Putting a recognizable face on contemporary American cynicism.

Benjamin Schreier is suspicious of a simple equation of cynicism with quietism, nihilism, selfishness, or false consciousness, and he rejects the notion that modern cynicism represents something categorically different from the classical outlook of Diogenes. He proposes, instead, that cynicism names the difficult position of not being able to recognize the relevance of democratic social norms in the future and yet being nonetheless invested in the power of these norms to determine cultural identity and to regulate social practices. In his readings of Henry Adams’s Education, Willa Cather’s The Professor’s House, F. Scott Fitzgerald’s The Great Gatsby, and Nathanael West’s Miss Lonelyhearts, the author affirms that cynicism is an important and under-appreciated current in mainstream modern American literature. He finds that, far from the simple selfishness or apathy for which it is so often dismissed, the cynicism in these texts is suffused by a desire for the certainty promised by norms such as national teleology, ethnic identity, and civic participation. But without faith in the relevance of these regulating terms, cynics lack ready accounts of America and of their place in it. Schreier’s focus is not only on the cynical characters in the texts but also on the textual and epistemological strategies used to render normative narratives recognizably legitimate in the first place. In his refusal to historicize cynicism away with generalized claims about American society, Schreier argues instead that cynicism stages an unanswerable challenge to the specific expectations through which normative accounts of history become visible. The Power of Negative Thinking makes a vital and wide-ranging contribution to our understanding of American literature, intellectual and cultural history, philosophy, ethics, and politics. Schreier’s close reading and his vigorous theoretical examination of analytical first principles combine to make a book that is valuable not only to the study of methodology but also to the scrutiny of the very assumptions the humanities bring to the exploration of the way we think.

Where does Extreme Liberal Cynicism—so common in academic and popular culture—come from, and is it capable of solving the problems it identifies? A Critique of Liberal Cynicism: Peter Sloterdijk, Judith Butler, and Critical Liberalism identifies the motivations and resources within liberal cynicism and their potential for overcoming its pernicious extremes. Will Barnes describes Extreme Liberal Cynicism as a product of mourning, guilt, and the experience of powerlessness stemming from the trauma of holding liberal investments in a world in which these investments are vulnerable to ideological critique and seem to have failed. Extreme Liberal Cynicism seeks invulnerability through disavowing the efficacy of its constitutive ideals achieved via a reified hopelessness that eclipses trauma, guilt, and disempowerment leaving the cynic unhappy, alienated, hostile, obstinate, delusional, and desperate; thus, it is a failing self-defense mechanism. Barnes argues that although Extreme Liberal Cynicism is rationally unjustifiable and intrinsically harmful, it also contains the impetus for a reappropriation of its complex desires and losses. This adjustment could compel the extreme cynic to maintain a moderate critical liberal cynicism committed to critiquing and reinvigorating its constitutive ideals of freedom, equality, and justice, and thereby contribute positively to progressive politics.

Sharon A. Stanley analyzes cynicism from a political-theoretical perspective, arguing that cynicism isn't unique to our time. Instead, she posits that cynicism emerged in the works of French Enlightenment philosophers, such as Jean-Jacques Rousseau and Denis Diderot. She explains how eighteenth-century theories of epistemology, nature, sociability and commerce converged to form a recognizably modern form of cynicism, foreshadowing postmodernism. While recent scholarship and popular commentary have depicted cynicism as threatening to healthy democracies and political practices, Stanley argues instead that the French philosophes reveal the possibility of a democratically hospitable form of cynicism.

A short history of cynicism, from the fearless speech of the ancient Greeks to the jaded negativity of the present. Everyone's a cynic, yet few will admit it. Today's cynics excuse themselves half-heartedly—“I hate to be a cynic, but..."—before making their pronouncements. Narrowly opportunistic, always on the take, contemporary cynicism has nothing positive to contribute. The Cynicism of the ancient Greeks, however, was very different. This Cynicism was a marginal philosophy practiced by a small band of eccentrics. Bold and shameless, it was committed to transforming the values on which civilization depends. In this volume of the MIT Press Essential Knowledge series, Ansgar Allen charts the long history of cynicism, from the “fearless speech” of Greek Cynics in the fourth century BCE to the contemporary cynic's lack of social and political convictions. Allen describes ancient Cynicism as an improvised philosophy and a way of life disposed to scandalize contemporaries, subjecting their cultural commitments to derision. He chronicles the subsequent “purification” of Cynicism by the Stoics; Renaissance and Enlightenment appropriations of Cynicism, drawing on the writings of Shakespeare, Rabelais, Rousseau, de Sade, and others; and the transition from Cynicism (the philosophy) to cynicism (the modern attitude), exploring contemporary cynicism from the perspectives of its leftist, liberal, and conservative critics. Finally, he considers the possibility of a radical cynicism that admits and affirms the danger it poses to contemporary society.

When a term is overused, it tends to fall out of fashion. Cynicism seems to be an exception. Its polytropic versatility apparently prevents any discontinuation of its application. Everyone knows that cynicism denotes that which is deemed deleterious at a given time; and every time will specify its toxicities – the apparent result being the term’s non-specificity. This study describes the cynical stance and statement so as to render the term’s use scholarly expedient. Close readings of textual sources commonly deemed cynical provide a legible starting point. A rhetorical analysis of aphorisms ascribed to the arch-Cynic Diogenes facilitates describing the design of cynical statements, as well as the characteristic features of the cynical stance. These patterns are identifiable in later texts generally labeled cynical – above all in Machiavelli’s Principe. With recourse to the Diogenical archetype, cynicism is likewise rendered describable in Gracián’s Oráculo manual, Diderot’s Le neveu de Rameau, and Nietzsche’s Posthumous Fragments. This study’s description of cynicism provides a phenomenon otherwise considered amorphous with distinct contours, renders transparent its workings, and tenders a dependable basis for further analyses.

Sports have long fascinated filmmakers from Hollywood and beyond, from Bend It Like Beckham to Chariots of Fire to Rocky. Though sports films are diverse in their approach, style, and storytelling modes, National Pastimes discloses the common emotional and visual cues that belie each sports film’s underlying nationalistic impulses. Katharina Bonzel unravels the delicate matrix of national identity, sports, and emotion through the lens of popular sports films in comparative national contexts, demonstrating in the process how popular culture provides a powerful vehicle for the development and maintenance of identities of place across a range of national cinemas. As films reflect the ways in which myths of nation and national belonging change over time, they are implicated in important historical moments, from Cold War America to the class dynamics of 1980s Thatcherite Britain to the fragmented sense of nation in post-unification Germany. Bonzel shows how sports films provide a means for renegotiating the boundaries of national identity in an accessible, engaging form. National Pastimes opens up new ways of understanding how films appeal to the emotions, using myth-like constructions of the past to cultivate spectators’ engagement with historical events.