a question of the appropriate personal response to loss. Seen in this light, it is not at all surprising that the President would conclude his speech by telling the audience that he and his wife will hug their daughters a bit more tightly that night.
Characterizing what is surely a public problem into an issue of bedtime rituals among family members reveals not only the extent to which politics has given way to personal concerns, but also the unhappy possibility that not even our political leaders are able to move beyond personal concerns to take responsibility for the public as a whole.
It is tempting to interpret Arendt’s quote as an admonition to individuals to reveal themselves in political action. This understanding of Arendtian politics and action is the most familiar one and Arendt’s language of “being and thinking in my own identity” certainly evokes the language of personal courage she uses to describe the political actor in The Human Condition. There she ascribes to the decision to enter politics a courage that is necessary to bring to the public light one’s thoughts and deeds as undeniably one’s own and to “ris[e] into sight from some darker ground” (The Human Condition, 71).
But these lines of “Truth and Politics” strongly suggest that the public appearance one makes as an individual must somehow be tied intimately to other people. What one reveals, in other words, is not oneself in one’s personal sentiments, but rather one’s opinion, which necessarily takes into account the viewpoints of other people. The rising from a dark ground into the light of the public is less about revealing oneself in all one’s uniqueness and more about situating or orienting oneself within a realm of others from whom one may or may not differ. It is for this reason, I think, that Arendt considers empathy to be destructive of politics. In empathy, we appropriate the other to collapse the distance between us that would make possible our orientation in the world. One cannot be “oriented” in the absence of external markers against which one can orient oneself.
The consequences of reading politics as a world of empathetic individuals are dire. Empathy makes it easy to justify the appropriation of others’ lives and perspectives as one’s own. In the name of feeling with the victim, we can often leave the victim even more impoverished than he was before the outpouring of empathy. The loss suffered by those in Aurora has become the sadness and pain of those for whom the victims of the shooting, both living and dead, were really nothing but examples of our country’s political failure. On top of what these victims had already lost, it is possible that they might also lose ownership of the event. Such an appropriation has implications beyond the aesthetic or moral. The political problem with Obama’s speech is not simply that he did not reveal himself or that he appropriated the suffering of the Colorado victims. It is that his empathy allowed him to refuse to take responsibility for the community as a whole and it made it easy for the rest of us to do the same and to do so with a clear conscience. Taking care of one’s community and one’s neighbors is measured by the degree to which one can take care of the imagined personal pains of others, not one’s response to the institutional and other structural conditions that have made such events so commonplace in this country.
Arendt’s distinction between engaging with the viewpoints of others and feeling with another is ultimately a foundation for political responsibility, not just courageous action understood independently of one’s responsibility to the public world. To the extent that politics requires courage, it requires courage not simply to reveal oneself in a crude individualism, but to take responsibility for the big questions of our community. There is of course nothing wrong with hugging one’s children at night. But to define one’s political self in this act and to ask others do so as well is to shirk one’s responsibility for the community and to tell us that such an abdication of responsibility is not only acceptable, but also laudable because it is “human” and feeling. This might not be a necessary consequence of empathy, but, as Arendt tells us, it is an inherent possibility and a threat.
Intellectually, though not socially, America and Europe are in the same situation: the thread of tradition is broken, and we must discover the past for ourselves that is, read its authors as though nobody had ever read them before.
-Hannah Arendt, Crisis in Culture
Last spring, I received a call from the director of the Center for Curatorial Studies at Bard asking if I would have lunch with two Swedish artists in town to see the campus and its museum. The artists, part of the YES! Association, a self-declared feminist separatist association for art workers, not only visited the Arendt/Blucher gravesite—a common “attraction” for campus visitors—they sat in on a class at the Hannah Arendt Center, visited Stevenson Library where Arendt’s library and related materials are housed, and began planning ways in which they could interact with the Arendt Center and produce artwork about Hannah Arendt. Åsa Elzén and Malin Arnell, the two representatives from the YES! Association, were not the first visiting artists or curators or other cultural figures who have requested introductions to the Arendt Center and Archives and they certainly won't be the last. Indeed, there will be a dedication ceremony for the new Hannah Arendt Smoking Porch at the Hannah Arendt Center on October 25th, 2012, a porch that is being designed by YES! Association.
The art world interest in Hannah Arendt is growing. There are numerous documentary films made and being made about Hannah Arendt and a new bio-picture by Margarethe von Trotta will premier next month at the Toronto Film Festival. Arendt is regularly quoted and invoked at international biennial exhibitions. Hannah Arendt, it seems, is becoming an important figure in contemporary art.
I say “becoming”, because Arendt is not a name historically associated with the practice or scholarship concerning contemporary or even modern art. Although she does write about art in her essay, “Crisis in Culture: Its Social and Political Significance”, from which I excerpted above, and she did consort with figures such as the famous Modernist art critic, Clement Greenberg, it is only recently that artists, curators, and critics have taken an interest in both her and her scholarship.
I am not concerned about why or how this happened (for instance, is it the result of a more general “political turn” in contemporary art, the interest in art’s political dimension over the past decade? Or is it simply the relevance of her scholarship at this particular moment in time?). Rather, I will reflect on how different cultural producers (artists, curators, critics, etc.) are engaging with her work and take my own opportunity to consider the ways in which her scholarship can be useful for understanding contemporary art that does not directly engage with Arendt or her ideas. The question of judgment will also loom over these posts, that is, how do we assess works of art when we have lost our measures, when we are without a banister?
