scholarly journals Fiction, truth, politics : the aesthetical dimension of actuality, from arendt to rancière.

Soft Power ◽  
2019 ◽  
Vol 6 (2) ◽  
pp. 188-205
Author(s):  
Massimo Villani
Keyword(s):  
The Real ◽  
Jacques Ranciere ◽  
Common Space ◽  
Jacques Rancière ◽  
The Common ◽  
Political Praxis

Actuality works in a medial dimension, in which the real only expresses itself, without referencing anything else. That of medium is a spurious space, loaded with cognitive and libidinal stains that the subjects leave behind in their relationships. Politics, in the neoliberal period, wears itself out in this context that has no links with stable facts, that is not shielded from human affairs. Starting from some of Hannah Arendt’s considerations about the relational character of truth, it is possible to think of political praxis in this rigorously post-foundational context. With Jacques Rancière, we will then observe how the real, in order to be thought, needs to be turned into fiction: politics is a dispute about fiction of the common space, about how its material and symbolic configuration is imagined. But faking equality of anyone with everyone means in fact practicing it.

scholarly journals Skopje: Time, Narrative, and Politics

2015 ◽  
Vol 11 (1) ◽  
pp. 7-18
Author(s):  
Jacques Rancière ◽  
Drew S. Burk
Keyword(s):  
Literary Fiction ◽  
Jacques Ranciere ◽  
Social Sciences And Humanities ◽  
Jacques Rancière ◽  
Flow Of Time ◽  
The Common ◽  
Ways Of Being ◽  
Forms Of Knowledge ◽  
Common World ◽  
The Way

I would like to recall several ideas that have supported the entirety of my work for the past 40 years: forms of worker emancipation and the regimes of the identification of art; the transformations of literary fiction and the principles of democracy; the presuppositions of historical science and the forms of consensus by today’s dominant apparatuses. What unites all these areas of research is the attention to the way in which these practices and forms of knowledge imply a certain cartography of the common world. I have chosen to name this system of relations between ways of being, doing, seeing, and thinking that determine at once the common world and the ways in which everyone takes part within it the “distribution of the sensible.” But it must also be said that temporal categories play an important role in this as well. By defining a now, a before and an after, and in connecting them together within the narrative, they predetermine the way in which the common world is given to us in order to perceive it and to think it as well as the place given to everyone who occupies it and the capacity by which each of us then has to perceive truth. The narrative of time at once states what the flow of time makes possible as well as the way in which the inhabitants of time can grasp (or not grasp) these “possibles.” This articulation is a fiction. In this sense, politics and forms of knowledge are established by way of fictions including as well works that are deemed to be of the imagination. And the narrative of time is at the heart of these fictions that structure the intelligibility of these situations, which is to say as well, their acceptability. The narrative of time is always at the same time a fiction of the justice of time. Author(s): Jacques Rancière Title (English): Skopje: Time, Narrative, and Politics Translated by (French to English): Drew S. Burk Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 11, No. 1 (Summer 2015) Publisher: Institute of Social Sciences and Humanities – Skopje  Page Range: 7-18 Page Count: 11 Citation (English): Jacques Rancière, “Skopje: Time, Narrative, and Politics,” translated from the French by Drew S. Burk, Identities: Journal for Politics, Gender and Culture, Vol. 11, No. 1 (Summer 2015): 7-18.

scholarly journals Silent waves: On silence, Singapore, and Jacques Rancière

2017 ◽  
Vol 2 (2) ◽  
pp. 310
Author(s):  
Felipe Cervera
Keyword(s):  
Speaking Up ◽  
The Real ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
The Spectator ◽  
City State ◽  
The City ◽  
The Voice

This article stages the silent adventure of watching theatre about Singapore Malays and reading Jacques Rancière in Singapore. The argument blurs the real and the fictional, the voice of the author with the voice of the spectator, Rancière’s voice with the silence of Maya Raisha, a Malay-Muslim girl.  In doing so, the piece seeks to evidence that as a consequence of the regulatory nature of performance in Singapore, more than creating a moment of disruption against the normative sphere, silence evidences the instrumentality that ‘speaking up’ has in the normativity of the city-state. The piece is written as the performative chronicle of an intellectual adventure that took place between 2012 and 2013, when alongside reading Rancière’s work in detail, the author moved to Singapore and watched Teater Ekamatra’s Not Counted (2012) and The Necessary Stage’s Best Of (2012-3).

scholarly journals La Fotografía de Ana Álvarez-Errecalde: el reciclaje de las formas en la construcción de sentido e identidad

ILUMINURAS ◽  
2021 ◽  
Vol 22 (56) ◽  
Author(s):  
María Isabel Imbaquingo ◽  
Carlos Hugo Aulestia
Keyword(s):  
The Political ◽  
Photographic Image ◽  
Jacques Ranciere ◽  
Common Space ◽  
Palabras Clave ◽  
Jacques Rancière ◽  
Post Production ◽  
Contemporary Artist ◽  
The Aesthetic

