Abstract In The Origins of Totalitarianism (1951), Hannah Arendt reimagines the relationship between aesthetics and politics. Rather than treating them as two adjacent fields, she situates aesthetic perception before ideological thinking. If totalitarian movements are distinguished by their disdain for sensual reality, as Arendt argues, resistance must begin by rehabilitating the aesthetic sensibilities that ground ethical judgment and political action. In recent years, Arendt has been widely invoked as a prophet of the present, making The Origins of Totalitarianism a surprise bestseller. But the book ends with only a side glance toward the future, leaving the reader with a devastating diagnosis and no treatment plan. This article draws on Arendt’s conception of aesthesis as embodied perception to reassess how two of her contemporaries, Emmanuel Levinas and Vladimir Nabokov, sought to redefine the roles of philosophy and art in a culture dominated by ideology.
Patrick Eichholz (Tue,) studied this question.