Amor Mundi 4/28/1304-29-2013
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.
Natan Sznaider is less impressed. "...you can imagine how much I was looking forward to this movie. Unfortunately, I came out deeply disappointed. It's not simply that this portrait of Arendt is frozen in amber, and celebrates the misunderstandings of 50 years ago, when Eichmann in Jerusalem had just came out. It's not simply that it ignores the last 15 years of modern scholarship, which re-excavated her Jewishness in order to make sense of the many things in her writings and actions that otherwise don't. It's that it turns her story inside out." Read more here.
Come see for yourself. The Hannah Arendt Center will be screening Hannah Arendt on Monday, April 29 at 7pm. Get more information here.
Conor Friedersdorf asks hard questions in The Atlantic about New York City's Stop and Frisk program and its program of surveillance on Muslims. Friedersdorf lays out a long list of the harms caused by these programs, including: young Muslims feeling it is unsafe to pray in their mosques; the breach of the relationship of trust between Imam and congregations; the sense of persecution and suspicion associated with dressing as a Muslim; the de-politicization of the Muslim community; overall mutual suspicion of Muslims and police, and much more. These costs, he writes, must be balanced against the goal of keeping New Yorkers of all religions and races safe. Friedersdorf is clear that the costs are too high; and he is flabbergasted that most American liberals disagree with him:
"What does it say about American liberalism today that two of the most significant municipal programs abrogating the civil liberties of racial and ethnic minorities thrive in a deep blue city that also happens to be the media capitol of the country ... and the guy presiding over it remains popular?" Whether or not Friedersdorf is right, he does a good job of reminding us of the true cost of our safety.
Starting from the story of poet and essayist Muriel Rukeyser's long unpublished novel Savage Coast, to be issued for the first time next month, Anna Clark considers CUNY's Lost & Found project, which "resurrects" works of twentieth century fiction, poetry, and scholarship. Although Lost & Found isn't focused on women writers like Rukeyser, Clark believes that it and projects like it can be valuable to writing female authors back into the record: "The lack of this painstaking and intentional work risks skewing the narrative of our history and culture, ceding our past to appear more homogenous than it was. It is fair to point to literature's age-old gender gap that left most female writers on the sidelines-Virginia Woolf famously posited Shakespeare's Sister as the female counterpart of the Bard who, owing to her social role, would not have written a word."
Sal Khan speaks with The Guardian about his transformative educational website Khan Academy. Khan began developing his now famous educational videos to teach his younger cousins fundamental concepts in math. He eventually quit his finance job to oversee the building of his non-profit empire, with the mission of "changing education for the better by providing a free world-class education for anyone anywhere." Khan's dream is to invert the usual classroom structure where teachers lecture in class and students work independently at home. When teachers can rely on his videos, students can learn the basics of their lessons at home and come into class to work collaboratively and get help from the teacher while they solve problems.
Teju Cole recently attended a staging of The Royal Shakespeare Company's Julius Caesar at B.A.M. Cole takes time to consider both the play itself and the African setting of this particular production, which features an "all-black cast": "The assassination of Caesar himself feels like a story from one of the newly independent African countries of the nineteen-sixties. [Director Gregory] Doran highlights the political aspect of the play, and this is to the good, for it is still necessary to insist on Africa as a site of political and ideological contest, and not a static place mired in an unchanging anthropological past. Caesar... is in the company of such manipulative despots as Idi Amin Dada, Mobutu Sese Seko, and Ibrahim Badamasi Babangida."
The Hudson Valley Premiere of the biopic, Hannah Arendt
Learn more here.
This week on the blog Wout Cornelissen considers Arendt's understanding of poetry. Roger Berkowitz thinks through Philip Roth's recent tribute to his favorite good teacher. And Berkowitz also considers the suspension and disciplining of the Albany high school teacher who asked students to think like a Nazi.