This idea is echoed in the quotation that was at the start of this post, “the thread of tradition is broken.” Arendt insists upon a distinction between “tradition” and the “past.” Tradition, as a thread that runs through the past, connecting specific events in a sequential manner (as Jerome Kohn puts it so eloquently in his introduction to Between Past and Future), is what has been lost or frayed. The past is not lost. It is up to us to look back again, but in a different way. Not coincidentally, the banner on the YES! Association’s website reads, “We are the world's darkest past, we are giving shape to the future. We will open a new front.” And so it is time to read Hannah Arendt through the lens of contemporary art, and to read Hannah Arendt as a lens onto contemporary art.
I will post regularly about art being produced in and around the Hannah Arendt Center, as well as artwork, exhibitions, and publications relevant to Arendt’s ideas, including a more extensive post on work by the YES! Association.
In this post, academics and university faculty will be criticized. Railing against college professors has become a common pastime, one practiced almost exclusively by those who have been taught and mentored by those whom are now being criticized. It is thus only fair to say upfront that the college education in the United States is, in spite of its myriad flaws, still of incredible value and meaning to tens if not hundreds of thousands of students every year.
That said, too much of what our faculties teach is neither interesting nor wanted by our students.
This is a point that Jacques Berlinerblau makes in a recent essay in the Chronicle of Higher Education.
Observers of gentrification like to draw a distinction between needs and wants. Residents in an emerging neighborhood need dry cleaners, but it's wine bars they really want. The application of that insight to the humanities leads me to an unhappy conclusion: Our students, and the educated public at large, neither want us nor need us.
What is amazing is that not only do our students not want what we offer, but neither do our colleagues. It is an amazing and staggering truth that much of what academics write and publish is rarely, if ever, read. And if you want to really experience the problem, attend an academic conference some day, where you will see panels of scholars presenting their work, sometimes to 1 or 2 audience members. According to Berlinerblau, the average audience at academic conference panels is fourteen persons.
The standard response to such realizations is that scholarship is timeless. Its value may not be discovered for decades or even centuries until someone, somewhere, pulls down a dusty volume and reads something that changes the world. There is truth in such claims. When one goes digging in archives, there are pearls of wisdom to be found. What is more, the scholarly process consists of the accumulation of information and insight over generations. In other words, academic research is like basic scientific research, useless but useful in itself.
The problem with this argument is that such really original scholarship is rare and getting ever more rare. While there are exceptions, little original research is left to do in most fields of the humanities. Few important books are published each year. The vast majority are as derivative as they are unnecessary. We would all do well to read and think about the few important books (obviously there will be some disagreement and divergent schools) than to spend our time trying to establish our expertise by commenting on some small part of those books.
The result of the academic imperative of publish or perish is the increasing specialization that leads to the knowing more and more about less and less. This is the source of the irrelevance of much of humanities scholarship today.
As Hannah Arendt wrote 50 years ago in her essay On Violence, humanities scholars today are better served by being learned and erudite than by seeking to do original research by uncovering some new or forgotten scrap. While such finds can be interesting, they are exceedingly rare and largely insignificant.
As a result—and it is hard to hear for many in the scholarly community—we simply don't need 200 medieval scholars in the United States or 300 Rawlsians or 400 Biblical scholars. It is important that Chaucer and Nietzsche are taught to university students; but the idea that every college and university needs a Chaucer and a Nietzsche scholar to teach Chaucer and Nietzsche is simply wrong. We should, of course, continue to support scholars, those whose work is to some extent scholarly innovative. But more needed are well-read and thoughtful teachers who can teach widely and write for a general audience.
To say that excessively specialized humanities scholarship today is irrelevant is not to say that the humanities are irrelevant. The humanities are that space in the university system where power does not have the last word, where truth and beauty as well as insight and eccentricity reign supreme and where young people come into contact with the great traditions, writing, and thinking that have made us whom we are today. The humanities introduce us to our ancestors and our forebears and acculturate students into their common heritage. It is in the humanities that we learn to judge the good from the bad and thus where we first encounter the basic moral facility for making judgments. It is because the humanities teach taste and judgment that they are absolutely essential to politics. It is even likely that the decline of politics today is profoundly connected to the corruption of the humanities.
Hannah Arendt argues precisely for this connection between the humanities and politics in her essay The Crisis in Culture. Part Two of the essay addresses the political significance of culture, which she relates to humanism—both of which are said to be of Roman origin. The Romans, she writes, knew how to care for and cultivate the grandiose political and artistic creations of the Greeks. And it is a line from Pericles that forms the center of Arendt's reflections.
The Periclean citation is translated (in part) by Arendt to say: "We love beauty within the limits of political judgment." The judgment of beauty, of culture, and of art is, Pericles says, limited by the political judgment of the people. There is, in other words, an intimate connection between culture and politics. In culture, we make judgments of taste and thus learn the faculty of judgment so necessary for politics. And political judgment, in turn, limits and guides our cultural judgments.
What unites culture and politics is that they are "both phenomena of the public world." Judgment, the primary faculty of politics, is discovered, nurtured, and practiced in the world of culture and the judgment of taste. What the study of culture through the humanities offers, therefore, is an orientation towards a common world that is known and understood through a common sense. The humanities, Arendt argues, are crucial for the development and preservation of common sense—something that is unfortunately all-too-lacking in much humanities scholarship today.
