Hannah Arendt Center for Politics and Humanities

Amor Mundi 7/26/15


Hannah Arendt considered calling her magnum opus Amor Mundi: Love of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

amor_mundi_sign-upWhere Everything Is Possible

concentration campHannah Arendt first argued that concentration and extermination camps were "the true central institution of totalitarian organizational power" and were "the laboratories in which the fundamental belief of totalitarianism that everything is possible [was] being verified." A new series of books exploring the Nazi camps has emerged offering what Richard J. Evans calls "An Anatomy of Hell." Writing in the New York Review of Books, Evans argues: "In the popular imagination, the Nazi concentration camp now features mainly as a place where Jews were taken to be gassed. In a recent German opinion poll, most respondents associated the camps with the persecution and murder of Jews; under 10 percent mentioned other categories of camp prisoners, such as Communists, criminals, or homosexuals. The power of the 'Holocaust' as a concept has all but obliterated other aspects of the crimes of the Nazis and the sufferings of their victims and driven the history of the camps from cultural memory. No crime in human history outdoes the genocidal extermination of six million European Jews on the orders of the leader of Germany's self-styled 'Third Reich.' Yet the majority of the Jewish victims of Nazi mass murder were not killed in the camps; they were shot, starved to death, or left to die of diseases that could easily have been prevented or treated but were not. The concentration camp was in no way synonymous with the Holocaust."

Selfie, Bound

selfieArianne Di Nardo writes about Mónika Sziládi's photography, which explores the way we express ourselves online: "Working by composite allows Sziládi to juxtapose multiple sharp moments in a single frame, to play with scale, and to create focal points that compete for our attention. She includes perturbing elements that, as she said in her speech, 'belong, and don't belong, at the same time.' The result is an uncanny, noisy circus, one with a dress code and that encourages visual transience. Take her rendition of the Three Graces, 'Untitled (Grapes and Graces)' (2010/2014). When photographed, the subjects posed for a 'selfie'; Sziládi took a spontaneous shot. She added the background four years later, after capturing the screen image of a Tuscan grapevine from inside a convention center. Nothing looks quite normal, but it feels okay. Not just because we relate to this innocuous gesture, but because the absurdity of the final image is offset by a cheeky wit...Despite its contemporaneity, Sziládi's work suggests a deep primordiality: connection. Displays of mimicry and repetition are not modern phenomena, and they appear frequently in Sziládi's work. People gesticulate, mirroring one other in posture and dress, and with devices omnipresent, scenes of surveillance--narcissistic and otherwise--are a reasonable afterthought. When asked if screens and devices are a part of her morning routine, Sziládi responded via email: 'Yes :(. But I try to check them at least half an hour after I wake up, and only briefly to make sure there are no emergencies. And then later attend to whatever needs to be done.' Whatever it is that needs doing, one hopes that in the constant and immediate culture of connectivity--that ever-expanding, immersive virtual web--Sziládi, as with the rest of us, can make greater space for the organic, breathing world."

Publicity and Shallowness

why privacy matters title cardHow does one find room for Arianne Di Nardo's organic world amidst the ever-growing intrusion of governmental, corporate, and social surveillance? Hannah Arendt saw the private realm as the essential refuge for human uniqueness. In daily life, she writes, we "return back from the outside world and withdraw into the security of private life within four walls." These walls of the private "enclose a secure place, without which no living thing can thrive." For Arendt, "Everything that lives, not vegetative life alone, emerges from darkness and, however strong its natural tendency to thrust itself into the light, it nevertheless needs the security of darkness to grow at all." Privacy guards the dark recesses of the human heart. So what is lost when these chambers are exposed to the light of public censure? Love grows in secret and loyalty trumps formal rules of fairness. We all transgress taboos and even a few laws. Yet, when we are forced to police private urges and actions by public standards, our belief in public morality appears hypocritical. Distrusting ourselves, we trust no one, which is the source of cynicism of political life. It is amidst a sense that privacy is being lost and we are powerless to resist such loss that the Hannah Arendt Center at Bard College will host our 8th Annual Conference, "Why Privacy Matters: What Do We Lose When We Lose Our Privacy?" Registration is now open.

The Privileges of Membership

HAC 100_10 logo 2015Every year in July, we ask our Amor Mundi readership to join the Hannah Arendt Center community as part of our 100/10 Membership Challenge. It's worth remembering that the Hannah Arendt Center is a membership organization. As such, our members are an integral part of our mission: to be the world's most expansive home for bold and risky humanities thinking about our political world inspired by the spirit of Hannah Arendt, the leading thinker of politics and active citizenship in the modern era. Those who join receive free admission to our annual conferences, yearly subscriptions to HA: The Journal of the Hannah Arendt Center, entry into our virtual reading group, and a Hannah Arendt Center tote bag, among other gifts. Membership dues support our fellowships, conferences, videos, and publications. They also go towards our National Endowment for the Humanities matching challenge grant, so all gifts are matched by the NEH. Please support us in our mission going forward. Please join the Arendt Center today and help us fulfill our 100/10 Membership Challenge.

amor_mundi_sign-upI Am Sorry that I Cannot Make It Okay

ta-nehisi coatesChris Lebron asks about Ta-Nehisi Coates's apology in his new book. Written as a letter to his son, Coates apologizes for not being able to make the world safe for him as a future black man. "In what really needs to be accepted as one of the book's most important passages, Coates says with respect to the unsatisfactory level of security he feels Samori is sure to inherit by way of his blackness: 'I am sorry that I cannot make it okay. I am sorry that I cannot save you--but not that sorry. Part of me thinks that your very vulnerability brings you closer to the meaning of life, just as for others, the quest to believe oneself white divides them from it.' (107) One can only imagine the tough pill this is to swallow for a boy aging into manhood, which raises the question as to why Coates feeds it to Samori? To say that it is part of the widely relied upon ethic in the black community of tough love is too facile. It is one thing to ready a belt; it is another to tell a son that the most reliable signifier of his existence is the delicate nature of that existence. A welt from the whack of belt clears up in day or two. The inheritance of existential precariousness lasts a lifetime. To see just how dangerous this kind of message is we can turn directly to Baldwin's opening salvo to his nephew regarding Baldwin's own father: 'Well, [your grandfather] is dead, he never saw you, and he had a terrible life; he was defeated long before he died because, at the bottom of his heart, he really believed what white people said about him.' Baldwin is clear in his message. The only way to a black life of meaning is to be aware of one's vulnerabilities but to simultaneously resist being defined by them, to deny the insistence that one frame one's life in terms of those vulnerabilities. The vulnerabilities at issue for both writers ought, for Baldwin, be taken as markers for resistance and personal radicalism broadly understood and not as reference points."

The Anti-Nostalgist

e. l. doctorowJeet Heer eulogizes writer E. L. Doctorow, who died this week at 84: "Doctorow's fiction enjoyed its greatest vogue in the 1970s when his novel Ragtime (1975) was an enormous bestseller. It's tempting but wrong to see Doctorow as an example of the nostalgia boom that overtook America during the 1960s and '70s. This was a period when you could go see Grease on Broadway, American Graffiti in the movie theatre, and 'Happy Days' on television. Dismayed by the Vietnam War and the Watergate scandal, Americans increasingly turned to pastoral celebrations of seemingly simpler times. Doctorow actually had a role to play in the rise of the nostalgia industry. In the early 1960s, as editor at The Dial Press, he commissioned the publication of Jules Feiffer's The Comic Book Heroes (1965), the first hardcover reprinting of such 1930s and 1940s caped crusaders as Superman, Batman, and The Spirit. The text of Feiffer's book indulged in no good-old-days falsifications: It was clear-eyed in linking superheroes to the trauma of the Depression and World War II. Still, the success of Feiffer's book inspired countless imitators, which robbed the artifacts of the past of their historical context. Despite his role in sparking the nostalgia boom, Doctorow was in fact an anti-nostalgist in a nostalgic period. His books never shirked from describing the primordial conflicts over race and class that were the very foundations of history. It's instructive to compare the movie The Sting (1973) with Ragtime. A sprightly caper film starting Paul Newman and Robert Redford, The Sting captures the look and feel of the Ragtime era, and helped spark a revival of popularity in the music of Scott Joplin, but has no ambitions to be more than entertainment. Everything that is forgotten in The Sting is remembered in Doctorow's Ragtime. Among other things, the roots of Ragtime music in African-American culture aren't forgotten in Doctorow's novel, which includes one of the most harrowing accounts of racist humiliation in American fiction in the form of the story of Coalhouse Walker."

Coming Up Bagel

bagelElizabeth Weil tries to get a good bagel in San Francisco: "The New York bagel, as everybody knows, is an institution. No bagel definition will satisfy all, but for starters, let's just say: A good one requires a chewy interior with blisters, called fisheyes, on a shiny, crispy crust. Making a bagel requires several steps: Hand-roll enriched dough; let it rise, or proof; retard the rising in a refrigerator; boil briefly in malted water; then bake. Mitchell Davis, the executive vice president of the James Beard Foundation--a man who is currently living in Milan and who almost came to tears one recent Sunday morning at the thought of his husband back home in Gramercy Park, reading the wedding announcements and eating an everything from Brooklyn Bagel--believes that the secret to a good bagel is technique, the length of time, say, for proofing and boiling, more than the type of water or flour. Achieving the right crust is foremost. 'That's the hardest thing, that outer crunch,' Davis told me. He recalled that his father described the bagel as 'a doughnut dipped in cement.' 'So he wasn't a fan?' I asked 'No!' Davis said. 'He loved them.' The obvious saviors in San Francisco's bagel situation should have been Evan Bloom and Leo Beckerman--occasional chefs at the Hillel chapter at the University of California, Berkeley, and the owners of San Francisco's relatively new and much beloved Jewish deli, Wise Sons, which opened in 2012. Many already believed Wise Sons made the best deli rye west of the Hudson River. The restaurant sold so much house-made pastrami that, after several years of Bloom's transporting the smoky, fatty meat to catering events, his girlfriend could no longer stand the smell and insisted he buy a new car. A disclaimer on the menu reads NOT A NEW YORK DELI. Bloom and Beckerman added the notice just a few months after opening because even though the place was packed, customers groused that Wise Sons' offerings didn't taste like the food they grew up eating on the East Coast. 'Our kugel is definitely not as good as your bubbe's kugel,' Beckerman told me, sitting on the bench where he used to sleep after working 20-hour shifts. 'The actual food we serve is better,' he said. 'I'm very proud of our food. But it's never going to match the memory of what your grandmother made you between the ages of 5 and 15.'"

