El impasse entre la necesidad y la indiferencia. Un ejercicio metacrítico de “El artificio, la locura, la obra”, de Jacques Rancière

El objetivo del siguiente trabajo es proponer una lectura metacrítica, es decir, crítica de la crítica, del pensamiento sobre el arte y la literatura del francés Jacques Rancière. La hipótesis de un texto paradigmático será imbricada y reproblematizada bajo unidades crecientemente mayores (libro, sistema de conceptos, diálogos con otros sistemas). Precisamente, a partir de las aristas que revelan la polémica de Rancière con Jean-François Lyotard y Alain Badiou, se procederá a una evaluación general de los límites y las potencias de la teoría de los regímenes del arte.

The Dialectic of Formalization

This article discusses the philosophy of Alain Badiou from the perspective of a formulation that we believe represents it succinctly: the dialectic of formalization. The main thesis of the article is that Badiou’s doctrine of the four truth procedures (politics, science, love, and art) can be understood as a doctrine of a dialectical realization of new and universal forms in the world. The dialectic of formalization announces a double procedure – an autonomous and creative procedure for the production of a new true form in the world and a process of the formation of continuity in discontinuity. Moreover, the dialectic of formalization represents a connection between Badiou’s mature work and his early writings from the late 1960s. Even though in the 1960s and 1970s Badiou had not yet introduced the concepts of subject and truth in the sense that he understands them today, it is possible to support the thesis that there is an indisputable connection between Badiou’s early concept of formalization and his later concept of generic truth procedure. We will try to show that the dialectic of formalization (Badiou’s own formulation) designates the continuity between Badiou’s early and mature work.

La lechuza de Minerva. Realismo y catástrofe

El pensamiento, como el ave de Minerva, inicia su vuelo al atardecer. Para Hegel eso era prueba de sabiduría, hoy solo indica un fracaso: los hechos le explotan en la cara. La filosofía y la crítica, con pocas excepciones, sostienen aún que solo hay «ficciones consensuales» (Rancière 2008) o, como denuncia Alain Badiou, que «no hay más que cuerpos y lenguajes» (Badiou 2008:621). La ciencia y el arte, en cambio, han imaginado la catástrofe con soltura desde hace siglos, y un realismo que recupere la tensión ética en el sentido del cambio (Gramuglio) será el que piense y señale la vacilación de las ficciones hacia lo real. En Pongamos por caso (2020), obra estructurada por Rafael Spregelburd y acribillada por performances delegadas de traductores, el dramaturgo «hace cómplice al espectador de que está frente a una actuación, pese a que esta esté atravesada por estados de verdad. Y que eso es lo real». (Spregelburd 2010:170-171).

QUESTÕES DE AUTORIA E REPRESENTAÇÃO NUMA LITERATURA PÓS-AUTÔNOMA

A presença de uma ideia de real no texto literário é urgente desde as primeiras reflexões sobre o que seria literatura — o real como recorte, como representação, como confronto. Neste ensaio, busca-se discutir a presença do real na literatura hoje, partindo, para tanto, do trabalho de Alain Badiou — sobre uma estrutura possível de Real — e das reflexões de Josefina Ludmer — sobre a pós-autonomia da esfera literária — para retornar, no contexto brasileiro, à produção de Conceição Evaristo, autora de grande projeção no cenário contemporâneo, e da recepção do longa-metragem Vazante, de Daniela Thomas. Retoma-se, nesse sentido, o conceito de “lugar de fala”, sistematizado no Brasil por Djamila Ribeiro, em cotejo com a ideia de “escrevivência”, que Evaristo apresenta como norte de sua literatura, dando contornos possíveis à pós-autonomia literária na produção contemporânea.

Das Reale in der Schreib- und Theaterpraxis Heiner Müllers

Zbigniew Feliszewski widmet sich in diesem Beitrag der Frage nach Heiner Müllers Dramen- und Theaterkonzepten im Spannungsverhältnis von Möglichem und Unmöglichem unter Berücksichtigung der Auffassung des Realen von Alain Badiou. Der Zugang zum Realen ist durch den »Punkt des Unmöglichen« erreichbar. Dabei handelt es sich um eine Handlung, die die »Formalisierung« außer Kraft setzt und diese zugunsten ihres latenten Realen zerstört. Untersucht werden Müllers Strategie der Überschwemmung, seine Geschichtsauffassung, Umgang mit literarischen Stoffen und die Vorliebe, gegensätzliche Situationen auszuhandeln, Akzente auf das Fragmentarische und auf die Prozesse zu setzen.

