This report focuses on one aspect of the social impact of the arts--their influence on civic engagement. The inquiry was undertaken during 2008 in collaboration with Animating Democracy, a program of Americans for the Arts. The purpose was to assess the state of knowledge about the relationship of the arts to civic engagement and to suggest ways that artists, cultural and community organizations, philanthropists, and public agencies could improve the quality of that knowledge. The approach was a review of literature drawn from the social sciences, the humanities, and public policy in an attempt to bridge theory with practice and research with evaluation. The authors structure the report as a conventional research design--that is, they define terms, conceptualize relationships among variables, identify methodological challenges, and assess data gathering strategies. Lastly, they propose a three-tier approach-with organizational or program-scale strategies, regional-scale strategies, and initiative-scale strategies--to improve the field's ability to document and understand the impact of the arts and culture on civil society. Disciplines Arts and Humanities | Civic and Community Engagement | Other Arts and Humanities | Social Policy Comments This report is a product of the Arts and Civic Engagement Impact Initiative of Animating Democracy, a program of American for the Arts, with support from the W.K. Kellogg Foundation. Animating Democracy co-directors Pam Korza and Barbara Schaffer Bacon and the Initiative Working Group members are acknowledged in Appendix I. An abstract and downloadable copy of the report is also posted on the Animating Democracy website: http://animatingdemocracy.org/resource/civic-engagement-and-arts-issues-conceptualization-andmeasurement. This report is available at ScholarlyCommons: http://repository.upenn.edu/siap_civic_engagement/1 !"#"$%&'()(*+*',%)'-%,.*%/0,12% 3114*1%56%!5'$*7,4)8"9),"5'%)'-%:*)140*+*', !"#$%&'#()#*+,&-#%-.#*/*%-#0)#*,12,&+ /-13,&*1+"#42#5,--*"63%-1%7#(%-/%&"#899: ;."1%*11)<%=)1%-*#*857*-%650%)'-%147750,*-%><%,.*%/0,1%)'-%!"#"$%&'()(*+*',%3+7)$,%3'","),"#*%56%%/'"+),"'(%?*+5$0)$<@% )%705(0)+%56%/+*0"$)'1%650%,.*%/0,1@%+)-*%7511">8*%=",.%147750,%605+%,.*%ABCB%C*885((%D54'-),"5'B%

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Civic Engagement and the Arts: Issues of Conceptualization and Measurement

Politics is ‘concerned with the world as such and not with those who live in it’, Hannah Arendt once wrote. In her view, political thinking takes a Gestaltswitch from a focus on Man, social concerns and collective identities, to one on the world. Not just plain hatred of the world, Contemptus Mundi, but also love of Man, Amor Hominis, can inflict harm and catastrophes in politics, she thought. Without our continued care for the world, Amor Mundi, through speech, action, storytelling and judgment, it slowly ceases being a space of freedom and a place in which human beings can be at home. The ethos of Amor Mundi is the basis of Arendt’s non-sentimental, worldly humanism. That human dignity consists in worldliness, is one of the phenomenological paradoxes in which Arendt’s work abounds. In this dissertation, I defend an interpretation of Arendt’s work that integrates its various dimensions, such as political theory, philosophy, historiography, literary theory and her journalistic work, by elaborating and explicating her joining of hermeneutic-phenomenological sources and methods, on the one hand, and shared historical-political experiences, particularly the totalitarian experience, on the other hand. This explication focuses on the pivotal concepts of ‘world’ and ‘worldliness’. My thesis is that Arendt’s work contains a mostly implicit but strong and convincing outline of an as yet not elucidated hermeneutic phenomenology of the political, consisting in concrete analyses of political-historical experiences, aiming at understanding the meaning of these experiences. This perspective implies both a politicization of hermeneutic phenomenology, and the development of a hermeneutic-phenomenological perspective within political theory.

Amor mundi: Hannah Arendt's political phenomenology of world

............................................................................................................................... i Acknowledgements ............................................................................................................. ii Table of

Bidding for the Future: Toronto's 2008 Olympic Bid and the Regulation of Waterfront Land

This article has two objectives: one is to distinguish and explicate four concepts of solidarity which are found in the writings of Hannah Arendt; the other is to show how Arendt's respect for facts and suspicion of sentiment publicly displayed are justified. The first concept of solidarity is exclusive solidarity. It is limited to those who are suffering from exploitation or oppression. The second conception of solidarity is inclusive: it includes those who suffer but can also accommodate those who make common cause with them. This is the only kind of solidarity that Arendt specifically analyzes. A third concept of solidarity is universal: its proximate constituent parts are the different “peoples” who collectively make up humankind. Finally, there is natural solidarity. This variety of solidarity, the author argues, is conceptually inadequate and confused. In the development and articulation of each of these four concepts, some attention is given to the relative contributions of emotion and cognition in determining one's understanding of solidarity.

https://www.jstor.org/stable/pdfplus/3229685.pdf

Concepts of Solidarity in the Political Theory of Hannah Arendt

From the perspective of quite different theoretical traditions, Simone Weil and Hannah Arendt present nearly identical and equally powerful critiques of technological determinism in modernity. Yet unlike Arendt, Weil develops a concept of work that draws a distinction between technology and instrumental action as “methodical thinking.” As a result, Weil's theory of action embraces something that Arendt's theatrical politics rejects—a concept of liberatory instrumentality, or purposeful performance. I shall reassess some of the inadequacies of Arendt's concept of work and develop Simone Weil's concept of methodical thinking in order to argue for a more neighborly affinity between work:interaction and purposeful:theatrical performance than Arendtian public realm theory, for all its power, currently allows. If such an affinity is possible, then public realm theory might be more adequately equipped to deliver on what I take to be its promise as an emancipatory project in late modernity.

"the slow boring of hard boards": methodical thinking and the work of politics

La conception de la citoyennete chez H. Arendt pour sa relation a : la sphere publique, l'action politique et l'identite collective, la culture politique

Maurizio Passerin d'Entreves

Papers

Agency, Identity, and Culture : Hannah Arendt's Conceptions of Citizenship