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Starkman on Young-Bruehl, 'Why Arendt Matters' | H-German | H-Net
It also contains a volume on translation published in and written by the American literary translator Edith Grossman, who has translated such writers as Gabriel Garcia Marquez, Mario Vargas Llosa and Carlos Fuentes. Strangely, this concise book left me with the impression that Grossman was not so much answering the question as to why translation matters, but also and perhaps especially the question as to why translation matters to her.
This is not a bad thing, however. On the contrary. The newspaper, then, comes to represent what Tocqueville calls in Democracy in America the "association" of individuals with their age. What aligns individuals with their age—indeed what makes for the full expression of individualism in its age—is the belief that the news inspires when, as Tocqueville says, "it sweeps us up in its train" every morning: that time is dynamic and superseding and that what counts most in the shaping of public belief happened last.
Relevance to the moment is the epistemological vision of democracy in an age of news where, as Tocqueville writes, the individual "must constantly rely on ideas that he has not had the leisure to delve into, so what helps him most is far more the timeliness of an idea than its rigorous accuracy" or truth.
So while the press in America may be, as one editor writes, the "circulating life blood of the whole human mind," this Hegelian figure of total synthesis between the individual, his society, and the news they share is, for Tocqueville, an altogether unwelcome sign of the times. It accounts for the skepticism we hear when he insists, for example, that "there is no advantage to any man in struggling against the spirit of his age.
In his memoir, Souvenirs , Tocqueville describes the revolutions in France as a series of diminished events: the crowd, "irresistibly set in motion" and "carried away by the tide of public opinion," had "a lot of noise but no enthusiasm. The events of represented, as Sheldon Wolin puts it, "the incessant change but homogenous sameness" of a restless modern society, in which the "frantic dash to keep pace by rejecting the past" effected little political change. Given Tocqueville's sense of how the political spectacles of always "[led] to the same spot," it is perhaps no surprise when he tells us that the revolutionaries "fed their minds on no literature but the newspapers.
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He painted it again in the summer of fig. In the first picture, two newsboys extend copies of the antipapal broadsheet, Il Don Pirlone , to an approaching figure whose shadow appears on the left.
The boy in bright sunlight wears a dunce cap with "Pius IX" stitched on it, while the other boy wears a Greek cap as a symbol of the revolutionary cause. The surface of the wall is covered with graffiti about the liberation movement and the church, including a stick figure of a cardinal to the left. A poster celebrating the reformer Gioberti hangs above a poster for Roman freedom, while old perfunctory notices—or "avvisi"—peal away and fade. This is a picture of the daily news, and Heade reflects its timeliness in its topical references, but also in the idea of imminence we get from the figure who is just now emerging in his hat and from the newsboys who gesture towards him but appear frozen, as Theodore Stebbins suggests, as if by a high speed lens for us to see in the moment.
We get the sense that if we were to advance the frame, the boy to the right in shadows might, in an instant, fall off his perch. Everything speaks to the sense of movement and relevance that the revolution itself inspired. Martin Johnson Heade returned to America from a visit to Rome, where excited by the progress of the events, he chose to paint a political picture that was relevant to its times.
But in , the French had defeated the Roman Republic and restored the pope to power. The revolution was old news and Heade's picture was out of date. So Heade repainted it, but now the boys hand out a newspaper with "Roma" in the title, since Il Don Pirlone had died with the republic. The revolutionary posters are nearly gone and the graffiti is wiped clean.
The picture is almost the same, but there is less urgency this time and the closer newsboy has swung his leg around to the front of the post to sit more stably. He wears a regular street cap instead of a Greek cap. In the first version, the window looks into a void, but, much larger now, it is also brighter, flat and emphatically barred in a way that defies the illusion of deep space. As we look forward into a painting that seems to have lost its faith in picturing the news, our "window on the world" is blocked.
The shadow from the first version has now grown longer, as if it were later in the day; the way it hangs over the newsboy is reminiscent of a gallows. A bishop's hat encroaches from the lower right, and while there is still an imminent hat to the left, here it is old hat. The bench behind the post is gone with the extra stack of newspapers, which is to say that there are no "extras" in the version of the picture that admits its untimeliness and irrelevance and speaks more to repetition, variation and return.
For Tocqueville, the mind in the age of individualism is "constantly active, but it exerts itself in endlessly varying the consequences of known principles … rather than in looking for new principles. It dances agilely in place. Heade never tried to be timely again. He goes from painting a pair of newsboys to painting pairs of hummingbirds, flowers, and haystacks in marshes that often resemble the newsboys formally, but have no explicit context that we can tell fig.
It was not simply that he turned from the news to subjects that lack topicality and reference, but that he repeated these subjects compulsively for decades. Heade painted, for example, more than versions of a northeastern salt marsh, but why move on? If one newspaper writes in that "all things seem to be hastening towards some great result," then these are pictures that do not encourage us to look ahead, but at the sensible presence of objects that swell in the moment that we see them.
Our eyes wander the scene because there is no system of perspective in which the haystacks or streams recede to a central point on the horizon and because, unlike Hegel in front of a newspaper, it is never too clear where we stand. Without a central focus to organize their elements, these are not the sort of pictures that we "digest" easily. Heade loses perspective in the age of news and learns, in his patient commitment to the marsh, that to be untimely may actually widen our horizon and that every moment and every place he happens to be is at least relevant to him. Elegies for the vanishing newspaper include Charles M.
Scott E. Casper, et al. Chapel Hill, N.
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Sheldon S. Laura Rigal's essay in Common-Place 9. Elisa Tamarkin Reading for Relevance Keeping up with the news Ralph Waldo Emerson was never very good at staying focused, especially on current events. County Election , Charles Caleb Bingham, oil on canvas, 32 x 52 in.