Evento ou ato? Sobre as críticas de Žižek a Badiou

Resumo: O artigo examina o conceito de Evento elaborado por Alain Badiou e o contrapõe à noção lacaniana de ato, tal como reformulada por Slavoj Žižek. Investigará, para tanto, alguns dos trabalhos centrais em que o filósofo francês reconstrói ideias de Lacan, a partir de engenhosas associações com Espinosa, Ésquilo e textos militantes de Marx. Badiou escreve sobre uma ruptura não dialética entre Ser e Evento. Žižek, mais fiel a Lacan e também a Hegel, defende a existência de uma unidade entre as dimensões separadas por Badiou. De acordo com o esloveno, um ato político não estabelece, de pronto, um engajamento em um novo começo. Ele apenas limpa o caminho para isso. Dizer “não” eria, então, suficiente para a realização de um verdadeiro ato revolucionário?

Alain Badiou

Alain Badiou (b. 1937) is a leading French philosopher and European intellectual. He is the former chair of philosophy and emeritus professor at the École Normale Supérieure, one of France’s most prestigious and well-known graduate schools. His thought and political commitments, which revolve around a renewed idea of communism, were shaped by the student uprisings in France in 1968. A playwright, novelist, mathematician, and political activist, he is the author of hundreds of publications, which include novels, plays, pamphlets, criticism, political writings, and works of philosophy. Much of his earlier work focuses on the implications and consequences of the uprisings, which he submits to philosophical analysis and mathematical formalization to develop a materialist theory of the subject. Badiou achieved international prominence, however, with the publication of Being and Event, in which he grounds the question of being in mathematics, specifically set theory. His use of mathematics as a way to address the main questions of ontology—combined with meditations on art, science, politics, and love— provides the backbone of his philosophy. Badiou’s project, then, can generally be understood as focused on developing a theory of being, truth, and the subject, though in hindsight it is the question of truth, or truths, that constitutes its trajectory. Like many contemporary philosophers, Badiou, rather than considering being in light of unity or the one, considers it in terms of difference and multiplicity, whose relational organization can be grasped via formal, mathematical operations. Ontology, however, mainly serves in Badiou’s thought as a vehicle for thinking the event, or what is not being qua being. An event ruptures being, introducing novelty to closed situations or worlds. Although such events are rare, they instigate the creation of subjects who, in fidelity to an event, construct unexpected, novel truths. Following on his reading of Plato, who remains a constant inspiration for his philosophy, Badiou claims that truths can be produced in four domains: art, science, politics, and love. Philosophy, in this sense, does not produce truths but, rather, thinks them and their interrelation. Art, science, politics, and love are thus the raw materials for thought or, as he refers to them, the conditions for philosophy. The following article provides an overview of the main features of Badiou’s philosophy, including main primary texts, general overviews, anthologies, and a discussion of secondary literature related to the four conditions of philosophy. The concluding section focuses on religion, as an area that has generated a lot of discussion, perhaps against Badiou’s intent.

“They Don't Represent Us!”: From the Crisis of the Organic Intellectuals of 1978 to the Exhumation of Buried Imaginaries

Based on the notion of événement (event), elaborated by the French philosopher Alain Badiou, this essay aims to offer a definition of the 15M movement as an event. According to Badiou, the event has the capacity to perforate established knowledge and to transform the codes of communication. The event destabilizes the regime of truth to the extent that what was assumed to be obvious now appears as unstable, and, consequently, the need arises to explore and construct other discourses capable of naming the new situation. In this essay, I locate two moments of the event: the political moment and the theoretical moment; the first is the time of the revolution, while the second is devoted to the study and theorization of this revolution. I argue that the radical effects of the event can be registered in the second moment. In the theoretical moment, there is a crisis of the organic intellectuals of the Regime of ’78, and the empty space they leave behind may begin to be occupied by other voices that were previously barely heard. In the same way, during the theoretical moment, the revolution without a genealogical tree that was the 15M, which was not inscribed in a revolutionary continuity, begins to seek its roots in discourses of the past that were silenced or forgotten, or that simply did not have a framework that would give them back their conditions of legibility.