The Radicalism of the American Revolution by Gordon S. Wood
Consequently, Napoleon betrayed the ideas of the French Revolution: Liberty, Equality and Fraternity.
Topic: The Radicalism of the American Revolution by Gordon S. Wood
When he finally realized the French Revolution was a big problem, all his attempts to stop it were all in vain because he didn’t know what to do since he had entrusted most of his responsibilities to the people below him....
This authentic revolutionary logic can be discerned already at the level of rhetorical figures, where Robespierre likes to turn around the standard procedure of first evoking an apparently "realist" position and then displaying its illusory nature: he often starts with presenting a position or description of a situation as absurd exaggeration, fiction, and then goes on to remind us that what, in a first approach, cannot but appear as a fiction, is actually truth itself: "But what am I saying? What I have just presented as an absurd hypothesis is actually a very certain reality." It is this radical revolutionary stance which also enables Robespierre to denounce the "humanitarian" concern with victims of the revolutionary "divine violence": "A sensibility that wails almost exclusively over the enemies of liberty seems suspect to me. Stop shaking the tyrant's bloody robe in my face, or I will believe that you wish to put Rome in chains."The critical analysis and the acceptance of the historical legacy of the Jacobins overlap in the true question to be raised: does the (often deplorable) actuality of the revolutionary terror compel us to reject the very idea of Terror, or is there a way to REPEAT it in today's different historical constellation, to redeem its virtual content from its actualization? It CAN and SHOULD be done, and the most concise formula of repeating the event designated by the name "Robespierre" is: to pass from (Robespierre's) humanist terror to anti-humanist (or, rather, inhuman) terror.
In his , Alain Badiou conceives as a sign of the political regression that occurred towards the end of the XXth century the shift from "humanism AND terror" to "humanism OR terror." In 1946, Maurice Merleau-Ponty wrote , his defense of the Soviet Communism as involving a kind of Pascalean wager that announces the topic of what Bernard Williams later developed as "moral luck": the present terror will be retroactively justified if the society that will emerge from it will be truly human; today, such a conjunction of terror and humanism is properly unthinkable, the predominant liberal view replaces AND with OR: either humanism or terror... More precisely, there are four variations on this motif: humanism AND terror, humanism OR terror, each either in a "positive" or in a "negative" sense. "Humanism and terror" in a positive sense is what Merleau-Ponty elaborated, it sustains Stalinism (the forceful - "terrorist" - engendering of the New Man), and is already clearly discernible in the French Revolution, in the guise of Robespierre's conjunction of virtue and terror. This conjunction can be negated in two ways. It can involve the choice "humanism OR terror," i.e., the liberal-humanist project in all its versions, from the dissident anti-Stalinist humanism up to today's neo-Habermasians (Luc Ferry & Alain Renault in France) and other defenders of human rights AGAINST (totalitarian, fundamentalist) terror. Or it can retain the conjunction "humanism AND terror," but in a negative mode: all those philosophical and ideological orientations, from Heidegger and conservative Christians to partisans of Oriental spirituality and Deep Ecology, who perceive terror as the truth - the ultimate consequence - of the humanist project itself, of its hubris.
There is, however, a fourth variation, usually left aside: the choice "humanism OR terror," but with TERROR, not humanism, as a positive term. This is a radical position difficult to sustain, but, perhaps, our only hope: it does not amount to the obscene madness of openly pursuing a "terrorist and inhuman politics", but something much more difficult to think. In today's "post-deconstructionist" thought (if one risks this ridiculous designation which cannot but sound as its own parody), the term "inhuman" gained a new weight, especially in the work of Agamben and Badiou. The best way to approach it is via Freud's reluctance to endorse the injunction "Love thy neighbor!" - the temptation to be resisted here is the ethical domestication of the neighbor - for example, what Emmanuel Levinas did with his notion of the neighbor as the abyssal point from which the call of ethical responsibility emanates. What Levinas thereby obfuscates is the monstrosity of the neighbor, monstrosity on account of which Lacan applies to the neighbor the term Thing (das Ding), used by Freud to designate the ultimate object of our desires in its unbearable intensity and impenetrability. One should hear in this term all the connotations of horror fiction: the neighbor is the (Evil) Thing which potentially lurks beneath every homely human face. Just think about Stephen King's Shining, in which the father, a modest failed writer, gradually turns into a killing beast who, with an evil grin, goes on to slaughter his entire family. In a properly dialectical paradox, what Levinas, with all his celebration of the Otherness, fails to take into account is not some underlying Sameness of all humans but the radically "inhuman" Otherness itself: the Otherness of a human being reduced to inhumanity, the Otherness exemplified by the terrifying figure of the Muselmann, the "living dead" in the concentration camps. At a different level, the same goes for Stalinist Communism. In the standard Stalinist narrative, even the concentration camps were a place of the fight against Fascism where imprisoned Communists were organizing networks of heroic resistance - in such a universe, of course, there is no place for the limit-experience of the Muselmann, of the living dead deprived of the capacity of human engagement - no wonder that Stalinist Communists were so eager to "normalize" the camps into just another site of the anti-Fascist struggle, dismissing Muselmann as simply those who were to weak to endure the struggle.