What this means is that teaching the humanities is absolutely essential for politics—and as long as that is the case, there will be a rationale for residential colleges and universities. The mania for distance learning today is understandable. Education is, in many cases, too expensive. Much could be done more cheaply and efficiently at colleges. And this will happen. Colleges will, increasingly, bring computers and the Internet into their curricula. But as powerful as the Internet is, and as useful as it is as a replacement for passive learning in large lectures, it is not yet a substitute for face-to-face learning that takes place at a college or university. The learning that takes place in the hallways, offices, and dining halls when students live, eat, and breathe their coursework over four years is simply fundamentally different from taking a course online in one's free time. As exciting as technology is, it is important to remember that education is, at its best, not about transmitting information but about inspiring thinking.
Berlinerblau thinks that what will save the humanities is better training in pedagogy. He writes:
As for the tools, let's look at it this way. Much as we try to foist "critical thinking skills" on undergraduates, I suggest we impart critical communication skills to our master's and doctoral students. That means teaching them how to teach, how to write, how to speak in public. It also means equipping them with an understanding that scholarly knowledge is no longer locked up in journals and class lectures. Spry and free, it now travels digitally, where it may intersect with an infinitely larger and more diverse audience. The communicative competences I extoll are only infrequently part of our genetic endowment. They don't come naturally to many people—which is precisely what sets the true humanist apart from the many. She or he is someone you always want to speak with, listen to, and read, someone who always teaches you something, blows your mind, singes your feathers. To render complexity with clarity and style—that is our heroism.
The focus on pedagogy is a mistake and comes from the basic flawed assumption that the problem with the humanities is that the professors aren't good communicators. It may be true that professors communicate poorly, but the real problem is deeper. If generations of secondary school teachers trained in pedagogy have taught us anything it is that pedagogical teaching is not useful. Authority in the classroom comes from knowledge and insight, not from pedagogical techniques or theories.
The pressing issue is less pedagogy than the fact that what most professors know is so specialized as to be irrelevant. What is needed is not better pedagogical training, but a more broad and erudite training, one that focuses less on original research and academic publishing and instead demands reading widely and writing aimed at an educated yet popular audience. What we need, in other words, are academics who read widely with excitement and inspiration and speak to the interested public.
More professors should be blogging and writing in public-interest journals. They should be reviewing literature rather than each other's books and, shockingly, they should be writing fewer academic monographs.
To say that the humanities should engage the world does not mean that the humanities should be politicized. The politicization of the humanities has shorn them of their authority and their claim to being true or beautiful. Humanities scholarship can only serve as an incubator for judgment when it is independent from social and political interests. But political independence is not the same as political sterility. Humanities scholarship can, and must, teach us to see and know our world as it is.
There are few essays that better express the worldly importance of the humanities than Hannah Arendt's The Crisis of Culture. It is worth reading and re-reading it. On this hot summer weekend, do yourself that favor.
“Factual truth is always related to other people [...]. It is political by nature.”
-Hannah Arendt, Truth and Politics
“Our inheritance was left to us by no testament”
-Hannah Arendt, quoting René Char, Between Past and Future
In his acceptance speech, the recipient of the 1997 Hannah Arendt Prize for Political Thought wondered why he of all people had been chosen for it. He was, he said, a pragmatist, a practitioner of politics, not a political thinker. At the time he was already a prominent figure in contemporary politics: as a courageous pastor in the GDR who did not shy away from conflict with the regime, as a participant in the freedom movement of 1989 which led to the fall of the Berlin Wall, and, since 1990, as the Federal Commissioner for the newly created Stasi Archives, which was tasked with processing the history and crimes of the socialist dictatorship. This man, the winner of the 1997 Arendt prize, is the recently elected German Bundespräsident, Joachim Gauck . [Under the German constitution, the President is the country’s highest representative, while the Chancellor is the head of government and most influential political figure in the German parliamentary democracy (Angela Merkel currently holds the latter position).]
The connection between Arendt and the highest office of the German government makes sense only in light of its oddity and of the unorthodox character of Joachim Gauck. His comment in the acceptance speech that he is a political practitioner rather than a political thinker marks a striking difference between himself and Arendt. One could say, however, that Gauck’s political actions largely constitute the realization of a political understanding that Arendt herself theoretically and conceptually developed. Their shared center of gravity can be formulated in a sentence from Arendt’s “Introduction into Politics”: “The meaning of politics is freedom.”
It is fitting, in a certain way, that the intellectual correspondence between Arendt and Gauck is least to be found in his text Plea for Freedom. This small book, published shortly before his election, can be read as the manifesto of his presidency. The book, divided into the three chapters “Freedom,” “Responsibility,” and “Tolerance” preaches more than it reflects. Generalized talk of “the soul,” and of supposed anthropological constants such as “the human psyche,” or the universal desire for happiness and healing overshadows the knowledge upon which the book is based: that politics comes out of plurality and exists in the living modes of “relatedness.”
When writing serves to express a political program, it becomes a part of the process of political action. Action and thought cannot occur simultaneously, Arendt notes. Thought and consideration become possible only when action has become history-- that is, when it has been completed and can be retold as a story and reflected upon.
Joachim Gauck’s best texts are distinguished by the fact that they are written out of personal experience. They speak from the perspective of an “I” that knows that political speech must be concrete and therefore limited. The more I generalize, the farther I distance myself from the solid ground of the facts. For a theologian, this may not be self-evident. In his acceptance speech for the Arendt prize, Gauck does not pay lip service to the prize’s eponym-- as did so many of those to whom Arendt became “hip” after 1989-- by claiming her as the inspiration for his political actions during the dictatorship. Rather, he recognizes his own lapse in not studying Arendt’s texts at the right time. He sees it as a failure to confront the intuitive striving and fighting for freedom with “conceptual clarity and precision,” quoting Arendt’s On Revolution.
