JACQUES RANCIÈRE: The Politics of Aesthetics: The Distribution of the Sensible. London: Bloomsbury Academic, 2013 / JACQUES RANCIÈRE, PETER ENGELMANN: Politics and Aesthetics. Cambridge: Polity Press, 2019

2021 ◽  
Vol 7 (2) ◽  
pp. 217-219
Author(s):  
Tal Feder
Keyword(s):  
Jacques Ranciere ◽  
Politics Of Aesthetics ◽  
Jacques Rancière

Metaphorical and metonymical equality: From a rhetoric of society to an aesthetics of politics

Maska ◽  
2017 ◽  
Vol 32 (185) ◽  
pp. 52-58
Author(s):  
Rok Benčin
Keyword(s):  
Political Theory ◽  
Jacques Ranciere ◽  
Rhetorical Figures ◽  
Politics Of Aesthetics ◽  
Jacques Rancière ◽  
Metaphor And Metonymy

The notion of the division of the sensible allows Jacques Rancière to suspend and redraw the lines between the politics of aesthetics and the aesthetics of politics, as well as between forms of political and aesthetic equality. The essay discusses Rancière’s work from a different angle, namely the distinction of two rhetorical figures, metaphor and metonymy, following Ernesto Laclau’s use of Gérard Genette’s reading of Proust as a model for his political theory. Outlining Rancière’s own use of the two figures as political models as well as his readings of Proust, the essay traces the differences between the rhetoric of society (Laclau) and the aesthetics of politics (Rancière).

scholarly journals Rancière and Occupy (in) London: An Interview with A.N.Onymous

2015 ◽  
Vol 8 (3) ◽  
Author(s):  
Samuel Burgum
Keyword(s):  
Jacques Ranciere ◽  
Politics Of Aesthetics ◽  
Jacques Rancière

Based upon an interview with the activist A.N.Onymous that was published on the Theory, Culture & Society website, this article seeks to indicate some of the ways in which the theory of Jacques Rancière might be useful for a critical and reflective understanding of Occupy (in) London. A.N.ON’s insights into the movement and the theory are elaborated throughout using Rancière’s concepts in order to suggest some of the ways that they might inform each other, covering such themes as: expertise; authority; horizontality and democracy; the politics of aesthetics; as well as the importance of space in resistance. 

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.

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.

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