Pity the Literary Immigrant

milan kunderaJohannes Lichtman notes that troubles with translation caused Milan Kundera to choose a new linguistic home, just as troubles with Czech politics caused him to move to France: "Early translations of his works tended to lose what made them most interesting. Foreign publishers wanted to market Kundera's biography rather than his style, and he has never quite been able to shed the early portrayal of himself as a dissident writer of protest novels. As the translation scholar and astute Kundera reader Michelle Woods pointed out, in the first British edition of The Joke, 'many of the experimental devices included by Kundera, such as the non-linear narrative and Jaroslav's discourse on polyphony, were seen as clouding the real message.' This resulted in 'a complete rearrangement of the novel into a semi-linear chronology and the removal of 300 sentences.' When he learned of this unauthorized editing, Kundera sent an angry letter to The Times Literary Supplement, in which he compared his editors and translators to communist censors, and said that he'd rather not publish at all than have his work rewritten without his consent. It was the first of many times he would assert his right to absolute control over his words--often to the detriment of his career. While the English translators of The Joke took a hatchet to the text, the French translator puffed up the style. The translator, Marcel Aymonin, had a very different aesthetic from Kundera, who has always written in language that's easy on the metaphors. As Caleb Crain noted, 'Where Kundera had written "The sky was blue," Aymonin had translated "Under a sky of periwinkle, October hoisted its showy shield."' Aymonin did not translate the book, but rather rewrote it: 'He found my style too simple!' Kundera told Jordan Elgrably. 'Into my manuscript he inserted hundreds (yes!) of embellishing metaphors; he used synonyms where I repeat the same word; he wanted to create a "beautiful style"!'... It was in part the horror of these experiences that led Kundera to embark on a linguistic emigration from Czech to French. Starting in the mid-1980s, he began writing first his essays, then his novels, in French, and he also rewrote his Czech novels into 'definitive' French versions from which his translators were to work. Notably, he did not feel the need to translate his new French texts into Czech, nor did he allow anyone else to do so. This perceived shunning of his Czech roots made him a target both in the Czech Republic and in France. Since the fall of communism, the Czech media has fostered an atmosphere where, as Crain put it, 'Any downturn in Kundera's post-Czech career is headline worthy.' While he is still a major figure in French literature, it's safe to say that he was more interesting to the French as a Czech exile than as a Parisian intellectual. After the release of Immortality (1990), Kundera's first novel more concerned with French characters than Czech characters, a French paper implored Kundera to return to Czech themes. The article ran under the headline: 'Kundera, Go Home!'"

amor_mundi_sign-upFeatured Events

human conditionHAC Virtual Reading Group - Session #11

HAC members at all levels are eligible to participate in a monthly reading group led online via a telecommunication website by Roger Berkowitz, Director of the Hannah Arendt Center.

For questions and to enroll in our virtual reading group, please email David Bisson, our Media Coordinator, at dbisson@bard.edu.

Friday, July 31, 2015

Bluejeans.com, 11:00 am - 12:00 pm



why privacy matters title cardSAVE THE DATE - 2015 FALL CONFERENCE

The Hannah Arendt Center's eighth annual fall conference, "Why Privacy Matters: What Do We Lose When We Lose Our Privacy?," will be held this year on Thursday and Friday, October 15-16, 2015! We'll see you there!

**UPDATE** Registration for our conference is now open! Save your seat for this exciting two-day event here!

Thursday, October 15 and Friday, October 16, 2015

Olin Hall, Bard College, 10:00 am - 6:00 pm

From the Arendt Center Blog

This week on the Blog, Roger Berkowitz discusses how the Nobel Prize celebrates those like Aung San Suu Kyi who dedicate their lives to the conviction that truth will win out over the holes of oblivion in the Quote of the Week. Abraham Lincoln provides his thoughts on thinking and speaking to people in this week's Thoughts on Thinking. Finally, we come across a collection of books in Arendt's library that exemplifies her interest in trying to understand religion and its political influence in this week's Library feature.

100 - 10.2015 On Wednesday of last week, we announced our 100/10 Membership Challenge, in which we work to gain 100 new members in 10 days. Our Challenge this year includes a number of exciting drawings and contests, the terms of which can be read here. Please support all of the activities the Hannah Arendt Center has planned over the next year and become a member today!

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

Hannah Arendt and the Ansermet’s Foundations of Music


On a recent trip to the Hannah Arendt Collection, we came across this copy of Les Fondements de la musique dans la conscience humaine, which translates to The Foundations of music in human consciousness.

foundation of music 1The work of Ernest Ansermet, the prestigious leader of the Ballets Russes from 1915 to 1923 and founder of the Orchestre de la Suisse Romande, Les Fondements de la musique dans la conscience humaine captures Ansermet's use of the phenomenology of German philosopher Edmund Gustav Albrecht Husserl to formulate a holistic approach to music that blends physiology, mathematics, and history, among other disciplines.

foundations of music 2The crux of Ansermet's theory is the notion of the phenomenology of auditory consciousness, which denies any attempt to understand music as an object (from without) and instead promotes one that seeks to understand it as a subject (from within.)

Want to share pictures of your own Arendt library?

Please send them to David Bisson, our Media Coordinator, at dbisson@bard.edu, and we might feature them on our blog!

The Hannah Arendt Collection at Bard College is maintained by staff members at the Bard College Stevenson Library. To peruse the collection's digital entries, please click here.

For more Library photos, please click here.

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

Amor Mundi 1/25/15


Hannah Arendt considered calling her magnum opus Amor Mundi: Love of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

What Should Remain Hidden in Private

childbirthDawn Herrera-Helphand draws Arendtian lessons about the meaningfulness of privacy from her experience of giving birth. Writing in The Point, Herrera-Helphand describes the emotional intensity of her natural birth, all of which connected her to pain she did know she could bear and power she did not know she might have. Giving birth was an ecstasy, a standing apart from herself, what she found to be "a liberating intimacy with the immanent force of life." Herrera-Helphand asks: "Could this necessary self-abandon have proceeded if I did not feel sheltered? The body has a sense of fear or safety, precognitive and wholly prior to our rationalizations. To feel vulnerable to the eyes of others, to their designs or interventions, is to want to maintain some semblance of control. The illusion of sovereignty that we cultivate in public is precious, not easily relinquished. The ambition to maintain it is antithetical to the necessary labor of childbirth. Apropos of nothing, my cousin, in her second trimester, told me her fantasy of hiding away to give birth 'like an animal.' It makes sense when you think about it: not wanting a hungry bear to eat the baby, not wanting to be seen so deep in suffering.... Giving birth afforded me a fresh perspective on Arendt's distinction between what should be hidden and what should be shown. This binary of private and public remains deeply problematic regarding questions of domestic work and caregiving. But from another angle, privacy is not so much a question of what is fit for appearance to public eyes as of what cannot fully transpire in view of others. The idea that privacy is proper to the realm of necessity need not be based on shame in the body. Privacy can also shield interests that are literally vital, so as to give them their full weight." It is precisely the power of privacy to give weight and depth to life that makes the loss of privacy in our times so terrifying. Privacy will be the theme of the Hannah Arendt Center's 8th annual conference this October 15-16th. Save the Date.

What Would Hannah Arendt Do?

arendt thoughtIn an exchange of letters with David Mikics, Mark Greif asks: "What would Arendt do? I've often thought I should make up a WWAD necklace. One certainly would like to know what she would have done, or said, in the face of the present day. But part of her charm is that she was surprising and unpredictable. Not unpredictable because she was inconsistent--rather, I think, because she did insist on thinking things through, in each new situation, all the way to the root. She was an intensely annoying figure to her contemporaries. Lately she has become another 'inspiring' figure and source of sanctimony. I wish there were more room to try to think things down to their roots, and see what itineraries you wind up following, right or wrong, usefully or--sometimes--as mere exploration. People in her circles in the 1940s and 1950s liked to point out, in the face of doctrinaire leftists, that this was the real meaning of radical--at least etymologically--to go 'down to the root.' And then to be prepared to tug up the roots--or defend them and nourish them--rather than keep plucking off leaves...." We at the Arendt Center resist the question of what Arendt would think precisely for the reason Greif offers: that her thought was at once deeply consistent and remarkably surprising. To think radically, down to the roots, means that one looks beyond conventional categories, looks at facts plainly and gathers them together informed by a unique and critical perspective, one informed by tradition and yet not a slave to the past. That is how Arendt thought and it is why she has become such an inspiring figure to many even as others insist on using her, wrongly, to advance their pet political positions. Greif's insistence in these letters is that we think well. The terrorists, he argue, thought poorly: "For the kosher supermarket mass murderer, I think the sequence went something like this: The Israeli state, or all Israelis, are in bloody conflict with nearby Palestinians. Israel is a Jewish state. Palestinians are Muslims. I am Muslim. I guess I too am in a bloody conflict with Israeli Jews. Wait--France has Jews. I ought to kill them. I eat Halal, but they eat Kosher. Therefore I know just where to find them. The universe shouldn't have room--I think Hannah Arendt would point out--for such a lethal mockery of thought, or thoughtlessness. Because it undoes all the distinctions that allow political thinking, political difference, ideas, and legitimate conflict, ever to occur." At the same time, Greif worries that too many responses to the attacks are also plagued by poor thinking: "But I think a corollary of this way of judging relative wrongs--here I'm doing my Arendtian ventriloquism, as I understand it--is that actually too wide, flowing, and unanalytic a sense of identification on 'our' side, lumping together of many different things rather than following out their distinctions and differences, is a bad idea, too. Because we won't think well. We won't be able to follow different effects to different causes; keep several incompatible ideas in mind at once, to judge among them; judge rightly. And one thing I do think Arendt would want us to try to keep straight about, is the question of proximity and distance. Time will tell--and near time, too--how much of a fluke the Charlie Hebdo and supermarket murders were. Should European Jews, and European writers, actually expect attacks--should they change their life on that basis?"

On The Right

national frontRosie Gray checks in on The National Front, France's newly popular far-right party, which is in the middle of reinvigorating itself and sanitizing its image: "the image of the National Front is starting to change. Marine Le Pen has largely avoided the kind of forthrightly intolerant comments her father is famous for, and she is a savvy public figure, the Rand Paul to Jean-Marie's Ron. The party has seen some of its positions leaking into the mainstream, and even into the left. For example, after the Charlie Hebdo attack, Socialist politician Jean-Marc Germain said that France must re-examine the Schengen zone--the policy of border-free travel within most of Europe, a position that the Front, which wants to remove France from the Schengen area of border-free travel entirely, has held for years. Le Pen has deftly kept herself in the center of the French political conversation during the crisis, announcing that she would not attend the massive unity rally in Paris after French President François Hollande did not invite her. On Sunday night, the New York Times published an op-ed by her, both in English and French, slamming the French government for what she perceives as its unwillingness to clearly name radical Islam as the reason for the attack. 'Now the French people, as if a single person, must put pressure on their leaders so that these days in January will not have been in vain,' Le Pen wrote. 'From France's tragedy must spring hope for real change.'"

Poe's Brain

poeMarilynne Robinson champions the thinking of Edgar Allan Poe: "Poe's mind was by no means commonplace. In the last year of his life he wrote a prose poem, Eureka, which would have established this fact beyond doubt--if it had not been so full of intuitive insight that neither his contemporaries nor subsequent generations, at least until the late twentieth century, could make any sense of it. Its very brilliance made it an object of ridicule, an instance of affectation and delusion, and so it is regarded to this day among readers and critics who are not at all abreast of contemporary physics. Eureka describes the origins of the universe in a single particle, from which 'radiated' the atoms of which all matter is made. Minute dissimilarities of size and distribution among these atoms meant that the effects of gravity caused them to accumulate as matter, forming the physical universe. This by itself would be a startling anticipation of modern cosmology, if Poe had not also drawn striking conclusions from it, for example that space and 'duration' are one thing, that there might be stars that emit no light, that there is a repulsive force that in some degree counteracts the force of gravity, that there could be any number of universes with different laws simultaneous with ours, that our universe might collapse to its original state and another universe erupt from the particle it would have become, that our present universe may be one in a series. All this is perfectly sound as observation, hypothesis, or speculation by the lights of science in the twenty-first century. And of course Poe had neither evidence nor authority for any of it. It was the product, he said, of a kind of aesthetic reasoning--therefore, he insisted, a poem. He was absolutely sincere about the truth of the account he had made of cosmic origins, and he was ridiculed for his sincerity. Eureka is important because it indicates the scale and the seriousness of Poe's thinking, and its remarkable integrity. It demonstrates his use of his aesthetic sense as a particularly rigorous method of inquiry."