Does this lack of conceptual clarity point to a romanticization which placed (the self-perceptions of) personal actions in the world of wishful thinking instead of in the world of facts, Gauck asked? The question is directed at himself and his contemporaries. “Did it suffice to have an opinion about reality, whose facts I hadn’t thoroughly developed?” he reflects with reference to Arendt in his afterword to the Blackbook of Communism (1998). I individually can hold an opinion, almost like philosophically wise thoughts or words; facts, on the other hand, are political, since I always share them with others. Arendt formulated it thus in Truth and Politics: “Factual truth is always related to other people [...]. It is political by nature.”
This understanding of the eminently political quality of facts shaped Joachim Gauck’s work as the Federal Commissioner for the Stasi-Archives. Perhaps this constitutes the greatest accomplishment of his life: Gauck’s work secured the documents and archived materials without which the history of the SED-dictatorship and its repressive apparatuses could not have been written.
In the months after the fall of the Berlin Wall, hundreds of citizens and members of opposition groups occupied the headquarters of the state secret police in East Berlin and other cities of the GDR. The Stasi had already begun to destroy documents on a large scale. Approximately 130 miles of files were saved, where 3 feet of files could contain up to 10,000 pages. The Stasi had collected approximately 6 million personal files-- 4 million on citizens of the GDR, 2 million on citizens of the old Bundesrepublik. What was to be done with such a legacy?
Many demanded that the files be closed or even destroyed in the interest of “national peace.” One could expect such a vote from former GDR elites, who could be prosecuted or face moral discredit if the files were made public. But even reputable social-democratic politicians like Egon Bahr and, out of quite different motives, the West German secret service, wanted to prevent the Stasi files from becoming publicly accessible.
The “inherited burden of dictatorship,” Gauck called this legacy in his Memoirs (2009). It is an inheritance left with no testament, one could say with Arendt and René Char. It is an inheritance without precedent, for which a legal, political, moral, and historiographic procedure had to be found before any work could begin. Joachim Gauck, along with more than 3000 staff members, created the blueprints for dealing with the material. Since 1990, victims of Stasi persecution, as well as the media and researchers, are able to read and study the files of the state surveillance apparatus.
The fact that this is now possible cannot be taken for granted. Since the transition to democracy, other countries such as Poland, Hungary, and Romania have decided against opening their archives. In Germany, it’s one of Gauck’s major accomplishments to have successfully carried out the demand of the East Germany democracy movement to make the Stasi files publicly accessible.
The Federal Commission for the Stasi-Archives is now a permanent institution in Germany. The commission is internationally respected, and stands as a symbol for Germany’s way of dealing and coming to terms with dictatorship after 1989. The legal and administrative character of the commission, and the basis of its success, is largely thanks to Joachim Gauck’s capacity for political judgment, as he was the first director of the Commission from 1990 to 2000. Gauck, the unconventional political activist from the Baltic, recruited a legal and data protection expert from Bavaria as an administrator, to help carry out the revolutionary civil movement’s lofty goal of universal access to the records. The two persistently maintained this political demand in the face of the reservations and greediness of West German administration and political parties. Gauck recognized that the new Commission for the Stasi Archives would have to fit into the institutional structure of West Germany, and that this framework had to be confronted without naivete or arrogance.
During and since the first national elections in unified Germany in 1990, naivete and arrogance towards the power of established parties and institutions relegated almost all of the East German opposition groups to political meaninglessness. The widespread feeling that the momentum of political freedom was too quickly muted by, and swallowed up into the institutional structure of West Germany burdens the unification process to this day. The Federal Commission for the Stasi Archives is one of the few achievements in which something truly politically new came out of the momentum of freedom in 1989.
The election of Joachim Gauck connects the memory of this founding moment of political freedom with the highest office in Germany—which is delightful, but also feels incongruous. It may also appear incongruous to many that Gauck is the first nominee in Germany’s post-war history who was not elected President directly from another high political office. Since 2000, Gauck has worked for foundations, and as a free-lance writer and lecturer. He is less a man of the political class than a political man. This symbolic fact is one that might have interested Hannah Arendt.
with Anne Posten
Thomas Wild will begin teaching at Bard in the fall and will join the Hannah Arendt Center as a Research Associate.
"Political institutions, no matter how well or badly designed, depend for continued existence upon acting men; their conservation is achieved by the same means that brought them into being. Independent existence marks the work of art as a product of making; utter dependence upon further acts to keep it in existence marks the state as a product of action."
-Hannah Arendt, ‘What is Freedom?’ in Between Past and Future
Arendt’s polemics against means-end thinking in politics are prominent throughout The Human Condition, and echoed in many of her other writings. Most of her readers have been willing to grant her the dangers of means-end thinking, as expressed in the maxim, “You can’t make an omelette without breaking eggs.” In this regard, Arendt’s words are indeed unanswerable: ‘We are perhaps the first generation which has become fully aware of the murderous consequences inherent in a line of thought that forces one to admit that all means, provided that they are efficient, are permissible and justified to pursue something defined as an end.’ (HC 229) Nonetheless, many readers have wondered whether she does not over-egg the pudding, so to speak, by so emphatically rejecting the political importance of goal-directed thinking and strategic action.
