By Marilyn LaFay
This paintings positions Arendt as a political author looking for a manner within which humanity, poised among the Holocaust and the atom bomb, may perhaps reclaim its place because the creators of an international healthy for human habitation.
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Additional info for Hannah Arendt and the Specter of Totalitarianism (Critical Political Theory and Radical Practice)
The Love and Saint Augustine ● 33 immanent God is not a personally experienced God, but rather one of dictates and dogma: there is a perfected way of being out there, and it is our duty to follow that model, no questions asked. It is not for us to know God, but rather to accept God. And, as such, the mystery that is God is removed, for, in such a model, so long as we listen to the correct authority, we shall know the correct way to live. ” Obviously, then, Augustine’s God is not an immanent God, but rather a transcendent God, a God external to our immediate knowledge.
11 And thus, here is where the angst of Augustine enters, but we must take extreme care to note a qualitative difference with Arendtian angst. For Augustine, angst is generated from a longing for God, and in particular a longing to a live a life in the City of God, but knowing full well that this is an impossibility here on earth. Judgment of how one should live thus always refers back to what we perceive to be godlike. But this judging perception is necessarily always incomplete. Our angst is built upon the tension between longing for God, but the inability to fully possess God: so long as we exist in the City of Men, we shall never find comfort, but shall always be in a state of angst.
Seyla Benhabib rightly points to Rahel Varnhagen as playing an essential role in understanding Arendt’s political thought. Rahel Varnhagen ● 51 Rahel Varnhagen presents an “alternative genealogy of modernity” in which modernity cannot simply be identified with the spread of commodity exchange relations and the growth of a capitalist economy; nor can modernity be reduced to the spread of mass society alone. 5 Indeed, what comes to light in Rahel Varnhagen is the contentious Self raised by modernity, and the necessity to distinguish a private Self from a public Self.