By Hannah Arendt
A set of reviews within which Arendt, from the perspective of a political thinker, perspectives the crises of the Sixties and early Seventies as demanding situations to the yankee type of govt.
Read or Download Crises of the Republic: Lying in Politics; Civil Disobedience; On Violence; Thoughts on Politics and Revolution PDF
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Extra info for Crises of the Republic: Lying in Politics; Civil Disobedience; On Violence; Thoughts on Politics and Revolution
It is difﬁcult to grasp why Rousseau thought such sentiments appropriate to a critique of the arts and sciences and a defence of the virtues of ignorance, innocence, and common humanity (P iii 6, 22, 29–30; G 6, 20, 27–8). Nor was he clear as to the precise nature of the contribution which he appeared to be quite simply that the progress of the arts and sciences has been responsible for the debasement of morals, but he also supposed that the arts and sciences were nourished by the indolence, vanity, and luxury to which men aspire and which some enjoy.
Before we acquired the skills and 23 attributes of cultured men, and before our patterns of life came to be moulded by false values and factitious needs, our manners were ‘rustic but natural’. With the birth and dissemination of knowledge, however, our original purity became progressively debased by sophistical taste and custom, by the ‘perﬁdious veil of politeness’, and by ‘all those vicious ornaments’ of fashion, until our pristine virtue had disappeared as if carried away by an ebbing tide (P iii 8, 10, 21; G 7–9, 20).
Henry Fuseli’s frontispiece to his own Remarks on the Writings and Conduct of J. J. Rousseau (London, 1767), depicting Rousseau pointing at Voltaire, astride humanity, with justice and liberty on the gibbet. prematurely, or subjected to exogenous control, by precept or instruction. Rousseau here maps out a genetic account of the spiritual growth of the individual along lines which reﬂect his evolutionary perspective, in the second Discourse, of our passage from a savage to a civilized state, albeit in Emile around images of sentiment and sexuality rather than of reason and authority.