Strange Persecutions

billie holidayJohann Hari has a powerful essay on the unrelenting persecution of Billie Holiday by Harry Anslinger and the FBI. "Jazz was the opposite of everything Harry Anslinger believed in. It is improvised, relaxed, free-form. It follows its own rhythm. Worst of all, it is a mongrel music made up of European, Caribbean and African echoes, all mating on American shores. To Anslinger, this was musical anarchy and evidence of a recurrence of the primitive impulses that lurk in black people, waiting to emerge. 'It sounded,' his internal memos said, 'like the jungles in the dead of night.' Another memo warned that 'unbelievably ancient indecent rites of the East Indies are resurrected' in this black man's music. The lives of the jazzmen, he said, 'reek of filth.'" Driven by racial as well as musical hatred, Anslinger could not crack the intensely insular and loyal Jazz world, but he directed his obsession on one person: Holiday. "One night, in 1939, Billie Holiday stood on stage in New York City and sang a song that was unlike anything anyone had heard before. 'Strange Fruit' was a musical lament against lynching. It imagined black bodies hanging from trees as a dark fruit native to the South. Here was a black woman, before a mixed audience, grieving for the racist murders in the United States. Immediately after, Billie Holiday received her first threat from the Federal Bureau of Narcotics."

My Algorithm, My Self

algorithmEvan Selinger is worried that autocomplete is going to turn us into 'personal cliches,' rendering us dead and unthinking: "by encouraging us not to think too deeply about our words, predictive technology may subtly change how we interact with one another. As communication becomes less of an intentional act, we give others more algorithm and less of ourselves. This is why I argued in Wired last year that automation can be bad for us; it can stop us thinking. When predictive technology learns how we communicate, finds patterns specific to what we're inclined to say, and drills down into the essence of our idiosyncrasies, the result is incessantly generated boilerplate. As the artist Salvador Dali famously quipped: 'The first man to compare the cheeks of a young woman to a rose was obviously a poet; the first to repeat it was possibly an idiot.' Yet here, the repetition is of ourselves. When algorithms study our conscientious communication and subsequently repeat us back to ourselves, they don't identify the point at which recycling becomes degrading and one-dimensional. (And perversely, frequency of word use seems likely to be given positive weight when algorithms calculate relevance.)"

The Philosopher and the Man

gunther figalGünter Figal has resigned his position as the Head of the Martin Heidegger Society. The Daily Nous offers a translation of part of his statement: "As chairman of a society, which is named after a person, one is in certain way a representative of that person. After reading the Schwarze Hefte, especially the antisemitic passages, I do not wish to be such a representative any longer. These statements have not only shocked me, but have turned me around to such an extent that it has become difficult to be a co-representative of this." One can listen to a longer interview with Figal, in German, here. A few thoughts are in order. First, Figal seems to be surprised that Heidegger as a person was an antisemite. Really? How can this have been surprising to him? Second, he makes a series of demarcations. The early Heidegger up through and past Being and Time is clearly not implicated, but the middle Heidegger might very well be. We need to do more research. The late Heidegger may be, too. (It would be helpful to see the later editions of the Schwarze Hefte.) Third, he offers one example of the way Heidegger's philosophy may be racist. He says that Heidegger's account of Rechnung and calculation is developed in his published works out of Greek philosophy from Plato and others. But in the Black Notebooks, in a handful of passages over 8 years, Heidegger mentions that the Jews also fit into this history because of their reputation as money-oriented calculating sly foxes. This suggests to Figal that Heidegger may actually have developed his entire approach to Rechnung and the impact of calculation in our world out of antisemitism and sought to make it presentable by tying it to the Greeks, or that maybe, alternatively, it is founded subconsciously in Heidegger's antisemitsm. Finally, Figal says that as the chief of the Heidegger Society he has to represent not just the philosopher but the man. Here Figal has something right. As the Director of the Hannah Arendt Center, I do have some obligation to respond to irresponsible attacks on Arendt (of which there are many). And I do think it is important that in the end I respect the person of Hannah Arendt and not simply what she wrote. I do. On Heidegger, my opinions have always been different. I have seen, and still see, no evidence that his philosophy is in any way affected by his antisemitism. But on the question of Heidegger himself, I have long thought that he himself was a mean-spirited and resentful man--and a racist. I don't identify as a Heidegger scholar and am not interested in doing so, even though I read Heidegger regularly, teach him regularly, and find his work along with Arendt's some of the only work of the 20th century worth large percentages of my intellectual energy. In short, I am not opposed to Figal's decision to step down; I am only concerned that he was just now surprised to learn of Heidegger's racism and that by reacting so publicly he is fanning the flames of those who would tarnish the thinker with the sins of the man. For more, see my discussion with Peter Trawny, the editor of Heidegger's Black Notebooks, and my account of that discussion here.

The Grumbler's Age

grumblingJoshua Rothman has a few notes on grumbling: "It seems absurd to imagine that people grumble more than they used to: all the evidence points to the fact that people have grumbled throughout history. (That's why the Bible is full of anti-grumbling propaganda.) But it's entirely possible that we're grumbling better. The Internet has made our grumbles more audible; our taste in grumbles has improved. This may be making our grumbling more performative and self-aware--perhaps even more camp--than it has been in the past. And grumbling, as a form of communication, seems to resonate with the part of our contemporary outlook that's repelled by stridency and self-assertion. Even if we're not grumbling more, we could be in a golden age of grumbling."

Featured Events

human conditionHAC Virtual Reading Group - Session #4

HAC members at all levels are eligible to participate in a monthly reading group led online via a telecommunication website by Roger Berkowitz, Director of the Hannah Arendt Center.

For questions and to enroll in our virtual reading group, please email David Bisson, our Media Coordinator, at dbisson@bard.edu.

Friday, February 6, 2015

Bluejeans.com, 11:00 am - 12:00 pm



arendtNow Accepting Applications for Post-Doctoral Fellowships!

The Hannah Arendt Center announces three post-doctoral fellowships for the 2015-2016 academic year.

To learn more about the fellowships, including how to apply, click here.

Application Deadline: Thursday, March 5, 2015

eyal press Courage To Be: Lecture and Dinner Series, with Eyal Press

The Courage To Refuse

Monday, February 9, 2015

Kline Faculty Dining Room, 6:00 pm

Jeanne van Heeswijk Courage To Be: Lecture and Dinner Series, with Keith Haring Fellow in Art and Activism, Jeanne van Heeswijk

Monday, February 16, 2015

Kline Faculty Dining Room, 6:00 pm


angela maioneLunchtime Talk with Angela Maione, our Klemens Von Klemperer Post-Doctoral Fellow

"Wollstonecraft and the Right to Political Community

Wednesday, February 18, 2015

The Hannah Arendt Center, 6:00 - 7:00 pm

the decent oneScreening of The Decent One and Q&A with Director Vanessa Lapa and Sound Designer Tomer Eliav

The film is based on the newly discovered diaries of Heinrich Himmler. Read more about the film and watch a trailer here.

Monday, February 23, 2015

Campus Center, Weis Cinema, 6:00 - 9:00 pm




charles snyderLunchtime Talk with Charles Snyder, a Hannah Arendt Center Post-Doctoral Fellow

"Natality and its Vicissitudes"

Wednesday, February 25, 2015

The Hannah Arendt Center, 12:00 pm



uday mehtaCourage To Be: Lecture and Dinner Series, with Uday Mehta

Putting Courage at the Centre: Gandhi on Civility, Society and Self-Knowledge

Monday, March 30, 2015

Manor House Cafe, 6:00 pm


sa poverty Property and Freedom: Are Access to Legal Title and Assets the Path to Overcoming Poverty in South Africa?

A one-day conference sponsored by the Hannah Arendt Center for Politics and Humanities at Bard College, the Human Rights Project, and the Center for Civic Engagement, with support from the Ford Foundation, The Brenthurst Foundation, and The University of The Western Cape

Monday, April 6, 2015

Bard College Campus Center, Weis Cinema, 10:00 am - 7:00 pm

privacy con 2015 (temp)SAVE THE DATE - 2015 FALL CONFERENCE

Thursday and Friday, October 15 and 16, 2015

The Hannah Arendt Center's eighth annual fall conference, "Privacy: Why Does It Matter?," will be held this year on Thursday and Friday, October 15-16, 2015! We'll see you there!



From the Arendt Center Blog

This week on the Blog, Nicholas Tampio discusses the dangers of the Common Core program and appeals to Arendt's concept of natality as a way to help education once again teach students how to think for themselves in the Quote of the Week. Russian novelist Aleksandr Solzhenitsyn provides this week's Thoughts on Thinking. We appreciate Arendt's copy of Paul Tillich's "The Shaking of the Foundations," which contains a special note, in our Library feature.  And we are pleased to share "Arendt and Ricoeur on Ideology and Authority," an article written by a former HAC fellow.

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

Amor Mundi 11/23/14


Hannah Arendt considered calling her magnum opus Amor Mundi: Love of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

On Loneliness

lonelinessIn The New Republic, Judith Shulevitz writes about the deadening impact of loneliness and how it can ravage our body and our brain. She traces modern interest in loneliness to Frieda Fromm-Reichmann, a psychoanalyst whose "1959 essay, 'On Loneliness,' is considered a founding document in a fast-growing area of scientific research you might call loneliness studies. Over the past half-century, academic psychologists have largely abandoned psychoanalysis and made themselves over as biologists. And as they delve deeper into the workings of cells and nerves, they are confirming that loneliness is as monstrous as Fromm-Reichmann said it was. It has now been linked with a wide array of bodily ailments as well as the old mental ones. In a way, these discoveries are as consequential as the germ theory of disease. Just as we once knew that infectious diseases killed, but didn't know that germs spread them, we've known intuitively that loneliness hastens death, but haven't been able to explain how. Psychobiologists can now show that loneliness sends misleading hormonal signals, rejiggers the molecules on genes that govern behavior, and wrenches a slew of other systems out of whack. They have proved that long-lasting loneliness not only makes you sick; it can kill you. Emotional isolation is ranked as high a risk factor for mortality as smoking. A partial list of the physical diseases thought to be caused or exacerbated by loneliness would include Alzheimer's, obesity, diabetes, high blood pressure, heart disease, neurodegenerative diseases, and even cancer - tumors can metastasize faster in lonely people." The turn toward biology situates loneliness as a mental and a physical illness, one to be combated with public health programs. Shulevitz traces the efforts to medicalize loneliness, as well as programs to treat loneliness as a problem of inequality. And yet, in the end, she suggests that humans have incredible resources to fend off loneliness: "[T]here's something awe-inspiring about our resilience, too. Put an orphan in foster care, and his brain will repair its missing connections. Teach a lonely person to respond to others without fear and paranoia, and over time, her body will make fewer stress hormones and get less sick from them. Care for a pet or start believing in a supernatural being, and your score on the UCLA Loneliness Scale will go down. Even an act as simple as joining an athletic team or a church can lead to what Cole calls 'molecular remodeling.' 'One message I take away from this is, "Hey, it's not just early life that counts,"' he says. 'We have to choose our life well.'"