El presente texto explora la obra visual de la artista contemporánea argentina Ana Álvarez-Errecalde en la que se opera una estrategia de transgresión de las representaciones aceptables, según los regímenes de comprensión del arte dominante. El trabajo de esta autora pretende exhibir ante los receptores ciertas representaciones de los femenino y la maternidad, que en un marco estrictamente estético serían deslegitimadas o desacreditadas como un discurso de reivindicación política.Para interpretar de manera pertinente este trabajo es necesario explorar las reflexiones  de Jacques Rancière sobre los vínculos entre los regímenes de comprensión de lo estético, de naturaleza excluyente, y la noción de política, que busca la igualdad en la producción y recepción del arte. Además, se examinan los conceptos propuestos por Nicolas Bourriaud como la reapropiación de las formas y la continuidad del relato en la categoría de postproducción.Como resultado de esta exploración, en las propuestas fotográficas analizadas ‘Tres gracias sangrantes’ y ‘Anunciación’, la artista consigue generar un espacio común para mostrar la trascendencia política en los fenómenos estéticos y por tanto generar un nuevo reparto de lo sensible, en palabras de Rancière. Palabras clave: repartición de lo sensible; regímenes de lo estético, imagen fotográfica; postproducción; cuerpo.  Ana Alvarez-Errecalde’s photography: the building of sense and identity thru recycling of shapes Abstract: This text explores the visual work of the Argentine contemporary artist Ana Alvarez-Errecalde, in which a strategy of transgression of acceptable representations is used, according to the systems of understanding of the predominant art. The work of this author is intended to exhibit to the viewers, certain representations of feminine and motherhood, which under a strictly aesthetic framework, would be discredited as a discourse of political vindication. In order to understand this work in an appropriate way, it is necessary to explore Jacques Rancière's reflections about the links between the selective nature of the systems of understanding the aesthetic and the political notion, which seeks equality in the production and public reception of art. In addition, we will examine the concepts proposed by Nicolas Bourriaud, such as the art of appropriation and the production of different story lines and alternative narratives in post-production notion.As a result of this arrangement, in the photographic proposals analyzed 'Three bleeding graces' and 'Annunciation', the artist manages to generate a common space to show political significance in aesthetic phenomena and, therefore, in the words of Rancière, create a new sensitive arrangement.Keywords: distribution of the sensible; esthetic regime; photographic image; postproduction; body.

scholarly journals O lugar próprio no espaço impróprio: o negro, o judeu e o comum

2021 ◽  
Vol 34 (70) ◽  
pp. 175-191
Author(s):  
Paulo Henrique Fernandes Silveira
Keyword(s):  
Jacques Derrida ◽  
Maurice Blanchot ◽  
Frantz Fanon ◽  
Giorgio Agamben ◽  
Jacques Ranciere ◽  
Jean Paul ◽  
Palabras Clave ◽  
Jacques Rancière ◽  
The Common ◽  
Edmond Jabes

O lugar próprio no espaço impróprio: o negro, o judeu e o comum Resumo: No pós-guerra, uma série de intelectuais que residiam na França, alguns deles, como exilados ou expatriados, travaram um intenso debate a respeito das condições do negro e do judeu. Jean-Paul Sartre formulou uma das questões centrais desse debate: haveria uma essência da negritude ou do judaísmo? Para Frantz Fanon, Maurice Blanchot, Jacques Derrida e Edmond Jabès, a negritude e o judaísmo podem ser compreendidos a partir das experiências do exílio e da expatriação. Esse artigo pretende reconstruir esse debate e analisar a importância do não-pertencimento para as concepções de comunidade e comum desenvolvidas por Jean-Luc Nancy, Giorgio Agamben e Jacques Rancière. Palavras-chave: Negro. Judeu. Expatriação. Não-pertencimento. Comum. El lugar propio en el espacio impropio: el negro, el judío y el común Resumen: En la pos-guerra, una serie de intelectuales que vivían en Francia, algunos de ellos, como exilados o expatriados, trabaran un intenso debate a respecto de las condiciones del negro y del judío. Jean-Paul Sartre formuló una de las preguntas centrales de ese debate: ¿habría una esencia da negritud o de judaísmo? Para Frantz Fanon, Maurice Blanchot, Jacques Derrida y Edmond Jabès, la negritud y el judaísmo pueden ser comprendidos a partir de las experiencias de exilio y de la expatriación. Ese artículo pretende reconstruir ese debate y analizar la importancia del no-pertenencia a las conceptos de comunidad y común desarrolladas por Jean-Luc Nancy, Giorgio Agamben y Jacques Rancière. Palabras-clave: Negro. Judío. Expatriación. No-pertenencia. Común. The proper place in the improper space: the black, the jewish and the common Abstract: In the postwar period, a number of intellectuals residing in France, some of them as exiles or expats, the intellectuals engaged in an intense debate about the conditions of the black and the jewish. Jean-Paul Sartre formulated one of the key questions of this debate: Is there an essence of blackness or judaism? For Frantz Fanon, Maurice Blanchot, Jacques Derrida, and Edmond Jabès, blackness and judaism can be understood from the experiences of exile and expatriation. This article aims to reconstruct this debate and analyze the importance of non-belonging to the conceptions of community and common developed by Jean-Luc Nancy, Giorgio Agamben, and Jacques Rancière. Keywords: Black. Jewish. Expatriation. Non-belonging. Common. Data de registro: 11/12/2019 Data de aceite: 26/08/2020

scholarly journals Sørejser og historiografisk politik - Britisk historiefortælling om havet og dets folk

2018 ◽  
pp. 106-118
Author(s):  
Johan Heinesen
Keyword(s):  
Historical Science ◽  
Political Issue ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
The Common ◽  
The Relationship

The article traces ways in which the historiography of British voyaging and exploration has configured the relationship between shipboard communities and words. This is argued to be a ‘political’ issue in the sense bestowed upon the word by Jacques Rancière. He sees the kernel of politics to be the struggle about speech and the ability of speaking beings to designate what is ‘common’ to community. Taking its clues from Rancière’s poetics of knowledge the article explores how historiography has dealt with the ship’s community of speaking beings. It identifies a strategy through which the narration of the ship distinguishes between good speech and bad speech and lets the former be the foundation of a proper community, while the later becomes a transgression of the boundaries of community. Historical science later supplemented this displacement of speech by tying the truth of community to hidden structures, thereby disabling the actor’s ability to narrate the common.

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.

Sign in / Sign up

Export Citation Format

Share Document