Joshua Foa Dienstag – författare

Aesthetic and political representation are often treated separately, but this book argues that film offers a unique perspective through which to understand the dangers to equality and freedom that lurk in representative politics. The potential problems of representative democracy have long been debated: does it cultivate apathy and discourage citizen participation? What does it mean to be faithfully or well represented in a democracy? And how can appropriate, meaningful representation be achieved? Here, these questions are addressed from a new perspective. Representation, Joshua Foa Dienstag argues, can create the illusion of freedom and reciprocity in place of the real thing, and in both cinema and politics, what gives us pleasure is not the same as what secures or supports our existence as free and equal citizens. As this book shows, there are political dangers not visible within the current debates around democratic representation, dangers we can better understand and help to minimize by considering the way that human beings interact, emotionally, with their filmic representations. Dienstag looks at a series of films that directly confront issues of representation (Her, Blade Runner, The Man Who Shot Liberty Valance, Melancholia, and the Up documentary series) to diagnose these hazards and consider how best to respond to them. Each chapter looks at a specific film as emblematic of a different conception or problem of representation often ignored by mainstream political debates (such as reciprocity, happiness, boundaries, evil) to show that the relationship between representation and freedom is fraught with tension. This book continues Dienstag's earlier groundbreaking work on philosophical pessimism, understood not as something despairing, but as a rejection of the idea that these necessary tensions can be cured. Ultimately, Dienstag seeks to defend a kind of pessimistic politics that might produce a better sort of democratic representation than what we have today.

Aesthetic and political representation are often treated separately, but this book argues that film offers a unique perspective through which to understand the dangers to equality and freedom that lurk in representative politics. The potential problems of representative democracy have long been debated: does it cultivate apathy and discourage citizen participation? What does it mean to be faithfully or well represented in a democracy? And how can appropriate, meaningful representation be achieved? Here, these questions are addressed from a new perspective. Representation, Joshua Foa Dienstag argues, can create the illusion of freedom and reciprocity in place of the real thing, and in both cinema and politics, what gives us pleasure is not the same as what secures or supports our existence as free and equal citizens. As this book shows, there are political dangers not visible within the current debates around democratic representation, dangers we can better understand and help to minimize by considering the way that human beings interact, emotionally, with their filmic representations. Dienstag looks at a series of films that directly confront issues of representation (Her, Blade Runner, The Man Who Shot Liberty Valance, Melancholia, and the Up documentary series) to diagnose these hazards and consider how best to respond to them. Each chapter looks at a specific film as emblematic of a different conception or problem of representation often ignored by mainstream political debates (such as reciprocity, happiness, boundaries, evil) to show that the relationship between representation and freedom is fraught with tension. This book continues Dienstag's earlier groundbreaking work on philosophical pessimism, understood not as something despairing, but as a rejection of the idea that these necessary tensions can be cured. Ultimately, Dienstag seeks to defend a kind of pessimistic politics that might produce a better sort of democratic representation than what we have today.

Pessimism claims an impressive following--from Rousseau, Schopenhauer, and Nietzsche, to Freud, Camus, and Foucault. Yet "pessimist" remains a term of abuse--an accusation of a bad attitude--or the diagnosis of an unhappy psychological state. Pessimism is thought of as an exclusively negative stance that inevitably leads to resignation or despair. Even when pessimism looks like utter truth, we are told that it makes the worst of a bad situation. Bad for the individual, worse for the species--who would actually counsel pessimism? Joshua Foa Dienstag does. In Pessimism, he challenges the received wisdom about pessimism, arguing that there is an unrecognized yet coherent and vibrant pessimistic philosophical tradition. More than that, he argues that pessimistic thought may provide a critically needed alternative to the increasingly untenable progressivist ideas that have dominated thinking about politics throughout the modern period. Laying out powerful grounds for pessimism's claim that progress is not an enduring feature of human history, Dienstag argues that political theory must begin from this predicament.He persuasively shows that pessimism has been--and can again be--an energizing and even liberating philosophy, an ethic of radical possibility and not just a criticism of faith. The goal--of both the pessimistic spirit and of this fascinating account of pessimism--is not to depress us, but to edify us about our condition and to fortify us for life in a disordered and disenchanted universe.