I think this passage from ‘What is Freedom?’ enables us to respond directly to these natural doubts about Arendt’s account of action in The Human Condition. It is an error, Arendt writes, to regard ‘the state or government as a work of art, as a kind of collective masterpiece’ (BPF 153). To endure, the work of art depends only on a certain degree of care. Cleaning and maintenance, or labour in Arendt’s terms, preserve the art-work, which – as its name indicates – resulted from the activity of work. It is quite otherwise with political institutions: ‘their conservation is achieved by the same means that brought them into being’ – that is, by the concerted action of many persons. In other words, we may easily mistake the nature of the goals at stake in politics, by misconstruing them as ends that might be achieved and endure, needing perhaps just a little ‘spit and polish’ from time to time.
Of course, many political acts do aim to bring about a lasting change in the world. In every case, however, this goal ultimately concerns the terms of on-going human relations. Whatever political aim we think of – someone obtaining political office, a change in the law or the foundation of a new state, even something as material as the erection of a monument or a boundary wall: in each case, unless people alter their conduct and relations in terms of these new realities, they will not, in fact, obtain any reality at all. An elected official can find herself powerless; a law can enter the statute books but remain a dead letter; history knows many vain and ineffectual acts of constitution. A monument or wall are slightly different: they are material objects that may, up to a point, endure with no one’s doing anything more about them. But of course, their coming-to-be rests on an agreement to commission them – that is, on action rather than work. And whether they retain any political relevance, whether they keep memories alive or boundaries solid, whether they become tourist attractions or mere rubble – this depends entirely on the opinions and conduct of the people who live alongside them. If many political acts aim at lasting change, then, many others aim to preserve: ‘the conservation [of any political accomplishment] is achieved by the same means that brought [it] into being.’
In other words, although it may be affected by material structures and written documents, the political realm ultimately consists just in how people conduct themselves toward one another. One of Arendt’s reasons for rejecting means-end thinking is that there is no ‘end’ to politics. Our political action can never strictly look to an end-point, for that could be nothing but the end of history itself (‘Understanding and Politics,’ in Essays in Understanding, 320). Again, we may suspect Arendt of hyperbole that misses the importance of goal-directed action in politics. But her deeper point is that political goals and achievements always concern the terms of on-going human relationships. These may be expressed by offices and laws, monuments or public squares; but they cannot be reified. No written document, not even the most solid and brutal wall, constitutes those term. Only continuing and concerted action, animated by particular principles and enacting certain virtues, does this.
There are no ends in politics, then, because political achievements only endure in the form of actions, principles, and relationships. People’s consent and support; the power that arises from these; the continuing preparedness to abide by the relevant terms – these phenomena of human acting and relating are the essential goal of any political initiative. ‘Means’ and ‘end’ are made of the same stuff, defeating any political theory that separates them and spelling ruin from all political practice that seriously regards actions or persons as mere means to an end. None of this is to deny that there are lasting political achievements, or that responsible political action may be directed toward such goals. The point is just that those achievements endure only if kept alive by ‘acting men’ – and, as Arendt would be sure to add, in the stories we tell about them.
-Garrath Williams, Lancaster University, UK
David Brooks is giving advice to radicals today on how to be radical. It's a strange spot for the left's favorite conservative to be in, although it is a role he's taken up in now a few of his columns. And he's only partly wrong.
The occasion for Brooks' advice to radicals is the latest viral YouTube sensation, “Why I Hate Religion, but Love Jesus.” a video by Jefferson Bethke. The genre is not new. Mr. Jefferson's namesake, Thomas Jefferson, wrote a famous and wonderful little book, The Life and Morals of Jesus of Nazareth, in which he separates out the purely ethical sprouts of Jesus' teachings from the religious chaff. Alexis de Tocqueville saw that religion in a democratic time would increasingly take the form of moral aphorisms without the strict commandments that democratic citizens would rebel against. And modern evangelicalism as practiced in mega churches like Rick Warren's Saddleback Church shuns discussion of sin and burdensome religious rituals or commands. The attraction of Jefferson Bethke's video poem is, precisely, how well it fits in with the anti-authoritarian spirit of our age that craves meaning and justice yet disdains the authority and tradition that give life meaning and embody the ideals of justice.
Brooks' column is less about Bethke's rebellion than about his re-conversion. For Bethke has, since his video, publicly admitted the error of his ways and returned to the bosom of the church. All of which leads Brooks to wonder: Why is rebellion so ineffective today?
This is a question many rebels ask today as well. One common complaint, on the left, is that the rise of humanitarianism has replaced political movements like Marxism, utopianism, and social democracy with the idea that it is simply enough to send food and clothes to those who are suffering. Today's radicals don't want to change the system, they simply perpetuate it by preventing the extreme suffering that might nurture real radicals. The dreamers of a better future seem to be busy with other pursuits. As Brooks rightly notes:
This seems to be a moment when many people — in religion, economics and politics — are disgusted by current institutions, but then they are vague about what sorts of institutions should replace them. This seems to be a moment of fervent protest movements that are ultimately vague and ineffectual.
Brooks has a theory for why this is so, one he has offered before.
My own theory revolves around a single bad idea. For generations people have been told: Think for yourself; come up with your own independent worldview. Unless your name is Nietzsche, that’s probably a bad idea. Very few people have the genius or time to come up with a comprehensive and rigorous worldview.
Aside from the silliness about Nietzsche—who certainly thought with and against a tradition—Brooks makes a valid point. Rebellion cannot be simply a negation of what is, an overturning.
Indeed, that was Nietzsche's point. Nihilism, which Nietzsche diagnosed, is the saying no to what is, an overturning of all values. Thus, a rejection of any value that is not simply a subjective value. This nihilism is precisely what Nietzsche saw and feared, which is why he struggled to think about how new higher values, new idols, new laws, new myths, might emerge.