Arendt and the "Mass Man"

arendt lonelinessLoneliness was a constant theme in Hannah Arendt's work. In her most pregnant attempt at a definition of totalitarianism, published in 1950, Arendt writes: "Totalitarian movements are mass organizations of atomized, isolated, individuals." Totalitarianism depends upon "the masses [who] grew out of the fragments of a highly atomized society whose competitive structure and concomitant loneliness of the individual had been held in check only through membership in a class." Shorn of family and national and class connection, the modern atomized individual becomes a mass man. "The chief characteristic of the mass man is not brutality and backwardness but his isolation and lack of normal social relationships." Stripped of the political, social, and intellectual traditions that historically bound people together in publically meaningful institutions and networks, mass men turn to racism or consumerism to give their lives meaning. Both are dangerous in different ways. As Paul Morrow writes, "Loneliness can result from formal prohibitions on expression or action, as seen in totalitarian societies; but it can also result from informal standards and patterns of life which disvalue political - and overvalue social or commercial - interactions." And Bill Dixon adds: "To be lonely is to be deprived of both the public and the private realms and therefore to feel utterly abandoned by other human beings, to finally lose one's place in the world completely. The mass production of loneliness is closely linked to the experiences of 'uprootedness' and 'superfluousness' that have unevenly afflicted peoples across the earth since the industrial revolution and European imperialism. Pervasive loneliness as a modern way of life therefore amorphously anticipates the emergence of the totalitarian form, but it also serves to structure and vivify its psychic violence once underway. Loneliness perversely tends to intensify when felt in the presence of others, that is, when one is not strictly speaking alone."  

Integrity and Privacy

snowdenDavid Bromwich reviews Laura Poitras' Citizenfour and argues that it shows Edward Snowden to be a modern hero, a courageous conscientious objector in the war on privacy: "An incidental strength of Citizenfour is that it will make such casual slanders harder to repeat. Nevertheless, they are likely to be repeated or anyway muttered in semiprivate by otherwise judicious persons who want to go on with their business head-down and not be bothered. It must be added that our past politics give no help in arriving at an apt description of Snowden and his action. The reason is that the world in which he worked is new. Perhaps one should think of him as a conscientious objector to the war on privacy - a respectful dissident who, having observed the repressive treatment endured by William Binney, Thomas Drake, and other recent whistle-blowers, does not recognize the constitutional right of the government to put him in prison indefinitely and bring him to trial for treason. His action constitutes a reproach to the many good citizens who have learned what is happening and done nothing about it. That, too, is surely a cause of the resentment that has a hard time finding the appropriate adjectives for Snowden." Bromwich is right that listening to Snowden in the movie is to be in the presence of someone of integrity: "The undeclared subject of Citizenfour is integrity - the insistence by an individual that his life and the principle he lives by should be all of a piece. Something resembling an aesthetic correlative of that integrity can be found in the documentary style of Laura Poitras." What Snowden, Poitras, and Bromwich show is that the core of privacy is integrity. It is thus the integrity of the person that is under attack in the age of surveillance.

Learning and Teaching

teachingIn an essay about how it is for teachers, both now and in the past, Jonathan Zimmerman says he thinks he's figured out what's happened to teaching in America: "the federal Race to the Top program sponsored by the Obama administration encouraged schools to use students' test scores in evaluating individual teachers. The primary responsibility of teachers is no longer to encourage good behavior in future citizens, as Horace Mann insisted. Instead, it's to ensure that they get the right answers on a high-stakes test. The shift in goals has unfortunately done nothing to alter the tedious, anti-intellectual practices of American teaching. If anything, the strong commitment to 'academic' goals has probably made teaching less academic - so far as the quality of learning is concerned - and more routinized than it was before. When teachers were hired for their inborn ability to 'nurture' schoolchildren, many derided or disregarded their intellectual capacities. Now we've created a system that is so firmly tied to scholastic achievement - as narrowly defined by standardized tests - that no serious scholar would want to teach in it."

Rereading Without Revising

readingIn the New York Times, seven writers reread some of their old work and write about how they feel about it all this time later. Marilynne Robinson, for example, tries to recall what it was like to write Housekeeping: "In writing 'Housekeeping' I was trying to recover the appearance and the atmosphere of a very particular place, northern Idaho. When I wrote it, I had not spent much time there for almost 20 years. So it was very much an exploration of memory that I was engaged in. I thought I was writing an unpublishable book, so I was undistracted by other considerations than my own interest in the workings of memory and the ability of language to evoke what I 'saw' in memory. I found that the common old question 'What was it like?' stimulated recollection and recruited words and images that made my sense of the thing remembered, a place or a smell or the glint of light on water, much more accessible to me than I could have anticipated. It became a discipline for me, always to keep a scene before my eyes and to be ready to value and explore any detail that presented itself to me with an especially pungent or plangent specificity. I wrote much of the book in a darkened room. This was not intended as part of the experiment, but it may have contributed to it. My memories were often as bright as dreams and often as highly detailed. Only the place is actually remembered in the book. None of the characters or events are real. The point was to let my imagination take on the colorations of memory and interpret the place, as music might do."

Not The Absence of Fear

cornel westIn an interview with Questlove Thompson, an interview that's as much about music as anything else, Cornel West defines courage: "But we all live in fear. Courage is not the absence of fear. It is the working through and overcoming of fear. Brother Martin had fear. He just wouldn't allow fear to determine his behavior. As human beings, everyone has stuff coming at them, and a certain kind of fear. But courage is being true to yourself, true to a sense of integrity. And that's what is more and more difficult."

At the Intersection of Art and Commerce

ursula le guinIn her National Book Awards acceptance speech, Ursula K. Lu Guin explains why she loves, and fears for, literature: "Books aren't just commodities; the profit motive is often in conflict with the aims of art. We live in capitalism, its power seems inescapable - but then, so did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art. Very often in our art, the art of words. I've had a long career as a writer, and a good one, in good company. Here at the end of it, I don't want to watch American literature get sold down the river. We who live by writing and publishing want and should demand our fair share of the proceeds; but the name of our beautiful reward isn't profit. Its name is freedom."

On Ethics and Reporting

bill cosbyIn a piece about the resurfaced allegations of rape against Bill Cosby, Ta-Nehisi Coates reminds us that he, like all writers, lives in history, with his own context and biography. Knowing that is a kindness - one, he suggests, that an ethical journalist must transcend: "The Bill Cosby piece was my first shot writing for a big national magazine. I had been writing for 12 financially insecure years. By 2007, when I finished my first draft, I had lost three jobs in seven years. I had just been laid-off by Time magazine. My kid was getting older. I was subsisting off unemployment checks and someone else's salary. A voice in my head was, indeed, pushing me to do something more expansive and broader in its implication, something that did not just question Cosby's moralizing, but weighed it against the acts which I believed he committed. But Cosby was such a big target that I thought it was only a matter of time before someone published a hard-hitting, investigative piece. And besides, I had in my hand the longest, best, and most personally challenging piece I'd ever written. It was not enough. I have often thought about how those women would have felt had they read my piece. The subject was morality - and yet one of the biggest accusations of immorality was left for a few sentences, was rendered invisible. I don't have many writing regrets. But this is one of them. I regret not saying what I thought of the accusations, and then pursuing those thoughts. I regret it because the lack of pursuit puts me in league with people who either looked away, or did not look hard enough. I take it as a personal admonition to always go there, to never flinch, to never look away."

Featured Events

Film Screening & Director's Discussion: Killing Kasztner: The Jew Who Dealt with Nazis

Thursday, December 4, 2014

Reem-Kayden Center Laszlo Z. Bito '60 Auditorium, 5:00 - 8:00 pm

Roundtable on Academic Freedom

Tuesday, December 9, 2014

Bard College Campus Center, Multipurpose Room, 7:00 pm


From the Arendt Center Blog

This week on the Blog, Johannes Lang discusses Arendt's critique of obedience in political and moral matters in the Quote of the Week. Carl Sagan provides this week's Thoughts on Thinking. In our Video Archives, we remember a talk George Kateb gave at our 2011 annual fall conference on the ideal of governmental transparency. And we appreciate Arendt's impressive collection of Goethe's works in our Library feature.

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

Amor Mundi 10/26/14


Hannah Arendt considered calling her magnum opus Amor Mundi: Love of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

The Making of a Hero

Laura PoitrasIn a revelatory and subtle profile of Laura Poitras and her experience making "Citizenfour," her new documentary about Edward Snowden, George Packer raises questions about how close Poitras comes to Snowden's true story, and how uncritically Snowden's own narrative of his actions have become entrenched in the public consciousness: "The heart of the film is the hotel room in Hong Kong, where Poitras finds emotion in the small moments that give 'Citizenfour' the human truth she's always after. Even when the pace slows to the verge of boredom, the footage is mesmerizing, because we are watching a private encounter of great political significance unfold. For Poitras, the film is all about Snowden's decision. But, in this case, ... Snowden had already made his decision to go public, long before he got in touch with Poitras, so by the time we meet him it's a fait accompli. By e-mail and in Hong Kong, he presents his motives as so high-minded and public-spirited that they never become interesting. In Poitras's terms, he has already created a narrative of himself-it's a "locked path." He has stopped being a complicated character, and Poitras doesn't look for ways to complicate him. ... Snowden describes himself as an ordinary government employee who was going about his business until he could no longer ignore the wrongdoing he observed. This self-portrait doesn't completely square with others' accounts or with the historical record. Snowden was not as deeply embedded in the N.S.A.'s institutional culture as were previous agency whistle-blowers, like Binney, who arrived at their breaking points after sustained bureaucratic struggles. Snowden was more alienated and self-isolated, more radical, than that. His biographical trail reveals a young man who becomes most passionate when promoting the importance of maintaining absolute privacy on the Internet-he wore an Electronic Frontier Foundation hoodie to work-and who seems less eager to acknowledge how difficult the trade-off between liberty and security can be in a democratic society. Before the meeting in Hong Kong, he wrote a letter to Poitras and Greenwald that said, in part, "While I pray that public awareness and debate will lead to reform, bear in mind that the policies of men change in time, and even the Constitution is subverted when the appetites of power demand it. In words from history: Let us speak no more of faith in man, but bind him down from mischief by the chains of cryptography." Snowden went to great trouble over a long period to amass the astonishing quantity of secrets that he passed on to Poitras and Greenwald-including taking a private-contractor position solely with the aim of downloading N.S.A. files. None of this is revealed under Greenwald's questioning."

