The lie as a sign of the appraisal of imagination in Hannah Arendt
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Abstract
The figure of the "genius" is necessary to understand, by analogy, how the Arendtian actor can exclude the possibility of lying and destroying the sphere of human affairs without undermining the capacity for action and the realization of political freedom, just as the Kantian genius cannot exclude the possibility of producing disgust (Ekel) in viewers without undermining the ability to produce works of art that can be judged as beautiful by them. By exposing this aporia of the productive imagination, I will show the reasons why Hannah Arendt conceived the need for a political thought that, through exemplary judgments, illustrates the actor's inherent vulnerability to political action. The actor should emulate the genius in this regard, that is, expose themselves to the taste of the audience to regulate those "excesses" or "vices" that disgust and that, in one of its political transpositions, we call "the lie".
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