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 A Língua Política e a Política Poética na Poesia Encarnada de Alex Simões

eLyra ◽  
2020 ◽  
pp. 69-87
Author(s):  
Djalma Thurler ◽  
Duda Woyda
Keyword(s):  
The Real ◽  
Hybrid Processes ◽  
Jacques Ranciere ◽  
Politics Of Difference ◽  
Interdisciplinary Dialogue ◽  
Political Perspective ◽  
Politics Of Aesthetics ◽  
The Spectator ◽  
New Policies ◽  
Poetic Work

In an interdisciplinary dialogue, our goal is to observe how the poetic work of Alex Simões contributes to the redefinition of a type of poetry that aims at being political. A “politics of poetry” then takes shape in the footsteps of Jacques Rancière and his “politics of aesthetics”, taking political perspective as a critique of the present and a desire for transformation, from a relation to the real, a production of meaning and its own conception of the spectator. Based on queer-frontier references, the authors recognize a politics of poetry in its aesthetic dimension, in hybrid processes between politics of difference and aesthetics, which serve as new policies of subjectivation.

scholarly journals The Civic Scale: Strategies of Emplacement in Dambudzo Marechera and Ivan Vladislavić

Humanities ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 91
Author(s):  
Liam Kruger
Keyword(s):  
Urban Spaces ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
Spatial Terms ◽  
Ivan Vladislavic ◽  
The City

This paper identifies and intervenes in the problems posed by reading postcolonial texts as representative, or encompassing of, the nation with which they are associated. Alternatively, it proposes that reading at the scale of the city offers a method for circumventing the elision of particularity which occurs when the nation, continent or globe are foregrounded in Western or Western-facing responses to these texts. The paper models what such a “scaled-down” reading might look like, attending to Dambudzo Marechera’s House of Hunger (1978) and Ivan Vladislavic’s Portrait With Keys: Joburg and What-What (2006), and their intricate relationships to the urban spaces of Harare and Johannesburg, respectively. At stake in these analyses are opportunities to identify what Jacques Rancière terms dissensus, or political contestation, rendered in spatial terms. This establishes a pliable counterdiscourse of the city which seeks and discerns meaning not through consensus or “sanctioned representation”; but through the complexities of affective attachments, the plurality of experiences, and the teeming heterogeneity of physical and literary spaces that have been previously flattened.

scholarly journals Variaciones de Caracas: el espacio como imagen textual en Celeste Olalquiaga, Yolanda Pantin y Arturo Uslar Pietri

2018 ◽  
Vol 6 (10) ◽  
pp. 43-72
Author(s):  
Gianfranco Selgas
Keyword(s):  
Jacques Ranciere ◽  
Theoretical Approaches ◽  
Starting Point ◽  
Representation Of Space ◽  
Jacques Rancière ◽  
Textual Image ◽  
The City ◽  
Selection Of

The purpose of this article is to analyze how a selection of texts by Venezuelan authors Celeste Olalquiaga, Yolanda Pantin and Arturo Uslar Pietri, each produced in different historical stages of Venezuela, represent space as a textual-image. This representation of space as a textual-image portrays both its contemporaneity and a series of effects that stem from memory and the historical configuration of the city, to the suggestion of new ways of seeing and feeling at a given space. To answer this hypothesis, the corpus will be analyzed by articulating theoretical aspects of the visible and the enunciable (Jacques Rancière), and the idea of the generation of images based on the text’s textuality (Luz Horne). Taking these theoretical approaches as a starting point, it will be argued that by remediating Realism the study corpus conveys space as an image that both portrays its contemporaneity, and seeks to condense the affects induced by a determinate space such as the city of Caracas.

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.

MURAL, KEKUATAN MODAL, DAN MASYARAKAT

DeKaVe ◽  
2013 ◽  
Vol 1 (1) ◽  
Author(s):  
Akbar Annasher
Keyword(s):  
Public Space ◽  
Public Spaces ◽  
Communication Media ◽  
Mural Painting ◽  
The People ◽  
The Media ◽  
Mural Art ◽  
The City ◽  
The Voice ◽  
Special Region

Broadly speaking, this paper discusses the phenomenon of murals that are now spread in Yogyakarta Special Region, especially the city of Yogyakarta. Mural painting is an art with a media wall that has the elements of communication, so the mural is also referred to as the art of visual communication. Media is a media wall closest to the community, because the distance between the media with the audience is not limited by anything, direct and open, so the mural is often used as media to convey ideas, the idea of ??community, also called the media the voice of the people. Location of mural art in situations of public spatial proved inviting the owners of capital to use such means, in this case is the mural. Manufacturers of various products began racing the race to put on this wall media, as time goes by without realizing the essence of the actual mural art was forced to turn to the commercial essence, the only benefit some parties only, the power of public spaces gradually occupied by the owners of capital, they hopes that the community can view the contents of messages and can obtain information for the products offered. it brings motivation and cognitive and affective simultaneously in the community.Keywords: Mural, Public Space, and Society.

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.

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