The Phantom in the Opera

death of klinghofferAlex Ross on why the response to the Metropolitan Opera's staging of composer John Adams and librettist Alice Goodman's The Death of Klinghoffer has been so vitriolic: "Adams and his librettist...do not advertise their intentions in neon. The story of the Achille Lauro hijacking is told in oblique, circuitous monologues, delivered by a variety of self-involved narrators, with interpolated choruses in rich, dense poetic language. The terrorists are allowed ecstatic flights, private musings, self-justifications. But none of this should surprise a public accustomed to dark, ambiguous TV shows like 'Homeland.' The most specious arguments against 'Klinghoffer' elide the terrorists' bigotry with the attitudes of the creators. By the same logic, one could call Steven Spielberg an anti-Semite because the commandant in 'Schindler's List' compares Jewish women to a virus. In the opera, the opposed groups follow divergent trajectories. The terrorists tend to lapse from poetry into brutality, whereas Leon Klinghoffer and his wife, Marilyn, remain robustly earthbound, caught up in the pleasures and pains of daily life, hopeful even as death hovers. Those trajectories are already implicit in the paired opening numbers, the Chorus of Exiled Palestinians and the Chorus of Exiled Jews. The former splinters into polyrhythmic violence, ending on the words 'break his teeth'; the latter keeps shifting from plaintive minor to sumptuous major, ending on the words 'stories of our love.' The scholar Robert Fink, in a 2005 essay, convincingly argues that the opera 'attempts to counterpoise to terror's deadly glamour the life-affirming virtues of the ordinary, of the decent man, of small things.' Moreover, subtle references to the Holocaust suggest that a familiar horror is recurring. 'At least we are not Jews,' an old Swiss woman says. 'I kept my distance,' an Austrian frigidly intones. The mellifluous, ineffectual Captain indulges in fantasies of appeasement, conversing under the stars with a silver-tongued terrorist named Mamoud."

Moral Equivalence

death of klinghoffer(2)Alan Dershowitz argues that The Death of Klinghoffer is an affront, first because it establishes a false moral equivalence between Jewish Zionism and Palestinian terrorism and second between the Holocaust and the Occupation. He also faults the music: "By any standard, The Death of Klinghoffer is anything but the 'masterpiece' its proponents are claiming it is. The music is uneven, with some lovely choruses-more on that coming-one decent aria, and lots of turgid recitatives. The libretto is awful. The drama is confused and rigid, especially the weak device of the captain looking back at the events several years later with the help of several silent passengers. There are silly and distracting arias from a British show girl who seems to have had a crush on one of the terrorists, as well as from a woman who hid in her cabin eating grapes and chocolate. They added neither to the drama nor the music of the opera. Then there were the choruses. The two that open the opera are supposed to demonstrate the comparative suffering of the displaced Palestinians and the displaced Jews. The Palestinian chorus is beautifully composed musically, with some compelling words, sung rhythmically and sympathetically. The Jewish chorus is a mishmash of whining about money, sex, betrayal and assorted 'Hasidism' protesting in front of movie theaters. It never mentions the six million Jews who were murdered in the Holocaust, though the chorus is supposed to be sung by its survivors. The goal of that narrative chorus is to compare the displacement of 700,000 Palestinians-some of which was caused by Arab leaders urging them to leave and return victoriously after the Arabs murdered the Jews of Israel-with the systematic genocide of six million Jews. It was a moral abomination.... At bottom The Death of Klinghoffer-a title deliberately selected to sanitize his brutal murder-is more propaganda than art. It has some artistic moments, but the dominant theme is to create a false moral equivalence between terrorism and its victims, between Israel and Palestinian terrorist groups, and between the Holocaust and the self-inflicted Nakba."

Don't Give Up the Fight

Hong Kong protestsKeane Shum on why he won't give up on change in Hong Kong: "So many voices-our own government, the central government, foreign governments, much of the international media, and even some of the protesters themselves-say there is no chance of any concession by the authorities, that this is a futile battle against an intransigent force and can yield only moral victories. It is all just the dreams of naive students, they say, a fantasy. But so is Hong Kong. On that recent Sunday morning in Victoria Harbour, when I had swum to roughly the midpoint between Hong Kong Island and the mainland, I took a moment to drift on my back and let the city wash over me. The harbor and the skyline, the hills and the bays, the food, the movies, the money, and, of course, these protests-politically engaged teenagers doing homework on the streets, collecting garbage, singing songs-all these are unreal. Our city is a dream, a place where umbrellas float through tear gas, schoolchildren lead civic debates instead of virtual lives, and 999 of every 1,000 trains run on time. On that ship in Nanjing 172 years ago where China signed us away, after the British surrendered us on Christmas Day, 1941, when the tanks plowed into Tiananmen Square on the morning of June 4, 1989, we were never supposed to exist, not like this."

Now and Then

Daniel MendelsohnDaniel Mendelsohn, suggests that books, even ones we love, should change as we do: " I teach Sophocles' 'Antigone.' My students, who are in their late teens and early 20s, tend to identify with the fiercely idealistic young heroine, who stands up for family and religion - for freedom of conscience, as we often see it today - against the decrees of her uncle, the autocratic new ruler of the state. But over the past quarter-century I have increasingly appreciated the validity of the uncle's claims: the necessity for order, the incoherence of a state that consists of individuals who cannot recognize the views of others. However much Holden Caulfield's helplessness and sensitivity may move us, it's important to remember that what is problematic in 'The Catcher in the Rye' is its hero's aversion to negotiation and compromise - not the negotiations and compromises themselves, which are simply part of adult life. Whatever else it may mean, the Museum of Natural History scene in Salinger's beloved classic can be read as a powerful allegory of how not to read beloved classics. Like Holden, we can and do keep revisiting them; but when we do, we should always be seeing something new, because the eyes with which we read should have changed."

To Grieve or Not to Grieve?

Colm ToibinIn a comprehensive essay on grief in literature, Colm Toibin points to Hamlet as a model: "I remember in school sitting at the back of the class soon after my father had died and listening to a discussion about Hamlet's madness and Hamlet's character and everyone wondering why Hamlet could in one second be in love, and the next out of love, and then angry and ready for revenge and then ready to procrastinate, the next minute melancholy and the next putting an antic disposition on, and why his tone could be so wise and then also so bitter and sharply sarcastic and rude. How could he be so many things, and how could we define his character? I wish I had put up my hand to say that I thought I understood what was at the root of all his antics. His father had died not long before. That was all. He had been unmoored. While those around him were trying to explain that what had happened was normal, a part of nature, and were trying to get on with things, Hamlet had become wayward and, luckily, Shakespeare had seen the dramatic possibilities of this."

A Lost Generation

South Boston busMichael Patrick MacDonald has a vivid essay-part investigative journalism, part personal recollection of his time growing up in South Boston-about the forced busing that integrated South Boston High School in 1974: "Among the rarely discussed facts about my neighborhood was that white South Boston High School had the highest number of students on welfare in any school, citywide. The school mostly served the population of Southie's three large housing projects and the 'Lower End,' three contiguous census tracts that collectively held the highest concentration of white poverty in the United States, with 73 percent single-parent female-headed households and upwards of 40 percent unemployment rate among adult men. In the years before busing, only 16 percent of students at white South Boston High school went on to college, and when they did, they were usually the first in their families to do so. Former Boston NAACP President Ken Guskett has recently said that, during the battle for desegregation, while white students citywide received more funding per student ($450) than black students ($250 at the black schools in Roxbury)-'the South Boston kids got less than Roxbury.' This is the problem with looking at statistics only by race, rather than also looking at economics." MacDonald brings a panoramic lens to the busing history, exploring how it happened that black children were integrated into the only Boston schools worse than their own, how South Boston united against that integration and lost its soul, and how the Boston elite stood apart from the fray. Above all it is a riveting tale of the personal toll of a well-meaning but poorly instituted government policy. 

How to Read a "Politically Charged Sentence"

heideggerJulia Ireland has published a long essay that centers upon one of those rare genuine scholarly discoveries. Reviewing original manuscripts of Martin Heidegger's lecture courses, she discovered that the published versions of the texts mistakenly read Heidegger's notation for "National Socialism" as "The Natural Sciences." Ireland argues that restoring Heidegger's original words actually helps make sense of his controversial claims in another essay written in the same year in which he speaks of the "inner truth of National Socialism." In doing so, Ireland offers an extraordinary example of how to treat controversial philosophical texts. As she explains in a footnote that should be read more widely: "I am deeply opposed to that style of scholarship whose tendentious use of quotations preempts genuine philosophical analysis in a manner I understand to actively mislead. It remains true that substandard scholarship continues to determine the wider debate surrounding Heidegger's politics and that in the United States such scholarship has received the imprimatur of a university press. (Emmanuel Faye's division of his 'Bibliography' into categories such as 'Works by Other National Socialist and Völkisch Authors,' 'Apologetic and Revisionist Studies,' and 'Works Critical of Heidegger,' in Heidegger: The Introduction of Nazism into Philosophy in Light of the Unpublished Seminars of 1933-35, is blatantly ideological; and his representation of student Protokolle as Heidegger's own words is specious; both should have been challenged by reviewers as violating the most basic principles of scholarship.) By contrast, I intend my analysis here as an alternative for what it means to read a single, politically charged sentence when interpretation has been constrained by the necessity of a philological reconstruction and the willingness to affirm the often surprising layers of complication that have accompanied it."

Featured Events

Yasemin SariLunchtime Talk with Yasemin Sari

An Arendtian Recognitive Politics: "The Right to Have Rights" as a Performance of Visibility

Tuesday, October 28, 2014

The Hannah Arendt Center, 1:30 pm



humanitiesRediscovering the Humanities: Humanities Advocacy in the Digital Age

The Fall Experimental Humanities Mellon Lecture

Thursday, November 6, 2014

Jim Ottaway Jr. Film Center, 5:00 pm - 7:00 pm

Alexei GloukhovLunchtime Talk with Alexei Gloukhov

Arendt and the Question of Positive Freedom

Tuesday, November 18, 2014

The Hannah Arendt Center, 12:30 pm - 2:00 pm



From the Arendt Center Blog

This week on the Blog, Andrew T. Dilts reflects on forgiveness, punishment, and vengeance with respect to George Zimmerman's slaying of Trayvon Martin in the Quote of the Week. C. G. Jung provides this week's Thoughts on Thinking. In our Video Archives, we look back at a talk Bard College President Leon Botstein gave on the state of American education at the Hannah Arendt Center's seventh annual fall conference. And we appreciate a small yet powerful personal library of Arendt's works in our Library feature.

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

Amor Mundi 3/30/14



Hannah Arendt considered calling her magnum opus Amor Mundi: Love of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

Jonathan Schell

schellJonathan Schell has died. I first read "The Fate of the Earth" as a college freshman in Introduction to Political Theory and it was and is one of those books that forever impacts the young mind. Jim Sleeper, writing in the Yale Daily News, gets to the heart of Schell’s power: “From his work as a correspondent for The New Yorker in the Vietnam War through his rigorous manifesto for nuclear disarmament in "The Fate of the Earth", his magisterial re-thinking of state power and people’s power in “The Unconquerable World: Power, Nonviolence, and the Will of the People,” and his wry, rigorous assessments of politics for The Nation, Jonathan showed how varied peoples’ democratic aspirations might lead them to address shared global challenges.” The Obituary in the New York Times adds: “With “The Fate of the Earth” Mr. Schell was widely credited with helping rally ordinary citizens around the world to the cause of nuclear disarmament. The book, based on his extensive interviews with members of the scientific community, outlines the likely aftermath of a nuclear war and deconstructs the United States’ long-held rationale for nuclear buildup as a deterrent. “Usually, people wait for things to occur before trying to describe them,” Mr. Schell wrote in the book’s opening section. “But since we cannot afford under any circumstances to let a holocaust occur, we are forced in this one case to become the historians of the future — to chronicle and commit to memory an event that we have never experienced and must never experience.””

