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Hannah Arendt PDF

233 Pages·2021·9.498 MB·English
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Hannah Arendt Titles in the series Critical Lives present the work of leading cultural figures of the modern period. Each book explores the life of the artist, writer, philosopher or architect in question and relates it to their major works. In the same series Hannah Arendt Samantha Rose Hill Arthur Koestler Edward Saunders Antonin Artaud David A. Shafer Akira Kurosawa Peter Wild Roland Barthes Andy Stafford Lenin Lars T. Lih Georges Bataille Stuart Kendall Jack London Kenneth K. Brandt Charles Baudelaire Rosemary Lloyd Pierre Loti Richard M. Berrong Simone de Beauvoir Ursula Tidd Rosa Luxemburg Dana Mills Samuel Beckett Andrew Gibson Jean-François Lyotard Kiff Bamford Walter Benjamin Esther Leslie René Magritte Patricia Allmer John Berger Andy Merrifield Stéphane Mallarmé Roger Pearson Leonard Bernstein Paul R. Laird Thomas Mann Herbert Lehnert and Eva Wessell Joseph Beuys Claudia Mesch Gabriel García Márquez Stephen M. Hart Jorge Luis Borges Jason Wilson Karl Marx Paul Thomas Constantin Brancusi Sanda Miller Henri Matisse Kathryn Brown Bertolt Brecht Philip Glahn Guy de Maupassant Christopher Lloyd Charles Bukowski David Stephen Calonne Herman Melville Kevin J. Hayes Mikhail Bulgakov J.A.E. Curtis Henry Miller David Stephen Calonne William S. Burroughs Phil Baker Yukio Mishima Damian Flanagan John Cage Rob Haskins Eadweard Muybridge Marta Braun Albert Camus Edward J. Hughes Vladimir Nabokov Barbara Wyllie Fidel Castro Nick Caistor Pablo Neruda Dominic Moran Paul Cézanne Jon Kear Georgia O’Keeffe Nancy J. Scott Coco Chanel Linda Simon Octavio Paz Nick Caistor Noam Chomsky Wolfgang B. Sperlich Pablo Picasso Mary Ann Caws Jean Cocteau James S. Williams Edgar Allan Poe Kevin J. Hayes Joseph Conrad Robert Hampson Ezra Pound Alec Marsh Salvador Dalí Mary Ann Caws Marcel Proust Adam Watt Guy Debord Andy Merrifield Arthur Rimbaud Seth Whidden Claude Debussy David J. Code John Ruskin Andrew Ballantyne Gilles Deleuze Frida Beckman Jean-Paul Sartre Andrew Leak Fyodor Dostoevsky Robert Bird Erik Satie Mary E. Davis Marcel Duchamp Caroline Cros Arnold Schoenberg Mark Berry Sergei Eisenstein Mike O’Mahony Arthur Schopenhauer Peter B. Lewis William Faulkner Kirk Curnutt Dmitry Shostakovich Pauline Fairclough Gustave Flaubert Anne Green Adam Smith Jonathan Conlin Michel Foucault David Macey Susan Sontag Jerome Boyd Maunsell Mahatma Gandhi Douglas Allen Gertrude Stein Lucy Daniel Jean Genet Stephen Barber Stendhal Francesco Manzini Allen Ginsberg Steve Finbow Igor Stravinsky Jonathan Cross Johann Wolfgang von Goethe Jeremy Adler Rabindranath Tagore Bashabi Fraser Günter Grass Julian Preece Pyotr Tchaikovsky Philip Ross Bullock Ernest Hemingway Verna Kale Leo Tolstoy Andrei Zorin Langston Hughes W. Jason Miller Leon Trotsky Paul Le Blanc Victor Hugo Bradley Stephens Mark Twain Kevin J. Hayes Derek Jarman Michael Charlesworth Richard Wagner Raymond Furness Alfred Jarry Jill Fell Alfred Russel Wallace Patrick Armstrong James Joyce Andrew Gibson Simone Weil Palle Yourgrau Carl Jung Paul Bishop Tennessee Williams Paul Ibell Franz Kafka Sander L. Gilman Ludwig Wittgenstein Edward Kanterian Frida Kahlo Gannit Ankori Virginia Woolf Ira Nadel Søren Kierkegaard Alastair Hannay Frank Lloyd Wright Robert McCarter Yves Klein Nuit Banai Hannah Arendt Samantha Rose Hill reaktion books For my father, Paul, who understands new beginnings. Published by reaktion books ltd Unit 32, Waterside 44–48 Wharf Road London n1 7ux, uk www.reaktionbooks.co.uk First published 2021 Copyright © Samantha Rose Hill 2021 All rights reserved No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in Great Britain by TJ Books Ltd, Padstow, Cornwall A catalogue record for this book is available from the British Library isbn 978 1 78914 379 9 Contents Introduction: Understanding 7 1 Inner Awakening 16 2 Shadows 33 3 Love and Saint Augustine 43 4 Life of a Jewess 50 5 Turn Towards Politics 64 6 ‘We Refugees’ 70 7 Internment 82 8 State of Emergency 91 9 Transition 97 10 Friendship 106 11 Reconciliation 118 12 The Origins of Totalitarianism 126 13 Amor Mundi 137 14 Between Past and Future 146 15 Eichmann in Jerusalem 153 16 On Revolution 167 17 Men in Dark Times 176 18 Crises of the Republic 184 19 The Life of the Mind 192 20 Storytelling 207 References 211 Select Bibliography 226 Acknowledgements 230 Photo Acknowledgements 232 Hannah Arendt, 1940s, photographed by Fred Stein. Introduction: Understanding We play at paste, Till qualified for pearl, Then drop the paste, And deem ourself a fool. The shapes, though, were similar, And our new hands Learned gem-tactics, Practicing sands. Emily Dickinson1 ‘What is the subject of our thought? Experience! Nothing else!’ Hannah Arendt exclaimed in 1972 at a conference on ‘The Work of Hannah Arendt’, which had been organized by the Toronto Society for the Study of Social and Political Thought. Arendt was invited to attend the conference as a guest of honour and insisted on participating instead. In many ways Hannah Arendt’s work is about thinking. In her Denktagebuch (thinking journals) she asks: ‘Gibt es ein Denken das nicht Tyrannisches ist?’ (Is there a way of thinking that is not tyrannical?) At the beginning of The Human Condition she posits: ‘What I propose, therefore, is very simple: it is nothing more than to think what we are doing.’2 When she covered the trial of Adolf 7 Eichmann in Jerusalem for the New Yorker, she found Eichmann lacked the capacity to engage in self-reflective thinking, to imagine the world from the perspective of another. Arendt’s final work, The Life of the Mind, begins with a treatise on ‘Thinking’. But thinking and experience go hand-in-hand for Hannah Arendt, and there is little question that the social and political conditions of the twentieth century shaped her life and work. Born in Germany in 1906 to a well-established secular Jewish family, Arendt sensed from an early age that she was different, an outsider, a rebel or, as she would later come to say, a pariah and an outlaw. The facts of her life do not dispute this claim. Arendt was expelled from her gymnasium at fourteen for leading a protest against a teacher who offended her. When her first husband, Günther Anders, left Berlin in 1933, she stayed behind and turned their apartment into an underground stop to help communists fleeing the country. The same year, she was arrested by the Gestapo for collecting examples of anti-Semitic propaganda in the Prussian State Library. She fled to Paris where she learned French and studied Hebrew while working with Youth Aliyah to help Jewish youth emigrate to Palestine. At the age of 33 she was interned in Gurs in the south of France for five weeks before taking part in a mass escape. She emigrated to the United States in the summer of 1941, and went to work as a housekeeper to learn English before beginning to write for a number of Jewish journals. She took a job with the Conference on Jewish Relations to help Jewish families and organizations reclaim their stolen property and taught courses on European history all while writing her first major work, The Origins of Totalitarianism. Her good friend the American author Mary McCarthy described her as ‘a magnificent stage diva’.3 German philosopher Hans Jonas said she had ‘an intensity, an inner direction, an instinct for quality, a groping for essence, a probing for depth, which cast a magic about her’.4 Julia Kristeva, a Bulgarian-French philosopher, 8 wrote ‘Many of Arendt’s contemporaries spoke to her womanly seductiveness; those from the New York salons mused about the “Weimar flapper”.’5 The playwright Lionel Abel called her ‘Hannah Arrogant’.6 The fbi described her as ‘a small, rotund, stoop shouldered woman with a crew-like haircut, masculine voice, and marvelous mind.’7 Perhaps what is most difficult to understand about Hannah Arendt is that she was, by all accounts, sui generis. Absolutely incomparable. In Hannah Arendt’s youthful self-portrait Die Schatten (The Shadows), she describes her hunger for experience in the world as being ‘trapped in a craving’. What drove her to her work from an early age was an insatiable desire to experience and understand life.8 As she would later come to argue, the work of understanding, unlike the urge to know, requires an endless commitment to the activity of thinking; it requires one to always be ready to begin again. In many respects Arendt became a writer by accident. She said she wrote to remember what she thought, to record what was worth remembering, and that writing was an integral part of the process of understanding. This is evidenced throughout her journals and published work, where she engaged in what she called ‘thinking exercises’. In her preface to Between Past and Future: Eight Exercises in Political Thought, she wrote that ‘thought itself arises out of incidents of living experience and must remain bound to them as the only guidepost by which to take its bearings.’ For Arendt, thinking exercises were a way to engage in the work of understanding, and they were a way to break free from her education in the tradition of German philosophy. After the burning of the Reichstag in 1933, Arendt left the world of academic philosophy to do the work of political thinking. She was appalled by how the ‘professional thinkers’ had been blind to the rise of National Socialism in Germany and had contributed to the Nazification of cultural and political institutions. Instead of protesting the emergence of Hitler’s regime, they were carried 9

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