scholarly journals Pierre Bourdieu and Jacques Rancière on art/aesthetics and politics: the origins of disagreement, 1963-1985

2015 ◽  
Vol 66 (4) ◽  
pp. 738-758
Author(s):  
Derek Robbins
Keyword(s):  
Pierre Bourdieu ◽  
Aesthetics And Politics ◽  
Jacques Ranciere ◽  
Jacques Rancière

A Breathing Space for Aesthetics and Politics: An Introduction to Jacques Rancière

2014 ◽  
Vol 31 (7-8) ◽  
pp. 5-26 ◽  
Author(s):  
Nikos Papastergiadis
Keyword(s):  
Political Theory ◽  
Contemporary Art ◽  
The Political ◽  
Art Practice ◽  
Aesthetics And Politics ◽  
Alain Badiou ◽  
Jacques Ranciere ◽  
Creative Transformation ◽  
Breathing Space ◽  
Jacques Rancière

Jacques Rancière is one of the central figures in the contemporary debates on aesthetics and politics. This introduction maps the shift of focus in Rancière’s writing from political theory to contemporary art practice and also traces the enduring interest in ideas on equality and creativity. It situates Rancière’s rich body of writing in relation to key theorists such as the philosopher Alain Badiou, art historian Terry Smith and anthropologist George E. Marcus. I argue that Rancière offers a distinctive approach in this broad field by clarifying the specificity of the artist’s task in the production of critical and creative transformation, or what he calls the ‘distribution of the sensible’. In conclusion, I complement Rancière’s invocation to break out of the oppositional paradigm in which the political and aesthetic are usually confined by outlining some further methodological techniques for addressing contemporary art.

scholarly journals La communauté et son dehors. Pour une critique des représentations du lien fondées sur l'individualisme ou le sociologisme

2002 ◽  
pp. 47-57
Author(s):  
Patrick Cingolani
Keyword(s):  
Pierre Bourdieu ◽  
Second Moment ◽  
Jacques Ranciere ◽  
Jacques Rancière

RÉSUMÉ L'article, à partir d'un retour sur quelques-uns des textes fondateurs de la sociologie, essaie, en s'appuyant notamment sur Toc-queville, de sortir de l'alternative entre individualisme et sociologisme, afin d'aborder la communauté dans un rapport d'écart (d'en-dehors) à elle-même. L'écart critique, né de l'activité publique des hommes ensemble, suspend, en effet, tant l'illusion de la suffisance individuelle que celle de la toute-puissance d'assignation de la société. Dans un second moment, l'article tente d'actualiser les débats du siècle dernier en faisant appel aux réflexions contemporaines sur la communauté. À partir d'une confrontation avec la représentation du lien dans la sociologie de Pierre Bourdieu, il esquisse quelques pistes théoriques qui mettent l'activité critique et la prise de parole au cœur de l'enjeu communautaire, en s'appuyant notamment sur le travail de Jacques Rancière.

scholarly journals Distancias. Hacia un régimen estético-político de la imagen-movimiento = Distances. Towards an Aesthetic and Political Image-Movement Regime

2020 ◽  
pp. 465
Author(s):  
Eduardo Galak
Keyword(s):  
Political Regime ◽  
Aesthetics And Politics ◽  
Fritz Lang ◽  
Jacques Ranciere ◽  
The Gaze ◽  
Feature Films ◽  
Dziga Vertov ◽  
Politics Of Aesthetics ◽  
Jacques Rancière ◽  
Image Movement

Se interpelan las tensiones en las distancias entre sentidos estéticos y discursos políticos a partir de analizar las revoluciones técnicas y estéticas que se produjeron en la cinematografía de la década de 1920. Para ello se analizan tres largometrajes: Metrópolis, de Fritz Lang (1927), Berlín. Sinfonía de una ciudad, de Walter Ruttmann (1927) y El hombre de la cámara, de Dziga Vértov (1929). En ellos la ciudad se presenta como escenario donde los cuerpos se mueven, narrado por un conjunto de imágenes cuyo montaje se proyecta como el compás armónico de un régimen estético-político de la imagen-movimiento. En el hiato entre educar con la mirada y educar la mirada se trasluce la distancia entre lo que Jacques Rancière denomina como la «estética de la política» y la «política de la estética». Lo cual, confrontándolo con Walter Benjamin, posibilita observar las distancias entre imágenes, entre técnicas, entre originalidades y reproducciones, entre la estética y la política.AbstractThe aim is to analyze the distances between aesthetic senses and political speeches by technical and aesthetical cinematography revolutions happened in the 1920s. This is observed at three feature films: Metropolis (Fritz Lang, 1927), Berlin. Symphony of a Metropolis (Walter Ruttmann, 1927) and The Man with a Movie Camera (Dziga Vértov, 1929). At those films the city is exhibited as a scenario where bodies are moving, narrated by a set of images whose assembly is projected as the harmonic compass of an aesthetic-political regime of the image-movement. In the hiatus between educating with the gaze and educating the gaze itself, the distance between what Jacques Rancière called as the «aesthetics of politics» and the «politics of aesthetics» is studied. Confronting this with Walter Benjamin’s theory, it is possible to observe the distances between images, between techniques, between originality and reproduction and between aesthetics and politics.

Resistance in Public Spaces: Questions of Distinction, Duration, and Expansion

2017 ◽  
Vol 20 (2) ◽  
pp. 127-140 ◽  
Author(s):  
Lars Frers ◽  
Lars Meier
Keyword(s):  
Pierre Bourdieu ◽  
Public Spaces ◽  
Future Research ◽  
Jacques Ranciere ◽  
Michel De Certeau ◽  
Everyday Practices ◽  
Jacques Rancière

What are the limits of resistance in public spaces? Academic representations of acts of resistance often exclusively look at the acts themselves, focusing on performers or participants, but neglecting passers-by. How do these passers-by connect (or not) to these acts and their aesthetics? What about after the action is over and the participants have left? What about effects at sites distant from where the practices of resistance took place? This article uses the works of Michel de Certeau, Pierre Bourdieu, and Jacques Rancière to discuss the restrictions and the potential resistance in public spaces. We investigate the limitations of everyday practices of resistance in public spaces and suggest that future research can better understand the limits of practices of resistance by taking into account three distinct aspects: distinction, duration, and extension. We use Rancière’s understanding of aesthetics and the sensible to link accounts of resistance that focus on political subjectivities and those that focus on actual practices of resistance.

Aesthetics and Politics Revisited: An Interview with Jacques Rancière

2012 ◽  
Vol 38 (2) ◽  
pp. 289-297 ◽  
Author(s):  
Gavin Arnall ◽  
Laura Gandolfi ◽  
Enea Zaramella
Keyword(s):  
Aesthetics And Politics ◽  
Jacques Ranciere ◽  
Jacques Rancière
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