Standing on Someone Else's Soil

suareIn an interview, Simon Schama, author of the forthcoming book and public television miniseries "The Story of the Jews," uses early Jewish settlement in America as a way into why he thinks that Jews have often been cast as outsiders: "You know, Jews come to Newport, they come to New Amsterdam, where they run into Dutch anti-Semites immediately. One of them, at least — Peter Stuyvesant, the governor. But they also come to Newport in the middle of the 17th century. And Newport is significant in Rhode Island because Providence colony is founded by Roger Williams. And Roger Williams is a kind of fierce Christian of the kind of radical — in 17th-century terms — left. But his view is that there is no church that is not corrupt and imperfect. Therefore, no good Christian is ever entitled to form a government [or] entitled to bar anybody else’s worship. That includes American Indians, and it certainly includes the Jews. And there’s an incredible spark of fire of toleration that begins in New England. And Roger Williams is himself a refugee from persecution, from Puritan Massachusetts. But the crucial big point to make is that Jews have had a hard time when nations and nation-states have founded themselves on myths about soil, blood and tribe."

Don't Get Older: or Don't Show It

techNoam Scheiber describes the “wakeful nightmare for the lower-middle-aged” that has taken over the world of technology. The desire for the new, new thing has led to disdain for age; “famed V.C. Vinod Khosla told a conference that “people over forty-five basically die in terms of new ideas.” The value of experience and the wisdom of age or even of middle are scorned when everyone walks around with encyclopedias and instruction manuals in our pockets. The result: “Silicon Valley has become one of the most ageist places in America. Tech luminaries who otherwise pride themselves on their dedication to meritocracy don’t think twice about deriding the not-actually-old. “Young people are just smarter,” Facebook CEO Mark Zuckerberg told an audience at Stanford back in 2007. As I write, the website of ServiceNow, a large Santa Clara–based I.T. services company, features the following advisory in large letters atop its “careers” page: “We Want People Who Have Their Best Work Ahead of Them, Not Behind Them.””

You and I Will Die Unbelievers, Tied to the Tracks of the Train

artKenan Malik wonders how non-believers can appreciate sacred art. Perhaps, he says, the godless can understand it as "an exploration of what it means to be human; what it is to be human not in the here and now, not in our immediacy, nor merely in our physicality, but in a more transcendental sense. It is a sense that is often difficult to capture in a purely propositional form, but one that we seek to grasp through art or music or poetry. Transcendence does not, however, necessarily have to be understood in a religious fashion, solely in relation to some concept of the divine. It is rather a recognition that our humanness is invested not simply in our existence as individuals or as physical beings but also in our collective existence as social beings and in our ability, as social beings, to rise above our individual physical selves and to see ourselves as part of a larger project, to project onto the world, and onto human life, a meaning or purpose that exists only because we as human beings create it."

The Singularity is the News

algoThe Niemen Journalism lab has the straight scoop about the algorithm, written by Ken Scwhenke, that wrote the first story about last week's West Coast earthquake. Although computer programs like Schwenke's may be able to take over journalism's function as a source of initial news (that is, a notice that something is happening,) it seems unlikely that they will be able to take over one of its more sophisticated functions, which is to help people situate themselves in the world rather than merely know what's going on in it.

Laughing at the Past

comicIn an interview, Kate Beaton, the cartoonist responsible for the history and literature web comic Hark A Vagrant!, talks about how her comics, perhaps best described as academic parody, can be useful for teachers and students: "Oh yes, all the time! That’s the best! It’s so flattering—but I get it, the comics are a good icebreaker. If you are laughing at something, you already like it, and want to know more. If they’re laughing, they’re learning, who doesn’t want to be in on the joke? You can’t take my comics at face value, but you can ask, ‘What’s going on here? What’s this all about?’ Then your teacher gets down to brass tacks."

From the Hannah Arendt Center Blog

This week on the blog, our Quote of the Week comes from Arendt Center Research Associate, Thomas Wild, who looks at the close friendship between Hannah Arendt and Alfred Kazin who bonded over literature, writers, and the power of the written word.

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

Amor Mundi 12/1/13



Hannah Arendt considered calling her magnum opus Amor Mundi: Love of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

The Unwinding

unwin2George Packer’s The Unwinding, just won the National Book Award for non-fiction. The award is deeply deserved; the book is as subtle as it is searing, a brilliantly told series of interlocking tales of the moral and institutional hollowing out of the American dream. Two new reviews get its importance. One is by Jim Sleeper: “The inward-looking force in [Packer’s] portraits of individual Americans in his book The Unwinding is strong enough to unsettle and even crack the thick crust of conformity to the "new normal" into which most of us have been baked, half-consciously, since around 1980. By "thick crust," I mean a regime, really, of casino-financing at work; of big-business' degradation of our daily and political choices using consumer marketing, self-marketing, and predatory marketing; and of Orwellian "national-security" violations of faith in authority that, taken together, comprise a system that few people anywhere on the political spectrum still feel is legitimate or sustainable but that no one knows how to escape, other than through "every man for himself" tactics that make matters worse.”  A second review, by Thomas Franks, gets to the heart of Packer’s approach: “Until now, to write about the pauperization of America has always been a political deed. This is because what Packer calls “the unwinding” was not an act of nature; it was a work of ideology. It is something that has been done to us by public officials that a lot of us voted for. Draining out this aspect of the genre is Packer’s accomplishment, the move that separates his book from the thousand similar efforts that I mentioned above. It is, strictly speaking, what makes his contribution eligible for the National Book Award while an equally transcendent book like Deer Hunting with Jesus is ignored by bien-pensant critics and prize juries alike. Packer says what dozens of others have said before, but he does it in a way that everyone can see is “art”; in a way that avoids giving offense.”’

Margarethe von Trotta on Hannah Arendt

dvd“The light that Hannah Arendt’s work brought into the world still shines. And because her work is invoked by an ever-increasing number of people, it becomes brighter every day. In a time when most felt obligated to adhere to a specific ideology, Arendt was a shining example of someone who remained true to her unique perspective on the world.” So begins Margarethe von Trotta’s essay on Hannah Arendt that introduces the special edition booklet that accompanies the just-released DVD and Blu-Ray Disks. You can get a copy of the DVD or Blu-Ray disks now for a limited time with your membership in the Hannah Arendt Center at the $100 level or higher.

Naming a Thing

metIn an essay about his own discovery of the perfect description of a thing for which there is no proper word, Brad Leithauser considers the excellence of a metaphor: "Back in college, in one of those roots-of-civilization survey courses that flourished in the days before the near-simultaneous birth of irony and multiculturalism, I was told that the greatest similes and metaphors belonged to Homer. It’s in Book 1 of the Iliad that we’re given our first taste of the “wine-dark sea,” and I don’t suppose anyone ever has better evoked the mesmerizing, inebriating thoughts that marine motion moves in us. In Book 8, we come upon the famous image where the Trojan campfires become constellations. And in a number of places, Achilles is likened to a lion. But as equations go (ocean equals wine, campfire equals constellation, leading warrior equals king of beasts), these don’t represent leaps of any sizable or significant distance. To my mind, the deeper pleasure in metaphor lies in creating unexpected equations, perceiving likeness in the land of unlikeness.” If you want to pursue the importance of metaphors in thinking, look at Arendt’s account of metaphors in chapters 11-12 of The Life of the Mind: “the function of metaphor as “turning the mind back to the sensory world in order to illuminate the mind’s non-sensory experiences for which there are no words in any language.”

What is Politics?

conference“What is Politics?” is the question taken up by a conference co-sponsored by the Hannah Arendt Center and the Villa Aurora in Los Angeles earlier this month. Hannah Arendt dedicated her work to the reinvention of the public realm and to freedom in political action. Today, as in the 1960s, her ideas inspire theoretical debates as well as civil political initiatives. The conference, with lectures by experts on Hannah Arendt’s work, focused on the influence of her European-American experience and the particular importance of transcultural exchange in Arendt’s theory of political action. Speakers included Marie Luise Knott, Anson Rabinbach; Princeton University, Peg Birmingham; DePaul University, Robert Harrison; Stanford University, Martín Plot; California Institute of the Arts, Wolfgang Heuer; Freie Universität Berlin, and Roger Berkowitz; Bard College. Most of the talks were videotaped and are now online. They are your weekend read. Happy Thanksgiving.

The Controversy of Eichmann in Jerusalem, Burning Strong Even 50 Years Later

eijThis past week in the New York Times book review, two eminent journalists took their turn at describing why Arendt's Eichmann in Jerusalem remains controversial and meaningful. For Adam Kirsch, it's all about a difference in feeling, "It’s not hard to see that for Arendt, this stringency was a form of respect. By holding Jews to what she conceived to be the highest professional and personal standards, she was treating them as full moral persons." Rivka Galchin sees in Arendt’s critics a sometimes willful, misunderstanding: "Arendt does not argue that the Holocaust and its unspeakable horrors are banal. She does not endorse or believe Eichmann’s presentation of himself as a man beset by the tricky virtue of obedience. And she does not say that the evil she saw in Eichmann is the only kind of evil. Many of the objections to her work are based on arguments never made."

The Frankenbook

transRowland Manthorpe considers the future of the multimedia book, in the wake of a Device 6, a kind of literary video game: "As gamers and readers come together, and devices offer new possibilities for interactive texts, books may come to resemble games. Eventually, reading a novel could be like playing something like Device 6. Imagine Philip Glass writing a creepy-as-hell score for the new Stephen King, with music that comes in just at the right moment: Such a thing could be done, right now, because when a reader is reading on a smartphone, it is possible to know exactly where they are in a text. Or imagine a novel that takes over your phone and starts sending you text messages. Once writers and publishers start to engage seriously with tablet technology, the possibilities are vast."

Lilla's Misreading Redux

arenYou can read Roger Berkowitz’s Letter in the New York Review of Books, along with Lilla’s response. Berkowitz writes: “Lilla’s argument misleads when addressing Arendt’s view that Eichmann exemplified “the fearsome, word-and-thought-defying banality of evil.” Lilla accuses Arendt of calling Eichmann “a cog”; in fact, she argues otherwise, writing—in sections IV, VII, and the epilogue to Eichmann in Jerusalem—that he went beyond orders, enthusiastically supporting the Final Solution. Lilla writes that Arendt “made evil seem banal”; in fact, Arendt contrasts the horrific evil of the Holocaust with Eichmann’s inability to think from the perspective of others—banality not of what he did (evil), but of his person. That “evil violates a natural harmony” is, Arendt writes, the nonbanal and “supreme justification” for why Eichmann must be executed.” Lilla continues to enlist Bettina Stangneth and her excellent book, Eichmann vor Jerusalem, to discredit Arendt’s argument about the banality of evil. But Stangneth does nothing of the sort; on the contrary, she explicitly credits Arendt and refuses to say that her book disproves Arendt, precisely the claim Lilla makes.