Brooks wants young rebels to seek out the classics and find their mentors in rebellion. He is right that "Effective rebellion isn’t just expressing your personal feelings. It means replacing one set of authorities and institutions with a better set of authorities and institutions." He is also right that "Authorities and institutions don’t repress the passions of the heart, the way some young people now suppose. They give them focus and a means to turn passion into change."
But the point isn't simply to rediscover Marx so that we can, once again, fight for the proletarian revolution. That movie has run. The point of education is not to provide us with failed dreams of the past so that we can try again. As Arendt wrote in The Crisis of Education, the effort of education is to teach students about the world as it is. Only when they confront the world as it is, honestly, can they begin to resist it.
Instead of blaming our children, we need to look at ourselves. For Arendt, education requires teachers who "love our children enough not to expel them from our world and leave them to their own devices." We must teach them about our world, as it is. And that means, we must teach them about what it means to live in a world in which there are no higher values that can sustain meaningful protests and rebellions. This is the world of nihilism Nietzsche saw emerging 130 years ago. And it is the world David Brooks is, in some ways, trying to articulate, even as he also refuses it and condemn it in his columns.
I don't disagree with Brooks' judgment of nihilism. But it is time for us, finally, to confront the reality of the world we live in. It is our world. If our leaders and public intellectuals won't be honest, how can we expect such courage from our youth?
We need to reconcile ourselves to the corrupting and debilitating nihilism of our world if we have any hope of educating young people who might be able to resist it. Arendt writes:
Education is the point at which we decide whether we love the world enough to assume responsibility for it and by the same tame token save it from that ruin which, except for renewal, except for the coming of the new and young, would be inevitable.
It is the job of education to “teach children what the world is like” so that they can begin the task of reconciling themselves with it; only then can they have a chance of truly resisting it. First come to see the ruin. Then learn to rebel against it. That is the promise of revolution, a circular process that offers the promise of a future that mere rebellion does not.
You'd do well to read Brooks' column.
Better yet, for your weekend read, pull out your edition of Between Past and Future and re-read The Crisis in Education.
Christopher Hitchens has died. We and all the world are poorer for the loss.
Hitchens was not an Arendt Scholar, but he did deliver the keynote address at the Hannah Arendt Center's inaugural conference, Thinking in Dark Times, in 2006.
I invited Christopher to speak for a few reasons. First, Christopher was constitutionally incapable of giving a bad speech. Having heard him speak many times, I can safely say that there is no one who consistently enthralled, provoked, and stimulated as Christopher did. Secondly, I invited Christopher because it was clear to me that much of his writing at that time showed the influence of Hannah Arendt. If I disagreed with his support for the Iraq war, I had enormous respect for him as one of the few public intellectuals with the courage to express strong and often unpopular opinions. And I was always impressed at his ability to make me think, to argue for his opinions with unparalleled wit and elegance. So I took a chance and issued the invitation, along with an apology: As a brand new Academic Center with no sources of funding, we could only afford to pay him $300. I sent off my email with little hope of a response.
I did not have to wait long. Within about 10 minutes, Christopher had accepted my invitation. Indeed, he wrote, he had been thinking about Arendt's work and was eager for a forum to engage with others writing and thinking about her. His excitement was palpable as was his generosity and magnanimity as we planned his talk and then continued our conversation after the conference. At the conference itself, Christopher reveled in conversations with Bard students and faculty, staying late into the evening, Scotch in one hand, cigarette in the other, debating and discussing with passion and joy.
The talk Christopher gave was "Reflections on Antisemitism." It focused on the 1956 Hungarian Revolution and Arendt's epilogue on that revolution, which she published in the second edition of The Origins of Totalitarianism. Arendt later removed the epilogue from future editions, and it is not widely known or available. Arendt never hid the original epilogue, but simply said that it had “become obsolete in many details.” Christopher wanted to ask why she had written it and, more importantly for him, why she had removed it. That is the question he sought to answer in his talk.
Christopher begins by noting something surprising: Arendt's epilogue is full of optimism. Indeed, the epilogue on the Hungarian Revolution is one of those rare instances where one finds Arendt excited about the present and hopeful for the future. Having heard about how the Hungarian workers spontaneously organized themselves into workers' councils, she allowed herself to dream of a return of political action. As Christopher said, in his inimitable and unmatched song of a voice, Arendt even waxed nostalgic.
I think perhaps here she was expressing a nostalgia—even a little romance—for the German revolutions of 1919 in Munich and elsewhere, in which her future husband Heinrich Blücher had played such an honorable part.
Christopher jumped on the optimistic, nostalgic, and naive tone of Arendt's account, which was in many ways so out of character with the usual intensity and seriousness of her prose. What he found there was, perhaps, one of the most pure expressions of Arendt's own ideal of political action and her faith in the possibility of the revolutionary freedom. It is worth quoting his account in full:
Arendt’s epilogue was naive also because it laid great stress on what she called the peaceful and orderly and good-humored crowds of Budapest. She rather romanticized the good-naturedness of the Hungarian revolution. Now, this optimism may possibly be justified in the long term, which is why it’s worth looking up that epilogue again. After all, in 1989, not more than three decades later, there was a peaceful, bloodless, and orderly velvet revolution; it had its beginning in Budapest when the Hungarians allowed their East German brethren to resist by transiting Hungarian soil without hindrance. It led, in the end, to the fall of the Berlin Wall. And that was a classic case of the recovery of what Arendt so beautifully called, I think, the lost treasure of revolution.