Philosophy is often depicted as generically distinct from literature, myth, and history, as a discipline that eschews narration and relies exclusively on abstract reason. This book takes issue with that assumption, arguing instead that political philosophers have commonly presented their readers with a narrative, rather than a logic, of politics.The book maintains that philosophical texts frequently persuade through the creation of a role that they invite their audience to inhabit. Political theory is most powerful not when it erects timeless principles, but when it alters readers' understanding of their own past and future. By this the author means that a theorist's account of history or of time itself is in many instances the center of (and not merely an addendum to) an account of human nature and politics; political theory seeks not so much to reform our morals as to reshape our memories.This book investigates the place of narrative in politics in two ways. It offers a hypothesis of a broad connection between political identity and narrative, and it analyzes three major figures in the history of political thought—Locke, Hegel, and Nietzsche—to demonstrate that their work is best understood through the hypothesis. The author argues that each of these philosophers rewrites the past in an attempt to direct the future.For Locke, this involves replacing the patriarchal history of kingly authority with a more naturalistic past grounded in episodes of consent—an act that he believes will replace a tyrannical future with a free one. In contrast, Hegel's approach to the past is aesthetic, and each epoch of history is understood as a work of art. Despite the romantic overtones of this view, the frozenness of these images results, for Hegel, in a weakly imagined future. Nietzsche's narrative is at once the most open and the most gruesome, emphasizing the centrality of violence in human history but also holding out hope for a redemption of that history in a particular future. This redemptive approach to the past, the author argues, is superior to the alternatives in that it supports the strongest account of human freedom.

Philosophy is often depicted as generically distinct from literature, myth, and history, as a discipline that eschews narration and relies exclusively on abstract reason. This book takes issue with that assumption, arguing instead that political philosophers have commonly presented their readers with a narrative, rather than a logic, of politics.The book maintains that philosophical texts frequently persuade through the creation of a role that they invite their audience to inhabit. Political theory is most powerful not when it erects timeless principles, but when it alters readers' understanding of their own past and future. By this the author means that a theorist's account of history or of time itself is in many instances the center of (and not merely an addendum to) an account of human nature and politics; political theory seeks not so much to reform our morals as to reshape our memories.This book investigates the place of narrative in politics in two ways. It offers a hypothesis of a broad connection between political identity and narrative, and it analyzes three major figures in the history of political thought—Locke, Hegel, and Nietzsche—to demonstrate that their work is best understood through the hypothesis. The author argues that each of these philosophers rewrites the past in an attempt to direct the future.For Locke, this involves replacing the patriarchal history of kingly authority with a more naturalistic past grounded in episodes of consent—an act that he believes will replace a tyrannical future with a free one. In contrast, Hegel's approach to the past is aesthetic, and each epoch of history is understood as a work of art. Despite the romantic overtones of this view, the frozenness of these images results, for Hegel, in a weakly imagined future. Nietzsche's narrative is at once the most open and the most gruesome, emphasizing the centrality of violence in human history but also holding out hope for a redemption of that history in a particular future. This redemptive approach to the past, the author argues, is superior to the alternatives in that it supports the strongest account of human freedom.

In the lead essay for this volume, Joshua Foa Dienstag engages in a critical encounter with the work of Stanley Cavell on cinema, focusing skeptical attention on the claims made for the contribution of cinema to the ethical character of democratic life. In this debate, Dienstag mirrors the celebrated dialogue between Rousseau and Jean D'Alembert on theatre, casting Cavell as D'Alembert in his view that we can learn to become better citizens and better people by observing a staged representation of human life, with Dienstag arguing, with Rousseau, that this misunderstands the relationship between original and copy, even more so in the medium of film than in the medium of theatre. Dienstag's provocative and stylish essay is debated by an exceptional group of interlocutors comprising Clare Woodford, Tracy B. Strong, Margaret Kohn, Davide Panagia and Thomas Dumm. The volume closes with a robust response from Dienstag to his critics.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.