From the Hannah Arendt Center Blog

This week on the blog, Wolfgang Heuer examines the correlation between personality and human thought and action. The weekend read revisits the recent conference at Villa Aurora in LA on Hannah Arendt, "What is Politics?"

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

Thinking Metaphors



This Quote of the Week post was first published on August 27, 2012.

“What connects thinking and poetry [Dichten] is metaphor. In philosophy one calls concept what in poetry [Dichtkunst] is called metaphor. Thinking creates its “concepts” out of the visible, in order to designate the invisible.”

-Hannah Arendt, Denktagebuch, vol. 2, p. 728 (August 1969) (translation my own)

Arendt’s Denktagebuch is less a “book” than a collection of “thought fragments”. These fragments, such as the one quoted above, are perhaps best considered not as advocating some position, but as specific angles or starting points from which we are invited to think something through.

All too often, her published works are understood in an “advocatory” fashion. Accordingly, The Human Condition, is sometimes read as a “plea” in favor of the vita activa over and against the vita contemplativa. In fact, however, Arendt explicitly denies that she wishes to reverse the traditional hierarchy between the two ways of life. Rather, she is questioning the conceptual framework within which both ways of life have traditionally been understood.


Hence, I take it to be her aim not only to liberate acting [Handeln] from its being reduced to nothing more than an instrument in the process of making [Herstellen], but, analogously, to liberate the activity of thinking from its being reduced to nothing more than an instrument in the process of cognition culminating in contemplation, in “seeing” the truth which, in turn, serves as blueprint for the process of making. She notes that both the process of making, which uses mute violence, and the end of contemplation, which is reached in a state of speechless wonder, entail a loss of language.[1] As a consequence, the element of speech has disappeared not only from our conception of action (including politics), but also from our conception of thinking (including philosophy).

If not from the model of the passive contemplation, how does Arendt wish to understand the activity of thinking? In my view, there are at least three thinking “motifs” which can be traced throughout her oeuvre. The first, and certainly the best known, is that of “dialectical thinking”, that is, the soundless dialogue between me and myself (“two-in-one”). It is used in The Origins of Totalitarianism, and it keeps recurring in many of her later works, including The Life of the Mind. The second, somewhat less prominent motif is that of “representative thinking”, which denotes the capacity of placing oneself in the perspectives of (more than two) fellow human beings, and which prepares the formation of opinions and judgments. The notion itself occurs for the first time in ‘The Crisis in Culture’ (1960), but it is clearly related to, if not identical with, the “communicative” thinking introduced in her essays on Karl Jaspers a few years earlier.

The third motif, “poetic thinking”, is perhaps the most interesting one. Although she uses the term itself exclusively in her essay on Walter Benjamin (1968), a description of the underlying phenomenon recurs in The Life of the Mind, more specifically in its two chapters on metaphor. Arendt describes the function of metaphor as “turning the mind back to the sensory world in order to illuminate the mind’s non-sensory experiences for which there are no words in any language.” (The Life of the Mind, vol.1, p. 106)


As soon as we realize, as do the poets, that all language is metaphorical, we will, as thinkers, be able to assess the crucial role of our language in bridging the gap between the visible phenomena of the outer world and the invisible concepts of our inner mind. To give an example, by tracing a concept – such as “politics” – to its originally underlying experience – the Greek polis – we will be able to assess whether the way in which we employ it, is “adequate”, that is, whether we actually employ it in any meaningful way, whether it really “makes sense”.

In concluding her chapters on metaphor, Arendt raises the challenging question whether there exists a metaphor that could serve to illuminate the invisible activity of “thinking” itself. The most she is willing to offer, however, is the metaphor of “the sensation of being alive”, of which she herself readily admits that it “remains singularly empty” (idem, p. 124).

Why does she not mention the metaphor of poetry here? In the Denktagebuch fragment quoted above, written while she was preparing The Life of the Mind, Arendt clearly points to a certain correspondence between the role of metaphor in poetry and the role of concept in thinking. Perhaps we may go so far as to suggest that she uses poetry – or rather, since she uses the substantivized German verb “Dichten”, the activity of “making poetry” – as a metaphor for thinking.

However, the word “poetry” itself is derived from the Greek word “poièsis”, which should be rendered as “making” [Herstellen]. Hence, she might have thought that by using poetry as a metaphor for thought, she would have reiterated the traditional problem of the activity of thinking having been overlaid with the contemplative element in the experience of making. Indeed, in The Human Condition, in the section titled ‘The Permanence of the World and the Work of Art’, she seems to imply that writing poetry involves “the same workmanship which, through the primordial instrument of human hands, builds the other durable things of the human artifice.” (The Human Condition, p. 169)

Yet, in the very same section another, more promising, understanding of “poetry” is beginning to emerge. Arendt calls music and poetry “the least “materialistic” of the arts because their “material” consists of sounds and words” – note her use of quotation marks here – and she adds that the workmanship they demand is “kept to a minimum”.


Moreover, after having suggested that the durability of a poem is not so much caused by the fact that it is written down, but by “condensation”, she speaks of poetry as “language spoken in utmost density and concentration” (idem, p. 169). The German word for condensation is “Verdichtung” and for density “Dichte”. While being absent in the English expression of “making poetry”, both words clearly resonate in the German verb “dichten”.

Arendt does not draw any explicit connection between the activity of condensation and the use of metaphor. Still, she might have had it in mind. One page earlier (idem, p. 168), she referred to a poem by Rilke in order to illustrate the “veritable metamorphosis” a work of art is capable of bringing about, being more than a mere reification, more than a matter of “making” in the ordinary sense. Consider especially the second strophe, which simultaneously articulates and demonstrates the power of metaphor in “calling” the invisible:

Here is magic. In the realm of a spell
the common word seems lifted up above...
and yet is really like the call of the male
who calls for the invisible female dove.[2]

- Wout Cornelissen

[1] See, amongst others, Denktagebuch, pp. 345-346.

[2] Translation by John J.L. Mood. Arendt quotes the German original only.

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

Amor Mundi 3/17/13



Hannah Arendt considered calling her magnum opus Amor Mundi: Love of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

flow The Conquest of Nature

Lewis Lapham offers a tour through the centuries of how the animal was seen as the educator of man. "Virgil's keeping of bees on his country estate in 30 BC led him in book four of the Georgics to admire their work ethic." "The eighteenth-century naturalists" turned to "the animal kingdom for signs of good government." And Pliny the Elder thought animals so exceptional that "man by comparison "is the only animal that knows nothing and can learn nothing without being taught." But animals, Lapham laments, have disappeared from our world, except in the form of domesticated pets. Along with them, we lose our teachers and models for the humble life "at ease within the great chain of being but also in concert with the tides and the season and the presence of death."


beeMusic: A Physical Metaphysics

In a paean to Beethoven, Daniel Barenboim writes: "although the focus of this essay will indeed be Beethoven's music, it must be understood that one cannot explain the nature or the message of music through words. Music means different things to different people and sometimes even different things to the same person at different moments of his life. It might be poetic, philosophical, sensual, or mathematical, but in any case it must, in my view, have something to do with the soul of the human being. Hence it is metaphysical; but the means of expression is purely and exclusively physical: sound. I believe it is precisely this permanent coexistence of metaphysical message through physical means that is the strength of music. It is also the reason why when we try to describe music with words, all we can do is articulate our reactions to it, and not grasp music itself."


dreyfu Opening the Dreyfus Files

Caroline Weber reports that the French Government has, 120 years after the fact, released the full dossier on Captain Alfred Dreyfus, a Jewish officer who was tried and sentenced to life imprisonment on a fabricated charge of treason. The Dreyfus affair was born of antisemitism; it awoke acculturated Jews like Theodor Herzl to the fact that Jews could not live safely in Europe and needed a homeland of their own, thus birthing the modern Zionist movement. The Affair also inspired Marcel Proust who saw in the outspoken reaction to an unjust persecution one of the first times when Jews-who previously had lived hidden and clandestine lives-rallied around their own. Weber looks at the Proustian jointure of Jewishness and homosexuality as a first flowering of minority consciousness-something Hannah Arendt explores with much darker overtones in The Origins of Totalitarianism. For Weber, the release of the Dreyfus dossier is an opportunity: "opponents of homophobia, anti-Semitism and all related strains of criminalizing bigotry can take the full measure of the mechanisms at work in the Dreyfus Affair, and can reaffirm the importance of "marginal" identities being allowed to come in from the cold."

scie The Anti-Science Left

Adam Garfinkle talks to Alex Berezow about his new book Science Left Behind: Feel-Good Fallacies and the Rise of the Anti-Scientific Left. In their book Berezow, and co-author Hank Campbell, "challenge the idea that progressivism is the 'pro-science' ideology, or that the Democratic Party is pro-science," and take on "many of their pet positions, from their opposition to nuclear power, to genetically modified foods." In the interview, he focuses on the conflict between culture and politics on the one hand and science on the other, saying that "as someone who has training in science, I am a little offended by someone who was willing to twist the science to create political propaganda. Scientists don't talk like that; we don't sensationalize. We look at the pros and cons and make a reasonable decision from there."

wikMo Yan's China

A few weeks ago, newly minted Noble Laureate Mo Yan gave a wide-ranging interview to Der Spiegel. In it, Mo complicates recent criticism that claims that he is a state writer and therefore, as Ai Weiwei put it, "detached from reality" and incapable of representing "current China."  Mo Yan said: "Aren't many artists in mainland China state artists? What about those who are professors at the universities? What about those who write for state newspapers? And then, which intellectual can claim to represent China? I certainly do not claim that. Can Ai Weiwei? "

Featured Upcoming N.Y.C. Event

frmBlogging and the New Public Intellectual

An Ongoing Series of discussions moderated by Roger Berkowitz and Walter Russell Mead.

April 9, 2013 at Bard Graduate Center

David Frum, blogger for The Daily Beast  &  The Huffington Post.

Learn more  here

"David Frum is back. And he's jockeying to be the front and center of the post-Romney American conservative movement".  - Eddy Moretti

From the Hannah Arendt Center Blog

This week on the blog, Jeff Jurgens covered the complicated history and current controversy over Berlin's East Side Gallery. Nikita Nelin considered the implications of the Brain Activity Map initiative. Tracy Strong discussed the role of wonder in Arendt's thinking. Finally, last weekend Roger Berkowitz and Walter Russell Mead had a public conversation with General Stanley McChrystal. You can read Roger's thoughts on McChrystal's new book My Share of the Task here.

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

The Irony of Sincerity


A few weeks ago, Christy Wampole, a professor of French at Princeton, took to the New York Times to point to what she sees as a pandemic of irony, the symptom of a malignant hipster culture which has metastasized, spreading out from college campuses and hip neighborhoods and into the population at large. Last week, author R. Jay Magill responded to Wampole, noting that the professor was a very late entry into an analysis of irony that stretches back to the last gasps of the 20th century, and that even that discourse fits into a much longer conversation about sincerity and irony that has been going on at least since Diogenes.