The lost treasure of revolution is the common property to which Hannah Arendt alludes, very lyrically, in the opening passages of her collection Between Past and Future. She describes this ability to recover freedom: the spirit of an unforced liberty that is latent, she thought, in all people and which she claimed to detect in “the summer in 1776 in Philadelphia, the summer of 1789 in Paris, and the autumn of 1956 in Budapest.” Which, as you can see, is putting 1956 in Budapest on quite a high pedestal and threshold. Now this concept of the hidden treasure, the treasure that’s always hidden but that can be reclaimed, is remarkable for its lack of what a Marxist would call concreteness. Here’s how it appears according to Hannah Arendt, this treasure: It appears only “under the most varied circumstances, appears abruptly, unexpectedly, and disappears again under different mysterious conditions, as though it were a fata morgana,” or, so to say, as a will of the wisp or ignis fatuus. The lost treasure of the revolution is a very, very elusive, almost ethereal concept for Hannah Arendt to be dealing with. And let me say, one of the nice things about reading and rereading Hannah Arendt is to discover how nice it is when she is fanciful every now and then.
These few lines of Christopher’s show how insightfully he writes and thinks. He has caught sight not only of Arendt's writing about the Lost Treasure of the Revolutions, but also of what might be called Arendt's own treasure, the "experience of freedom" that is the fact and the dream underlying so much of Arendt's political writing.
Christopher went on to make a novel and I think correct argument, that the reason she later removed the epilogue had to do with the antisemitism of many of the Hungarian revolutionaries. As she became aware of the dark side of the revolution, she rethought her initial optimism, and simply withdrew the epilogue.
Christopher then offered a thoughtful critique of Arendt's rejection of eternal antisemitism. For Arendt, the assumption of "eternal antisemitism" wrongly gives an alibi for the horrors, for "if it is true that mankind has insisted on murdering Jews for more than two thousand years, then Jew-killing is a normal, and even human, occupation and Jew-hatred is justified beyond the need of argument." What was needed, instead, was to take seriously why antisemitism reared its head in the 20th century, and also to what extent Jews themselves had a role to play in the rise of German antisemitism. In one of her many provocations in the name of telling the truth, Arendt argued that there was a way in which Jews themselves, wary of assimilation and the loss of their status as a distinct and special people, unknowingly and unintentionally played into the claims of their difference. This was a dangerous and difficult argument, one Arendt approached with her typical courage and force. She made it clear that she was in no way blaming the Jews or excusing the Germans, but was simply insisting that we confront the specificity of 20th century antisemitism. Unlike earlier antisemitism, modern antisemitism took place amidst the background of assimilation, and thus was different from earlier manifestations.
Christopher, who found out only quite late in life that he was Jewish, made a sustained argument that Arendt's attempt to comprehend antisemitism—to find rational and logical explanations for its appearance—was misguided. Instead, he argued, antisemitism is an illogical, irrational, and inexplicable phenomenon. One that simply must be constantly called out and resisted, but never intellectually analyzed. Here is how he put it:
When one has analyzed all the different strains and the contradictions that materialize or that constitute antisemitism, whether it’s the Jewish middlemen in the French scandal over the Panama Canal shares, or whether it’s the role of the Rothschilds in financing this or that bourgeois revolution, or whether it’s the extraordinary preeminence of Arendt’s hero and antihero Benjamin Disraeli in forwarding the cause of British imperialism in India, one is still increasingly impelled to doubt that the thing will yield to an analysis, even one that’s as deft and thorough as hers is. Kurt Blumenfeld once quoted an observation, with which Arendt greatly agreed, that was made by his friend and publisher Salmon Schocken as early as 1914. Schocken had said, “In the emancipation period for Jews, one asked: ‘What do you believe?’ Today one only asks: ‘Who are you?’” And the answer was always, to that question, as Arendt had to concede, that whatever you believe, you still have to answer that you are a Jew. Now, this is a depressing conclusion, because it suggests that the analysis and combating of antisemitism lies somewhere outside the rationalist and Enlightenment universe.
Depressing, indeed, and yet spoken in the name of truth. The truth, Arendt thought, was often unpalatable, and yet always worthwhile. She spoke her truth. And Christopher responded with his. They were two of the bravest intellectuals of our time. And so it should not be surprising to see Christopher take Arendt on, again in the name of truth. It was a quintessentially riveting talk by Christopher Hitchens.
The entirety of Christopher's talk at the conference is published in Thinking in Dark Times: Hannah Arendt on Ethics and Politics. For a limited time, you can read his essay here. If you are so inclined, enjoy a glass of scotch while you do so.
“Political thought is representative. I form an opinion by considering a given issue from different viewpoints, by making present to my mind the standpoint of those who are absent; that is, I represent them.”
-Hannah Arendt, “Truth and Politics,” Between Past and Future
When Arendt first refers to political representation, we might think we are on familiar ground. After all, the question of how to move from the citizen to the representative was a vexing problem for the founders of the United States, one that resulted in the creation of the House of Representatives and Senate. The Great Compromise was a way of balancing the representation of small and large states, and the troubling Three-Fifths Compromise sought to guarantee representation to the southern states while preserving slavery. Today, the debate over the influence of lobbyists, political donations, and corporate personhood speaks to a renewed concern over how politicians can best represent the interests of voters.
