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Machiavelli's optical arts: political theory, action, democracy and deception
Unformatted Document Text:  Laura JANARA Draft: please do not cite without permission ## email not listed ## Machiavelli’s optical arts: political theory, action, democracy, deception The fact that humans typically “judge more by sight” and yet are “short-sighted” is a central feature of the human condition with which Niccolò Machiavelli grapples. Among his troop of actors, his founder and Fortuna alone escape the optical limitations of grounded human experience. Back on earth, what mere humans need for political success, Machiavelli says, are the many eyes of the Greek mythological figure Argus Panoptes; such manifold optical capacity would enable people to see many dimensions of the political field at once and thus be both prepared and capable of positive political innovation. Regrettably limited to two coordinated eyeballs that face one direction, human political virtuosos are those who have trained themselves in enhanced (though never reliably complete) vision. As artists they also, in the name of valued political goods, simulate and dissimulate reality by painting portraits found compelling by short-sighted people. 1 My aim is to illuminate the meaning in Machiavelli’s work of the recurring metaphor of sight and seeing as an expression of modes of experiencing, knowing and thinking. 2 Unpacking his use of the 1 Citations of Machiavelli’s work use the following abbreviations: P: The Prince (1995 or 1998 editions); D: Discourses on Livy (1997); HF: History of Florence and the Affairs of I taly from the Earliest Times to the Death of Lorenzo the Magnificent (1974); AW: Art of War (2003); GA: “Golden Ass” in The Chief Works and Others (1965, 3 Vol.); CW: The Chief Works and Others (1965, 3 Vol.); O: Opere (1997, 3 Vol.). 2 A few examples of Machiavelli’s sight metaphor not discussed in this paper include a passage in a post- Medici coup letter to Piero Soderini --“I see, not with your mirror, where nothing is seen but prudence, but with that of the many, which is obliged in political affairs to judge the result when they are finished”; “men in the first place are shortsighted” – (Machiavelli, 1965, v2, 895); “men in general live as much by appearances as by realities,” (D, 1997, I:25, 79); the chapter title, “Fortune Blinds Men’s Minds When She Does Not Wish Them to Oppose Her Plans” (D, 1997, II: 29, 234) [“La Fortuna Acceca Gli Animi Degli Uomini, quando La Non Vuole Che Quegli Si Opponghino a’ Disegni Suoi” (O, 1997, v1, 404); 1

Authors: Janara, Laura.
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Laura JANARA Draft: please do not cite without permission
## email not listed ##
Machiavelli’s optical arts:
political theory, action, democracy, deception
The fact that humans typically “judge more by sight” and yet are “short-sighted” is a central
feature of the human condition with which Niccolò Machiavelli grapples. Among his troop of actors, his
founder and Fortuna alone escape the optical limitations of grounded human experience. Back on earth,
what mere humans need for political success, Machiavelli says, are the many eyes of the Greek
mythological figure Argus Panoptes; such manifold optical capacity would enable people to see many
dimensions of the political field at once and thus be both prepared and capable of positive political
innovation. Regrettably limited to two coordinated eyeballs that face one direction, human political
virtuosos are those who have trained themselves in enhanced (though never reliably complete) vision. As
artists they also, in the name of valued political goods, simulate and dissimulate reality by painting
portraits found compelling by short-sighted people.
My aim is to illuminate the meaning in Machiavelli’s work of the recurring metaphor of sight and
seeing as an expression of modes of experiencing, knowing and thinking.
Unpacking his use of the
1
Citations of Machiavelli’s work use the following abbreviations: P: The Prince (1995 or 1998
editions); D: Discourses on Livy (1997); HF: History of Florence and the Affairs of I taly from the
Earliest Times to the Death of Lorenzo the Magnificent (1974); AW: Art of War (2003); GA: “Golden
Ass” in The Chief Works and Others (1965, 3 Vol.); CW: The Chief Works and Others (1965, 3 Vol.);
O: Opere (1997, 3 Vol.).
2
A few examples of Machiavelli’s sight metaphor not discussed in this paper include a passage in a post-
Medici coup letter to Piero Soderini --“I see, not with your mirror, where nothing is seen but prudence,
but with that of the many, which is obliged in political affairs to judge the result when they are finished”;
“men in the first place are shortsighted” – (Machiavelli, 1965, v2, 895); “men in general live as much by
appearances as by realities,” (D, 1997, I:25, 79); the chapter title, “Fortune Blinds Men’s Minds When
She Does Not Wish Them to Oppose Her Plans” (D, 1997, II: 29, 234) [“La Fortuna Acceca Gli Animi
Degli Uomini, quando La Non Vuole Che Quegli Si Opponghino a’ Disegni Suoi(O, 1997, v1, 404);
1


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