Versuch einer philosophischen Interpretation "On the concept of love in the thought of Saint Augustine: Attempt at a philosophical interpretation".
Most of us have become so inured, that the death of millions from starvation and disease draws from us no more than a sigh, or a murmur of protest. Our own city streets, home to legions of the homeless, are ruled by Dope, Inc. At the same time, a thousand smaller horrors are so commonplace as to go unnoticed.
Our children spend as much time sitting in front of television sets as they do in school, watching with glee, scenes of torture and death which might have shocked an audience in the Roman Coliseum.
Our plastic arts are ugly, our architecture is ugly, our clothes are ugly. There have certainly been periods in history where mankind has lived through similar kinds of brutishness, but our time is crucially different.
Our post-World War II era is the first in history in which these horrors are completely avoidable. Our time is the first to have the technology and resources to feed, house, educate, and humanely employ every person on earth, no matter what the growth of population.
Yet, when shown the ideas and proven technologies that can solve the most horrendous problems, most people retreat into implacable passivity.
We have become not only ugly, but impotent. Nonetheless, there is no reason why our current moral-cultural situation had to lawfully or naturally turn out as it has; and there is no reason why this tyranny of ugliness should continue one instant longer.
Consider the situation just one hundred years ago, in the early 's. Mechanists like Helmholtz and Mach held major university chairs of science, alongside the students of Riemann and Cantor. Yet, within twenty short years, these Classical traditions of human civilization had been all but swept away, and the West had committed itself to a series of wars of inconceivable carnage.
What started about a hundred years ago, was what might be called a counter-Renaissance. The Renaissance of the fifteenth and sixteenth centuries was a religious celebration of the human soul and mankind's potential for growth.
Beauty in art could not be conceived of as anything less than the expression of the most-advanced scientific principles, as demonstrated by the geometry upon which Leonardo's perspective and Brunelleschi's great Dome of Florence Cathedral are based.
The finest minds of the day turned their thoughts to the heavens and the mighty waters, and mapped the solar system and the route to the New World, planning great projects to turn the course of rivers for the betterment of mankind.
As part of this "New Age" movement, as it was then called, the concept of the human soul was undermined by the most vociferous intellectual campaign in history; art was forcibly separated from science, and science itself was made the object of deep suspicion.
Art was made ugly because, it was said, life had become ugly. The cultural shift away from the Renaissance ideas that built the modern world, was due to a kind of freemasonry of ugliness.
In the beginning, it was a formal political conspiracy to popularize theories that were specifically designed to weaken the soul of Judeo-Christian civilization in such a way as to make people believe that creativity was not possible, that adherence to universal truth was evidence of authoritarianism, and that reason itself was suspect.
This conspiracy was decisive in planning and developing, as means of social manipulation, the vast new sister industries of radio, television, film, recorded music, advertising, and public opinion polling.
The pervasive psychological hold of the media was purposely fostered to create the passivity and pessimism which afflict our populations today.
So successful was this conspiracy, that it has become embedded in our culture; it no longer needs to be a "conspiracy," for it has taken on a life of its own.
Even the nomination of a Supreme Court Justice is deformed into an erotic soap opera, with the audience rooting from the sidelines for their favorite character.Hannah Arendt was born Johanna Cohn Arendt in into a comfortable educated secular family of German Jews in Linden, Prussia (now a part of Hanover), in Wilhelmine caninariojana.com family were merchants of Russian extraction from Königsberg, the East Prussian capital.
Arendt's grandparents were part of the Reform Jewish community there. Hannah's paternal grandfather, Max Arendt (– The Diary of a Young Girl is a book based on the writings from a diary written by Anne Frank while she was in hiding for two years with her family during the Nazi occupation of the Netherlands.
Critical theory is a school of thought that stresses the reflective assessment and critique of society and culture by applying knowledge from the social sciences and the caninariojana.com a term, critical theory has two meanings with different origins and histories: the first originated in sociology and the second originated in literary criticism, whereby it is used and applied as an umbrella term.
Hannah Arendt and the Banality of Evil. Hannah Arendt coined the term “banality of evil” while covering the trial of Adolf Eichmann, a Nazi official charged with the orderly extermination of Europe’s caninariojana.com herself was a German-Jewish exile struggling in the most personal of ways to come to grips with the utter destruction of European society.
The Elements of Style by William Strunk, Jr., and E. B. White, is an American English writing style guide. It is the best-known and most influential prescriptive treatment of English grammar and us.
The Adorno-Benjamin analysis represents almost the entire theoretical basis of all the politically correct aesthetic trends which now plague our universities.