“Nothing tires a vision more than sundry attacks / in the manner of enclosure”: An Afterword to Angriff der Schwierigen Gedichte

boundary 2 ◽  
2021 ◽  
Vol 48 (4) ◽  
pp. 107-112
Author(s):  
Dennis Büscher-Ulbrich
Keyword(s):  
German Language ◽  
Critical Survey ◽  
Avant Garde ◽  
Jacques Ranciere ◽  
Bilingual Poetry ◽  
Jacques Rancière ◽  
Charles Bernstein ◽  
Critical Theorist ◽  
Distinguished Scholar ◽  
Poetry Collection

Abstract The following text was published in German as an afterword to the bilingual poetry collection Charles Bernstein: Angriff der Schwierigen Gedichte (München: luxbooks, 2014). Originally intended as a critical survey and introduction for German-language readers, it traces Bernstein's work as a radical modernist poet, distinguished scholar, and critical theorist in his own right from the late 1960s to the early 2010s. From his early poetry to L = A = N = G = U = A = G = E magazine, from his major books of poetry and collective avant-garde performances to his essays on poetics, Bernstein, I argue, consistently articulated with wit and precision why and how radical modernism affects what Jacques Rancière has called the “distribution of the sensible.”

Are Puns Mere? Christine Brooke-Rose's Amalgamemnon

2021 ◽  
Vol 16 (4) ◽  
pp. 529-545
Author(s):  
Julia Jordan
Keyword(s):  
The Novel ◽  
Late Modernism ◽  
Distinctive Character ◽  
Avant Garde ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
The Face ◽  
The Moment ◽  
Secret Knowledge ◽  
The Relationship

This article will explore the relationship between linguistic puns and knowledge, in particular puns in Christine Brooke-Rose's work, and what they tell us about knowledge: secret knowledge; encoded knowledge; latent knowledge that remains latent; and the refusal of knowledge. My title is an allusion to Frank Kermode's 1967 essay ‘Objects, Jokes, and Art’, where he puzzles away at his own difficulty with distinguishing avant garde writing and art, especially what he calls the ‘neo-avant garde’ of the 60s, from jokes. ‘I myself believe’, he writes anxiously, ‘that there is a difference between art and a joke’, admitting that ‘it has sometimes been difficult to tell.’ Brooke-Rose, whose work Kermode admired, is a perfect example of this. Her texts revolve around the pun, the surprise juxtaposition between semantic poles, the unexpected yoking together of disparate elements. Puns, for Brooke-Rose, sit at the juncture between the accidental and the overdetermined. So what is funny about the pun? Not much, I propose, or rather, it provokes a particular sort of ambivalent laughter which becomes folded into the distinctive character and affective potency of late modernism itself: its deadpan silliness; its proclivity to collision and violence; its excitability and its melancholy. Brooke-Rose's humour is thus of the difficult sort, that is, humour that reveals itself at the moment of its operation to be not all that funny. The unsettling laughter, I propose, that exposes literature's own incommensurability with itself. For Jacques Rancière, the novel must illuminate somehow the ‘punctuation of the encounter with the inconceivable’, in the face of which all is reduced to passivity. The pun, in particular, forces the readers’ passivity, and exposes us to limits of what can be known.

Freiheit, Gleichheit, Sinnlichkeit–Jacques Rancière, Hegel und die holländische Malerei

2010 ◽  
Vol 55 (2) ◽  
Author(s):  
Leander Scholz
Keyword(s):  
Political Theory ◽  
French Revolution ◽  
Jacques Derrida ◽  
Traditional Concept ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
Political Intervention ◽  
The French Revolution

