By Cecilia Sjöholm
Cecilia Sjöholm reads Hannah Arendt as a thinker of the senses, grappling with questions of imaginative and prescient, listening to, and contact even in her political paintings. developing an Arendtian concept of aesthetics from the philosopher's fragmentary writings on artwork and conception, Sjöholm starts a colourful new bankruptcy in Arendt scholarship that expands her relevance for modern philosophers.
Arendt wrote thoughtfully concerning the position of sensibility and aesthetic judgment in political lifestyles and at the strength of artwork to complement human adventure. Sjöholm attracts a transparent line from Arendt's attention of those topics to her reflections on aesthetic encounters and artworks pointed out in her released writings and saved between her memorabilia. This tender attempt permits Sjöholm to revisit Arendt's political recommendations of freedom, plurality, and judgment from a classy standpoint and include Arendt's perception into present discussions of literature, song, theater, and visible paintings. although Arendt didn't explicitly define an aesthetics, Sjöholm's paintings substantively contains her viewpoint into modern reckonings with radical politics and their dating to artwork.
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Additional info for Doing Aesthetics with Arendt: How to See Things
Example text
The intertwinement between plurality, the political, and action that has earned Arendt a critique for naive humanism has made her a target from both the left and the right for insufficiently defending an anti-essentialist stance of freedom. ”94 In Lyotard’s famous critique, Arendt is outed as a “humanist” for having “anthropologized” Kant’s antinomies in the Critique of Practical Reason. For Kant, freedom is conditioned by law, which in turn is identified by transcendental reason. Arendt, however, appears to equate freedom with natality—Arendt’s concept for the capacity to think, act, and construe anew, a vocation to reinvent.
For Marx, consumer goods are symbols of social exchange. Commodity fetishism is one of the cornerstones of Marxist theory. In Freud’s writings, the objectifying process of desire is correlative to the becoming of the subject, a process made all the more concrete with Melanie Klein. ”24 There is, therefore, no belief in any kind of intentionality of the artist that would rescue a misguided aesthetic proposal through an honest intent. 25 Lacan reformulated the characterization of the object by introducing the objet petit a as cause of desire.
68 Art appeals to a multiplicity of sensible responses and seduces us into forgetfulness of cognition’s primacy. Here ugliness, dirt, and the bad serve no purpose; although Plato marvels at the way in which the world appears, only a few things are allowed to become objects of thought. 69 To Arendt, however, this fear of ugliness has more to do with the fixation of thought’s own capacities than with moral indignation. Plato warns against the uncritical acceptance of the pleasure that aesthetic appearances may give rise to.