Arendt does address questions of political representation of this sort in her detailed examination of the move from the late colonial period to the passage of the Constitution in On Revolution. In the above quote, she speaks of “political thought” in terms of the mental process of an individual—one who asks himself, "what would others who are absent think?" Moving from the objective statement of the first sentence to the subjective “I” of the second, she performs what she explains, bringing us inside the mind of someone who thinks through representation. The political subject does not hold on to essential or deeply rooted beliefs, but instead considers one position and then another. One might think of a sequence in a movie that switches between subjective angles, showing how a number of characters view a scene without ever moving back to an objective angle that shows them from outside. The effort of representative thinking is, first, to think from as many viewpoints as possible. This is, at least in part, what Arendt means by "enlarged thinking."
It is important to emphasize that representation does not simply repeat or copy the multiple points of view of others. One does not, for example, ask others what they think and then consider it. Instead, she says those to whom the standpoint belongs are “are absent.” Since they are not there, a space opens in which I can create a version of their view in my mind.
Rather than re-presentation in the strict sense, it is a matter of creatively presenting. In representing all of those who are absent, I must then seek to make a judgment and judge what opinion all of those people would and should share. In such a way, political thought, as representational thought, requires that I make judgments about what all people should agree upon.
From here we would want to move to a careful study of Arendt’s claim that Kant’s aesthetic third Critique, the Critique of Judgment, has important political implications that Kant himself never recognized. A condensed version of this argument in Between Past and Future speaks of "wooing," or persuading, others from one's individual position. An example might be drawn from the Occupy Wall Street movement, which has gained attention in part as a platform for individual stories about injustice. From an Arendtian point of view, the success of the movement would depend on making personal insights universal by imaginatively listening to others. In this way, one does not merely tell of one's own experience but represents the truth. Of course, to speak of representing the truth here requires that we guard against traditional prejudices. For Arendt the truth and the universal are not pre-given but constructed through action an not eternal but rather exist for a determinite period of time.
“…poetically speaking, [history’s] beginning lies…in the moment when Ulysses, at the court of the king of the Phaeacians, listened to the story of his own deeds and sufferings, to the story of his life, now a thing outside itself, an ‘object’ for all to see and to hear. What had been sheer occurrence now became ‘history.’” (“The Concept of History,” Between Past and Future, 1977, p. 45)
In the middle of text describing history as a project of historians and poets to memorialize the great deeds of actors so that these deeds can “remain in the company of the things that last forever" (p. 48), this quote about Ulysses seems out of place. It suggests that history has its origins not in the potential greatness of action, but in the almost private moment of hearing about and confronting one’s own deeds. Arendt describes this moment when Ulysses hears the story of his own life as a moment of “reconciliation with reality,” which moves Ulysses deeply (p. 45). Here, history has little to do with the greatness of his actions: Ulysses is not moved because he finds his actions glorious and worthy of eternal existence. In fact, the character of the deeds is irrelevant to Ulysses, for with respect to these deeds, he is at once “listener, actor, and sufferer” and therefore has no “curiosity” about them, nor does he have any “lust for information” (Ibid.).
Arendt’s description of the origins of history as the actor’s confrontation with his own acts is ever more puzzling because one of her main points about action and history is that the actor himself can neither realize the completion of his actions nor comprehend their significance. She writes, “…the light that illuminates processes of action, and therefore all historical processes, appears only at their end, frequently when all the participants are dead” (The Human Condition, p. 192). Yet here, the founding moment of history is not the moment that others listen to the story of Ulysses’ deeds and give them meaning as a part of human history, but rather the moment that Ulysses himself hears it.
How is it that history’s origin lies in this moment when the actor confronts his own deeds? And what exactly is the reality which history forces us to reconcile ourselves to during this confrontation?
I submit that the reality Ulysses confronted in listening to the story of his deeds as an “object” outside of himself, then solidifies his presence in the everlasting timeline of history. This reconciliation is an acceptance of the fact that one is visible to all others in the world and that the world’s history—the character of its immortal existence—while not entirely a product of one’s own making, finds its origins in one’s own self and actions.
To tell a history of the world as a story of human presence, the individual as actor must give way to the individual as historian. The historian is not only an actor, but also an audience to his actions. In confronting his deeds as a part of the narrative of history, the historian appreciates that the innumerable stories that describe the world are nothing more than singular moments of the lives and actions of individuals, himself included.
Confronting this reality of one’s presence in the story of the world is not about recognizing our own greatness, be it potential or actual. In fact, when confronted with such reality, greatness becomes an external object, no longer within our control or part of our powers. It is only when viewing his greatness through a filter of detachment, that Ulysses’ deeds could move, rather than just bore him.
Reconciling ourselves to a reality in which individual human beings are its sole creative agents imposes on us a heavy responsibility.
And it should temper too great a commitment to, and love for, ourselves as actors whose potential freedom and power are boundless in their miraculous natality. History is a story not just of our greatness, but of our selves. It ensures that there is always a name and a face attached to actions. Ulysses could not help but be moved in the face of a world that, even in its vastness, appears to him as his own. He is moved—and a bit frightened—by the realization that what he does is constitutive of the reality in which he and everyone else must live.
What it is to live in a world whose history does not reflect a mirror of individual existence is dramatically illustrated in the totalitarian regime’s notion of historical progress. The Nazi and Soviet regimes conceived of history as a product of “Nature,” an inevitable progression of events in which individuals could, at most, enact a series of events whose meaning has already been determined. Totalitarian consistency requires that the past flow inexorably into the future, without any gaps created by individuals which might distract from its course. Totalitarian history thus goes beyond the dehumanization of turning men into “functionaries and mere cogs” (Eichmann in Jerusalem, p. 289) and erases individual human presence indiscriminately and completely. History as a story of Nature might support a world of actors, but it cannot support a world of historians. And it is only as historians that we can create a space for ourselves, and not just our actions, in the world.