A Quote by Studs Terkel
Cannot Hannah Arendt's 'banality of evil' be subject to transposition: the evil of banality?
Related Quotes
The banality of evil transmutes into the banality of sentimentality. The world is nothing but a problem to be solved by enthusiasm.
Hannah Arendt in her study of totalitarianism borrowed from Immanuel Kant the concept of radical evil, of evil that's so evil that in the end it destroys itself, it's so committed to evil and it's so committed to hatred and cruelty that it becomes suicidal. My definition of it is the surplus value that's generated by totalitarianism. It means you do more violence, more cruelty than you absolutely have to to stay in power.
... In contrast to the "banality of evil," which posits that ordinary people can be responsible for the most despicable acts of cruelty and degradation of their fellows, I posit the "banality of heroism," which unfurls the banner of the heroic Everyman and Everywoman who heed the call to service to humanity when their time comes to act. When that bell rings, they will know that it rings for them. It sounds a call to uphold what is best in human nature that rises above the powerful pressures of Situation and System as the profound assertion of human dignity opposing evil.
Dawn was written well before 9/11. People speak a lot today about the banality of evil, but not all evil is banal. Some of it is carefully structured and well-thought-out. That's where the real danger lies.
She always imagined that evil played out on a large canvas- wars, concentration camps, gas chambers, the partitioning of nations. Now she realized that evil had a domestic side, and its very banality protected it from exposure.
This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain.
The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain.
As we have come to understand the psychology of evil, we have realized that such transformations of human character are not as rare as we would like to believe. Historical inquiry and behavioral science have demonstrated the "banality of evil" -- that is, under certain conditions and social pressures, ordinary people can commit acts that would otherwise be unthinkable.
Evil has always been there; it's always a part of us. Evil is no big surprise. But what about the people who gave freely, who stood up for human dignity? Even in the most extreme and terrible situations, these acts of dignity existed. And for me, that is the banality of good.
The great work of art is the complete banality, and the fault with most banalities is that they are not banal enough. Banality here is not infinite in its depth and consequence, but rests on a foundation of spirituality and aesthetics.
What is evil? Killing is evil, lying is evil, slandering is evil, abuse is evil, gossip is evil, envy is evil, hatred is evil, to cling to false doctrine is evil; all these things are evil. And what is the root of evil? Desire is the root of evil, illusion is the root of evil.
When one has once accepted and absorbed Evil, it no longer demands the unfitness of the means. The ulterior motives with which youabsorb and assimilate Evil are not your own but those of Evil.... Evil is whatever distracts. Evil knows of the Good, but Good does not know of Evil. Knowledge of oneself is something only Evil has. One means that Evil has is the dialogue.... One cannot pay Evil in installments--and one always keeps on trying to.
Henceforth I would have to cosent to combine two voices: the voice of banality (to say what everyone sees and knows) and the voice of singularity (to replenish such banality with all the élan of an emotion which belonged only to myself).
People love talking about the banality of evil and the fact that ordinary people do bad things. I actually want to stay away from that.
There arose a belief in style - and in banality. Banality encompassed politics, too, because it was a common belief that politics were not worthy of art.
It is not just shameful for a contemporary American poet to use rhymes, it is unthinkable. It seems banal to him; he fears banality worse than anything, and therefore, he uses free verse - though free verse is no guarantee against banality.
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