Der Aufsatz geht der These nach, daß die Fundierung der politischen Theorie in einer ästhetischen Theorie bei Jacques Rancière eine Aktualisierung der Losung der Brüderlichkeit aus der Französischen Revolution darstellt. Diese Aktualisierung der Brüderlichkeit als »ästhetische Gemeinschaft« erlaubt es Rancière, an den Klassenbegriff von Marx anzuschließen, ohne die damit verbundene Gemeinschaftserfahrung begrifflich bestimmen und damit an positive Merkmale binden zu müssen. Weil Rancière seine Demokratietheorie vor allem als eine Interventionstheorie angelegt hat, soll die »ästhetische Gemeinschaft« im Unterschied zum Klassenbegriff es ermöglichen, eine prinzipiell unabgeschlossene Reihe von politischen Subjektivierungsprozessen zu denken. Um diese These zu schärfen, wird Rancières Demokratietheorie mit der von Jacques Derrida verglichen, der auf ganz ähnliche Weise das Demokratische der Demokratie in einem Streit gegeben sieht, der jenseits von demokratischen Spielregeln stattfindet, die Losung der Brüderlichkeit jedoch für überaus problematisch hält.<br><br>This article argues that the foundation of political theory in aesthetics by Jacques Rancière can be seen as an actualization of the slogan of fraternalism during the French Revolution. This actualization of fraternalism as »aesthetic community« gives Rancière the possibility to operate with the Marxian concept of classes without positively defining the experience of community. Because Rancière understands democracy as the chance for political intervention, the concept of an »aesthetic community« (as opposed to the traditional concept of classes) allows him to posit an endless process of political subjectification. To sharpen this argument, the article compares Rancière’s understanding of democracy to Jacques Derrida’s, who also focuses on a democratic struggle beyond democratic rules, but is very skeptical about the slogan of fraternalism.

scholarly journals 1932: entre a imagem e a virtualidade

2015 ◽  
Vol 15 (24) ◽  
pp. 23
Author(s):  
Chirsty Beatriz Najarro Guzmán
Keyword(s):  
El Salvador ◽  
Jacques Ranciere ◽  
Jacques Rancière

http://dx.doi.org/10.5007/1984-784X.2015v15n24p23Entre a realidade e sua representação imagética, intervém a subjetividade de quem capta essa realidade, cujas condições intelectuais, sociais e culturais se articulam para a configuração analógica e dessemelhante do rosto imagético, conforme as considerações de Jacques Rancière sobre a natureza das imagens. Nesse sentido, não só se contesta a existência de um discurso único sobre um evento histórico, mas também a univocidade de tal evento. Levando isso em consideração, o documentário 1932: cicatriz en la memoria (2005), dirigido por Carlos Hernríquez Consalvi, para o Museo de la Palabra y la Imagen (MUPI) de El Salvador, apresenta uma narrativa que compreende o levante popular e etnocídio cultural de 1932, como a semente do Partido Comunista (PC) salvadorenho, ao mesmo tempo em que na entrelinha se tece uma contra-narrativa, cuja linha de pensamento vai no sentido contrário, colocando o indígena como protagonista, contestando o discurso oficial sobre os eventos.

Film's Aesthetic Turn: A Contribution from Jacques Ranciere

SubStance ◽  
2004 ◽  
Vol 33 (1) ◽  
pp. 108
Author(s):  
Michele Garneau ◽  
James Cisneros
Keyword(s):  
Jacques Ranciere ◽  
Jacques Rancière

Truth Study Center e as condições para o pensamento a partir de fotografias.

Ícone ◽  
2018 ◽  
Vol 16 (2) ◽  
pp. 210-224
Author(s):  
Marina Feldhues
Keyword(s):  
Gilles Deleuze ◽  
Walter Benjamin ◽  
Jacques Ranciere ◽  
Susan Sontag ◽  
Jacques Rancière ◽  
Study Center

Este trabalho procura refletir sobre se é possível pensar sobre a realidade do mundo, procurar compreender a realidade, por meio da fotografia. Para tanto, parte das proposições levantadas por Susan Sontag sobre o assunto. Na sequência, faz uma revisão teórica das proposições de Sontag à luz das reflexões trazidas por Jacques Rancière sobre imagem, operações de arte e montagem; Walter Benjamin sobre o ato de narrar; Gerry Badger e László Moholy-Nagy sobre narrar como fotos; e Gilles Deleuze sobre o pensamento como experiência.  Por último, procuramos analisar, com base nas reflexões trazidas pelos autores mencionados, como as operações artísticas da instalação Truth Study Center de Wolfgang Tillmans, contribuem para refletirmos sobre a experiência de pensar a realidade do mundo a partir de fotografias.

Sign in / Sign up

Export Citation Format

Share Document