Of course, this wasn’t Magill’s first visit to this particular arena; his own entry, entitled Sincerity: How a Moral Ideal Born Five Hundred Years Ago Inspired Religious Wars, Modern Art, Hipster Chic, and the Curious Notion That We All Have Something to Say (No Matter How Dull), came out in July. Magill very effectively recapitulates the main point from his book in his article for the Atlantic, but, if you were to read this new summary alone, you would both deny yourself of some of the pleasures of Magill’s research and prose, as well as spare yourself from some of his less convincing arguments, arguments which, incidentally, happen to suffice for the thrust of his recent article.

The most interesting chapters of Magill’s book deal with the early history of the rise of sincerity, which he traces back to the Reformation. In Magill’s telling, the word “sincere” enters the record of English in 1533, when an English reformer named John Frith writes, to Sir Thomas More, that John Wycliffe “had lived ‘a very sincere life.’” Before that use, in its origin in Latin and French, the word “sincere” had only been used to describe objects and, now, Frith was using it not only for the first time in English but also to describe a particular individual as unusually true and pure to his self, set in opposition to the various hypocrisies that had taken root within the Catholic Church. Magill sums this up quite elegantly: “to be sincere” he writes “was to be reformed.”

Now, this would have been revolutionary enough, since it suggested that a relationship with God required internal confirmation rather than external acclamation—in the words of St. Paul, a fidelity to the spirit of the law and not just the letter. And yet reformed sincerity was not simply a return to the Gospel. In order to be true to one’s self, there must be a self to accord with, an internal to look towards. Indeed, Magill’s history of the idea of sincerity succeeds when it describes the development of the self, and, in particular, that development as variably determined by the internal or the external.

Image by Shirin Rezaee

It gets more complicated, however, or perhaps more interesting, when Magill turns towards deceptive presentations of the self, that is, when he begins to talk about insincerity. He begins this conversation with Montaigne, who “comes to sense a definite split between his public and private selves and is the first author obsessed with portraying himself as he really is.” The most interesting appearance of this conversation is an excellent chapter on Jean-Jacques Rousseau, who suggested that people should aspire to self-sameness, should do their best to “reconcile” one’s self to one’s self, a demand for authenticity that would come to be fully expressed in Immanuel Kant’s moral law, the command that I must set myself as a law for myself.

Sincerity, the moral ideal first put forth by John Frith, started as the Reformation’s response to the inability of the Catholic Church to enact that particular principle, in other words, its hypocrisy. This follows for each of the movements that Magill writes about, each responding to the hypocrisy of their own moment in a specific way. On this matter he has a very good teacher, Hannah Arendt, an inheritor of Kant, who was himself a reader of Rousseau. Arendt writes, in Crisis of the Republic, what might serve as a good summation of one of Magill’s more convincing arguments: “if we inquire historically into the causes likely to transform engagés into enragés, it is not injustice that ranks first, but hypocrisy.”

Still, while what makes the sincerity of Frith (who was burned at the stake) or Wycliffe (whose body was exhumed a half century after his death so that it, too, could be burned) compelling is the turn inwards, it is Rousseau’s substitution of the turn back for that turn inward that appears to interest Magill, who decries “the Enlightenment understanding of the world” that “would entirely dominate the West, relegating Rousseau to that breed of reactionary artististic and political minds who stood against the progress of technology, commerce, and modernization and pined for utopia.”

The whole point is moot; Rousseau was himself a hypocrite, often either unable or unwilling to enact the principles he set out in his writings. As Magill moves forward, though, it becomes clear the he values the turn back as a manifestation of sincerity, as a sort of expressing oneself honestly. The last few hundred years in the development of sincerity, it seems, are finding new iterations of the past in the self. He writes that the Romantics, a group he seems to favor as more sincere than most, “harbored a desire to escape a desire to escape forward-moving, rational civilization by worshipping nature, emotion, love, the nostalgic past, the bucolic idyll, violence, the grotesque, the mystical, the outcast and, failing these, suicide.” In turn, in his last chapter, Magill writes that hipster culture serves a vital cultural purpose: its “sincere remembrance of things past, however commodified or cheesy or kitschy or campy or embarrassing, remains real and small and beautiful because otherwise these old things are about to be discarded by a culture that bulldozes content once it has its economic utility.”

The hipster, for Magill, is not the cold affectation of an unculture, as Wampole wants to claim, but is instead the inheritor “of the the entire history of the Protestant-Romantic-rebellious ethos that has aimed for five hundred years to jam a stick into the endlessly turning spokes of time, culture and consumption and yell, “Stop! I want to get off!”

There’s the rub. What Magill offers doesn’t necessarily strike me as a move towards sincerity, but it is definitely a nod to nostalgia. Consider how he recapitulates his argument in the article:

One need really only look at what counts as inventive new music, film, or art. Much of it is stripped down, bare, devoid of over-production, or aware of its production—that is, an irony that produces sincerity. Sure, pop music and Jeff Koons alike retain huge pull (read: $$$), but lately there has been a return to artistic and musical genres that existed prior to the irony-debunking of 9/11: early punk, disco, rap, New Wave—with a winking nod to sparse Casio keyboard sounds, drum machines, naïve drawing, fake digital-look drawings, and jangly, Clash-like guitars. Bands like Arcade Fire, Metric, Scissor Sisters, CSS, Chairlift, and the Temper Trap all go in for heavy nostalgia and an acknowledgement of a less self-conscious, more D.I.Y. time in music.

Here, Magill is very selectively parsing the recent history of “indie music,” ignoring a particularly striking embrace of artificial pop music that happened alongside the rise of the “sincere” genres, like new folk, that he favors. There’s no reason to assume that Jeff Koons’s blown up balloon animals or Andy Warhol’s Brillo Boxes are any less sincere than the Scissor Sisters’s camp disco, just as there is no reason to assume that a desire to return to nature is any less sincere than the move into the city. Although Magill makes a good argument for the hipster’s cultural purpose, that purpose is not itself evidence that the hipster is expressing what’s truly inside himself, just as there’s no way for you to be sure that I am sincerely expressing my feelings about Sincerity. Magill, ultimately, makes the same mistake as Wampole, in that he judges with no evidence; the only person you can accurately identify as sincere is yourself.

-Josh Kopin

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

In Praise of Adventurous Music


The Arendt Center's Senior Fellow, Wyatt Mason, has a piece in today's New York Times about the singer and songwriter, Regina Spektor. Spektor, who hails from Russia, and now lives in New York City, will be releasing her sixth album, "What We Saw From the Cheap Seats" on May 29. The musician has strong opinions on music as an art form:

A lot of it comes from the fact that people don’t listen to adventurous music. It doesn’t mean that you won’t write a simple, pure pop song. But that I think is the difference between the Beatles and Queen and all these awesome bands. You could hear that they were listening to Irish music and classical music and jazz and rock ’n’ roll and blues and also symphony. It’s all in there.

Later in the article, Spektor continues:

I love worlds that are so complete that you just can relax,” Spektor said, “because when the art is that complete, it makes something in me just calm. But a lot of new things . . . there’s this tension. I’ll take everything that is awesome from it and leave everything that I don’t like. It can be an uneven piece and still worth it. But you put on ‘Rubber Soul,’ or ‘Sgt. Pepper,’ or ‘Freewheeling Bob Dylan’ and it’s just . . . solid. From the first note you hear, it never goes wrong. Why can’t everything be like that?

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

Thinking Challenge Excerpt-Katya Lebedev


Truth is necessarily related to responsibility, that is to say that, when one proclaims a fact to be true, one takes a certain amount of responsibility for the statement. Particularly if the proclamation was made in a dispute and the only resolution in sight depends on the outcome of a game of tug-of-war between the “greater” and the “lesser” truths. In the case of the Conservatory, there can be no truth (at least factual truths) since the fog of falsehood has settled on most layers of bureaucratic life in Russia. However, this doesn't impede those whose lives are affected by the falsehoods to retaliate. Students protested, pictures were published and, while the story remained unclear, the outrage spread across all spheres of communication, from blogs to magazines and from youtube videos to newspapers. In some ways, it feels as though the proliferation of untruths have allowed more people to participate in the discussion of truth, as the burden of absolute responsibility has been lifted. Perhaps this is a negative reaction but, so long as the criticism and versions of truths spread, the conversations and debates can continue. The instant one truth has been installed or accepted, it risks being forgotten or worse, taken as an established fact. If a truth is to be eternal, it cannot be immutable, it must adapt to the changing ages, the changing attitudes and the changing people.

This is why, the case of the Conservatory is particular: it is a remnant of the past, and thus the culture of the present. Furthermore, it is a centre for education grounded in the concept of discipline, which on its own is a demonstration of respect for the traditions and the ways of the past. If one were to hazard a guess as to why the Conservatory has become so neglected and dilapidated, it should address the question of discipline. If politics had not strayed from a path of tradition and established methods, there might remain at least a glimmer of respect for the past, while continuing to evolve and adapt to the present. Instead, the breakneck speed of modern politics have left truth and tradition crumpled in the corner, as pitiful as the drenched pile of sheets of music, written by a composer who was once respected and remembered.

Click here to read the full submission.

Click here to learn more about the thinking challenge.

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

Thinking Challenge Submission-Katya Lebedev


The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.

Nietzsche via Julian Young via Scott Horton


You could do far worse than spending a few minutes on a Sunday reading Scott Horton's brief interview with Julian Young on the philosopher of the bent bow.

A Snippet:

“Without music life would be an error” is a great T-shirt slogan, but its meaning is far from obvious. Here is how Nietzsche glosses his aphorism in a letter from 1888, the last year of his sanity:

Music … frees me from myself, it sobers me up from myself, as though I survey the scene from a great distance … It is very strange. It is as though I had bathed in some natural element. Life without music is simply an error, exhausting, an exile.

Nietzsche’s first book, The Birth of Tragedy, dedicated to Richard Wagner, is constructed around the duality between the “Apollonian” and the “Dionysian.” Apollo stands for intellect, reason, control, form, boundary-drawing and thus individuality. Dionysus stands for the opposites of these; for intuition, sensuality, feeling, abandon, formlessness, for the overcoming of individuality, absorption into the collective. Crucially, Apollo stands for language and Dionysus for music. What, therefore, music does is to–as we indeed say–”take one out of oneself.” Music transports us from the Apollonian realm of individuals to which our everyday self belongs and into the Dionysian unity. Music is mystical.

Since the human essence is the will to live–or for Nietzsche, the “will to power”–the worst thing that can happen to us is death. Death is our greatest fear, so that without some way of stilling it we cannot flourish. This is why musical mysticism is important. In transcending the everyday ego we are delivered from “the anxiety brought by time and death.” Through absorption into what Tristan und Isolde calls the “waves of the All,” we receive the promise and experience of immortality.

Later on, Nietzsche realized that not all music is Dionysian. Much classical music, based as it is on the geometrical forms of dance and march, is firmly rooted in the Apollonian. Yet as the 1888 letter indicates, he never abandoned the musical “antidote” to death. Without music, life would be anxiety and then extinction. Without music, life would be an “exile” from the realm of immortality.

Roger Berkowitz
Roger Berkowitz is Associate Professor of Political Studies and Human Rights at Bard College, and Academic Director of the Hannah Arendt Center for Politics and the Humanities. He is also the author of "Gift of Science: Leibiniz and the Modern Legal Tradition", as well as co-editor of "Thinking in Dark Times: Hannah Arendt on Ethics and Politics".