It is against this background that one can understand why Lacan speaks of the inhuman core of the neighbor. Back in the 1960s, the era of structuralism, Louis Althusser launched the notorious formula of "theoretical anti-humanism," allowing, demanding even, that it be supplemented by practical humanism. In our practice, we should act as humanists, respecting the others, treating them as free persons with full dignity, creators of their world. However, in theory, we should no less always bear in mind that humanism is an ideology, the way we spontaneously experience our predicament, and that the true knowledge of humans and their history should treat individuals not as autonomous subjects, but as elements in a structure which follows its own laws. In contrast to Althusser, Lacan accomplishes the passage from theoretical to practical anti-humanism, i.e., to an ethics that goes beyond the dimension of what Nietzsche called "human, all too human," and confront the inhuman core of humanity. This does not mean only an ethics which no longer denies, but fearlessly takes into account, the latent monstrosity of being-human, the diabolic dimension which exploded in phenomena usually covered by the concept-name "Auschwitz" - an ethics that would be still possible after Auschwitz, to paraphrase Adorno. This inhuman dimension is for Lacan at the same time the ultimate support of ethics.
In philosophical terms, this "inhuman" dimension can be defined as that of a subject subtracted from all form of human "individuality" or "personality" (which is why, in today's popular culture, one of the exemplary figures of pure subject is a non-human - alien, cyborg - who displays more fidelity to the task, dignity and freedom than its human counterparts, from the Schwarzenegger-figure in to the Rutger-Hauer-android in ). Recall Husserl's dark dream, from his Cartesian Meditations, of how the transcendental cogito would remain unaffected by a plague that would annihilate entire humanity: it is easy, apropos this example, to score cheap points about the self-destructive background of the transcendental subjectivity, and about how Husserl misses the paradox of what Foucault, in his , called the "transcendental-empirical doublet," of the link that forever attaches the transcendental ego to the empirical ego, so that the annihilation of the latter by definition leads to the disappearance of the first. However, what if, fully recognizing this dependence as a fact (and nothing more than this - a stupid fact of being), one nonetheless insists on the truth of its negation, the truth of the assertion of the independence of the subject with regard to the empirical individuals qua living being? Is this independence not demonstrated in the ultimate gesture of risking one's life, on being ready to forsake one's being? It is against the background of this topic of sovereign acceptance of death that one should reread the rhetorical turn often referred to as the proof of Robespierre's "totalitarian" manipulation of his audience. This turn took place in the midst of Robespierre's speech in the National Assembly on 11 Germinal Year II (31 March 1794); the previous night, Danton, Camille Desmoulins, and some others were arrested, so many members of the Assembly were understandably afraid that their turn will also come. Robespierre directly addresses the moment as pivotal: "Citizens, the moment has come to speak the truth." He then goes on to evoke the fear floating in the room:
To them Napoleon was a hero of the French Revolution.
France was ruled under the Ancien Régime; a social and political system established by the French in the early renaissance period of the fifteenth century, until the late eighteenth century where it was violently overturned in the French Revolution.
On the con side are the following: First, with the exception of certain highly euphonicpieces scattered through his musical career, his music always exhibited signs ofmodernism, in one form or another. His first major work was mildly modern, then came theradical period, then a long, more moderately modern period, becoming more modernistictoward the end. Second, the period of extreme modernism began when he was approximately 20years of age and lasted until he was roughly 26-28, a period in life when many artistsexperiment with radical styles. Third, there is no direct correspondence between the datesof the major artistic decrees/criticisms directed at him and the periods of most rapidstylistic changes seen in Shostakovichs compositions.
Take in account the American Revolution, for an example.
‘ Under the Ancien Régime the richer a man was, the less he paid.’1 The French Revolution, beginning in 1789 was an era of social and political upheaval that saw the collapse of the absolute monarchy and its prejudice class system....
The French Revolution ended the thousand-year rule of the monarchy in France and began when King Louis XVI gathered representatives from the 3 social groups called the Clergy, the Nobilities and the Commoners to solve a great national debt and economic crisis France was experiencing....
The Radicalism of the American Revolution - Wikipedia
The Radicalism of the American Revolution by Gordon …
We can see how Napoleon Bonaparte repeatedly opposed himself in each one of the French Revolutionist areas....
The Radicalism of the American Revolution by Gordon S
Modern historians still debate the value of the changes that the revolution brought to modern society.
Was the American Revolution Radical? | Mises Institute
In the years before the revolution citizens were rigidly constrained by the estates of the realm....
Essay on Radicalism of American Revolut - 1547 Words
On the pro side are (at least) the following three facts: First, Shostakovichs styledid indeed change from a rather dissonant, non-tonal, radical modernism in the mid-to-late1920s to a much more traditional, sometimes very traditional style, later in life. Second,at certain key junctures, when major government pronouncements on the arts or criticismsaimed at him took place (especially in 1936 and 1948), the composer withdrew and/orwithheld works, seemingly disappeared from public view for a time, and came out with avery euphonic piece of music, which pleased the authorities. Third, he expressed fear,even mortal fear, as a result of the criticisms aimed at him and at his music.
Radicalism of the American Revolution (Essay Sample)
1862sp:Mysterious fires burned large sections of Petersburg, causing wide-spread panic and providing a pretext for harsh state action against social activists
*--Officials encouraged public outrage by leaking suggestions that the fires were set by "nihilistic" university-student arsonists
*--Whether moderate or radical, whether connected with the fires or not, hundreds were detained, warranted for arrest, and sent into political exile
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