Davide Panagia

In this essay, the author examines the tensions that emerge between the practice of essay writing and a commitment to philosophical justification as themodel for political argument in contemporary political thought. He focuses on Jürgen Habermas’s adoption of the performative contradiction as an ideal for communicative exchange and shows the unacknowledged role that sincerity plays in Habermas’s argument. He then links this account to his explorations of the rise of aesthetic criticism in the eighteenth and nineteenth centuries and its contribution to democratic thought. Turning to one of the key literary and political critics of the period, William Hazlitt, the author shows how his theory of essay composition lends itself to a radical democratic imaginary that complicates the account of political argument Habermas sets out. Hazlitt’s essays, the author concludes, are exemplary in their embracing of contradiction as a condition of democratic life.

In this article, I claim that film matters to political theory not because of the stories films recount, but because the medium of film offers political theorists an image of political thinking that emphasizes the stochastic serialization of actions. I thus argue that the stochastic serialization of moving images that films project makes available for democratic theory an experience of resistance and change as a felt discontinuity of succession, rather than as an inversion of hierarchical power. In my treatment of these issues, I rely on Hume's ontology of ‘broken appearances’ and ‘interrupted perceptions’, as well as Stanley Cavell's ontology of film as treated in The World Viewed. I elaborate the following four aspects of the relation between film and political theory: the action-image; discontinuity and the fact of series; actors, artificial persons and human somethings; and political resistance and an aesthetics of politics. The manner in which I proceed is to show the aspectual overlay between film and political thinking. Such a method of exposition suggests a further, methodological site where film matters to political theory: the stochastic serialization of moving images in film provides political theory with a genre for elaborating ideas that is not reducible to the analytics of causal argument

In _The Poetics of Political Thinking_ Davide Panagia focuses on the role that aesthetic sensibilities play in theorists’ evaluations of political arguments. Examining works by thinkers from Thomas Hobbes to Jacques Rancière, Panagia shows how each one invokes aesthetic concepts and devices, such as metaphor, mimesis, imagination, beauty, and the sublime. He argues that it is important to recognize and acknowledge these poetic forms of representation because they provide evaluative standards that theorists use in appraising the value of ideas—ideas about justice, politics, and democratic life. An investigation into the intertwined histories of aesthetic and political accounts of representation—such as Panagia presents here—sheds light on how modes of poetic thinking delimit the questions of unity and diversity that continue to animate contemporary political theory. Panagia not only illuminates the structure of much contemporary political theory but also shows why understanding the poetics of political thinking is vital to contemporary society. Drawing on Gilles Deleuze’s critique of negation and his privileging of paradox as the source of political thought, Panagia suggests that a non-teleological concept of difference might generate insight into pressing questions about foreignness and citizenship. Turning to the liberal/poststructural debate that dominates contemporary political theory, he compares John Rawls’s concept of justice to Rancière’s ideas about political disagreement in order to demonstrate how, despite their differences, both thinkers comprehend aesthetic and moral reasoning as part and parcel of political writing. Considering the writings of William Hazlitt and Jürgen Habermas, he describes how the essay has become the exemplary genre of what is considered rational political argument. _The Poetics of Political Thinking_ is a compelling reappraisal of the role of representation within political thought.

In _Rancière’s Sentiments _Davide Panagia explores Jacques Rancière’s aesthetics of politics as it informs his radical democratic theory of participation. Attending to diverse practices of everyday living and doing—of form, style, and scenography—in Rancière’s writings, Panagia characterizes Rancière as a sentimental thinker for whom the aesthetic is indistinguishable from the political. Rather than providing prescriptions for political judgment and action, Rancière focuses on how sensibilities and perceptions constitute dynamic relations between persons and the worlds they create. Panagia traces this approach by examining Rancière’s modernist sensibilities, his theory of radical mediation, the influence of Gustave Flaubert on Rancière’s literary voice, and how Rancière juxtaposes seemingly incompatible objects and phenomena to create moments of sensorial disorientation. The power of Rancière’s work, Panagia demonstrates, lies in its ability to leave readers with a disjunctive sensibility of the world and what political thinking is and can be.

This dissertation inquires into contemporary accounts of the nature of political argument by focusing on the following question: What do contemporary political theorists require of individuals when asked to think politically? Looking to selected writings of John Rawls, Gilles Deleuze, Jurgen Habermas, Jacques Ranciere, and others, I examine how these theorists understand the activity of thinking and consider how their views on the function of thinking inform their contending conceptions of political participation and action. Each theorist, I claim, endorses a specific "image of political thought" that provides standards for evaluating an idea's worth. Crucial to such analytic criteria are parameters that indicate mistakes in thinking. My interest is to show how the delimitation of mistakes is, in fact, evidence of substantive disagreement between contesting views. Liberal democratic polities are constituted by dissonant elements often treated as 'mistakes' and excluded from public consideration. I argue that there is a positive value to these 'mistakes' as they represent moments of critical activity within a polity. In the disruptions that ensue from these instances of disagreement we find the challenges faced by contemporary political thought. I conclude that theoretical disputes about cognitive mistakes illustrate how the dominant debate in contemporary political theory---the liberal/post-structural debate---is one about protocols for reading and writing competency and, implicitly, about the character of civic education. At stake in much ethical discussion today is the teaching of cognitive tools that critically engage perceived injustices.

In this essay, the author examines the tensions that emerge between the practice of essay writing and a commitment to philosophical justification as themodel for political argument in contemporary political thought. He focuses on Jürgen Habermas’s adoption of the performative contradiction as an ideal for communicative exchange and shows the unacknowledged role that sincerity plays in Habermas’s argument. He then links this account to his explorations of the rise of aesthetic criticism in the eighteenth and nineteenth centuries and its contribution to democratic thought. Turning to one of the key literary and political critics of the period, William Hazlitt, the author shows how his theory of essay composition lends itself to a radical democratic imaginary that complicates the account of political argument Habermas sets out. Hazlitt’s essays, the author concludes, are exemplary in their embracing of contradiction as a condition of democratic life.

The mob, when they are gazing at a dancer on the slack rope, naturally writhe and twist and balance their own bodies, as they see him do, and as they feel that they themselves must do if in his situation. I begin with an epigraph from Adam Smith in order to make apparent the structuring conceit of this essay, which is the following: the matter of assemblages are here considered within the context of modern tradition of moral sentimentalism and its considerations of the affective, associational dynamics that dispose of collectivities. At root in these reflections is my inclination to return to the original French term in the work of Gilles Deleuze and Félix Guattari that sources our English...