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Barry Sharpe examines Hannah Arendt's Eichmann in Jerusalem and the controversy it spurred as a way of exploring basic features and issues of judgment. After giving careful attention to Arendt's portrait of Adolf Eichmann and the Jewish Central Councils as well as considering Eichmann in the context of Arendt's other work, Sharpe concludes that Eichmann is an unintentionally ironic example of both the need for and the blindness of distance in judgment.
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