The New Yorker Life of Hannah Arendt’s Mind

2015 ◽  
Author(s):  
Duncan Kelly
Keyword(s):  
New York ◽  
Global Scale ◽  
New Yorker ◽  
Banality Of Evil ◽  
New York Intellectuals ◽  
The New Yorker

This chapter illustrates how, in the annals of The New Yorker, the ‘Reporter at Large’ feature has been central, often dealing with major subjects of truly global significance, and occasionally taking up the entire magazine itself. Yet although each of the essays included in the feature transformed entire fields of inquiry, few have matched the provocative impact of Hannah Arendt's series of five features concerning ‘Eichmann in Jerusalem’. Her essays, when published in book form, carried the subtitle ‘the banality of evil’ that made them infamous on a broader, more global scale than the more local disturbances among New York intellectuals that the magazine publication provoked. Her analysis of the Nazi bureaucrat has been incessantly studied ever since.

Immaturity: Reflections on the “Great (Queer) YA Debate”

2020 ◽  
pp. 171-180
Author(s):  
Derritt Mason
Keyword(s):  
New York ◽  
Children's Literature ◽  
Young Adult ◽  
Young Adult Literature ◽  
Children’S Literature ◽  
New York Times ◽  
New Yorker ◽  
The New York Times ◽  
High Profile ◽  
The New Yorker

This book’s conclusion reiterates the argument that queer YA is an anxious genre that perpetually rehearses a nervous uncertainty about its own constitution. Mason steps back to consider queer YA’s relationship to children’s literature more broadly, entering the discussion through a concept developed in Beverley Lyon Clark’s Kiddie Lit: the “anxiety of immaturity” that circulates around and within children’s literature and its criticism. Mason revisits the “Great YA Debate” of 2014, which followed a Slate piece by Ruth Graham entitled “Adults Should Be Embarrassed to Read Young Adult Books.” This debate included high profile pieces by Christopher Beha and A.O. Scott in The New York Times Magazine and The New Yorker, both of which evince a profound ambivalence about whether or not adults should be reading young adult literature. These conversations, Mason concludes, illustrate how young adult literature continues to be an unceasing source of adult anxiety.

scholarly journals Posverdad y destrucción del espacio público. Una lectura desde el pensamiento de Hannah Arendt

adComunica ◽  
2021 ◽  
pp. 45-64
Author(s):  
Maria Perez Diaz
Keyword(s):  
New York ◽  
Hannah Arendt ◽  
New Yorker ◽  
York Review ◽  
Adolf Eichmann ◽  
The New Yorker

En 1967 y como respuesta a las críticas sobre sus reportajes del juicio en Jerusalén contra Adolf Eichmann, Hannah Arendt publicó en las páginas de The New Yorker un ensayo titulado «Verdad y Política». Cuatro años después, y tras la filtración de los papeles del Pentágono, firmó en The New York Review of Books un ensayo hermano titulado «La mentira en la política». El presente artículo toma como punto de partida dichos trabajos para discutir la actualidad del pensamiento arendtiano en relación con el actual fenómeno de la posverdad. A través de una metodología histórico-hermenéutica fundamentada en una amplia revisión documental tanto de fuentes primarias como secundarias, el objetivo del presente artículo será analizar y valorar el concepto de defactualization, acuñado por la pensadora alemana con motivo de la publicación de los papeles del Pentágono para hacer referencia al enmascaramiento de la realidad, como un proto-concepto con el que Hannah Arendt ya nombró el fenómeno que hoy conocemos como posverdad, incluso antes de que el propio término apareciera. Partiendo de esa base, se examinan tres características que se encuentran tanto en las reflexiones de la pensadora alemana durante el pasado siglo como en las investigaciones actuales en torno a la posverdad: la irrelevancia de la verdad factual, la pérdida de confianza de los ciudadanos en la política, y la destrucción de la esfera pública; una ruptura del necesario espacio público de debate político, de contraste de ideas y de generación de acuerdos y consensos como consecuencia de todo lo anterior.

scholarly journals Are You Being Sirred? Work in Progress, Nanette, Douglas, and the New Butch Middlebrow

2021 ◽  
Vol 74 (3) ◽  
pp. 46-55
Author(s):  
Sarah Kessler
Keyword(s):  
New York ◽  
New York Times ◽  
New Yorker ◽  
The New York Times ◽  
Work In Progress ◽  
New Comedy ◽  
The New Yorker

Abby McEnany’s new comedy series Work in Progress (Showtime) and Hannah Gadsby’s recent standup specials Nanette and Douglas (Netflix) evoke “butch middlebrow,” a contemporary aesthetic and affective sensibility distinguished by the cozy reception it enjoys among straight, white, liberal viewers and critics. McEnany’s and Gadsby’s works have occasioned praise from cosmopolitan gatekeepers like the New York Times and the New Yorker for their self-aware brands of comedy rooted in unvarnished portrayals of butch trauma. Critics ritually insist on the implausibility of Gadsby’s and McEnany’s success, but the popularity of these queer creators’ offerings is not as unlikely as so often presumed. Indeed, the middlebrow butch’s alleged improbability does not render her cultural accolades improbable; it may even ensure them, allowing a new canon of butch respectability to emerge in the light shed by the beacons of aspirational culture.

Salt Is Flavor and Other Tips Learned While Cooking

2017 ◽  
Author(s):  
Emily Botein
Keyword(s):  
New York ◽  
Vice President ◽  
Full Time ◽  
New Yorker ◽  
On Demand ◽  
The New Yorker

Emily Botein is a full-time radio collaborator. As senior producer for The Next Big Thing, she orchestrated many of the show’s most inventive pieces with host Dean Olsher, including partnerships with artists like Sherre DeLys and Rick Moody (who wrote the foreword to the first edition of Reality Radio). Since The Next Big Thing went off the air in 2006, Emily has worked with a variety of producers for a range of shows, including NPR, Studio 360, and Weekend America. She is now vice president for on-demand content at WNYC Radio in New York, where she works closely with such shows as Death, Sex & Money, The New Yorker Radio Hour, and Here’s the Thing. She “came to radio through food.” In her essay, Emily offers a delightful comparison of her work in radio with that of her former life as a sous chef.

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