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164 found
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  1. Rancière on Poetry.Jean-Philippe Deranty - 2019 - In Ranjan Ghosh (ed.), Philosophy and Poetry. Continental Perspectives. New York, NY, USA: pp. 283-295.
    Two key axes carry the parameters that define Rancière’s approach to poetry. The first axis is constituted by his well-known account of aesthetic modernity as a democratic “regime of the arts”, which breaks with the previous, “representative” one, by allowing all subjects and all genres to be appropriated in expressive gestures. These expressive gestures can no longer rely on the old representational rules and references and therefore require constantly reinvented creative forms. The second axis that emerges from the dismantlement of (...)
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  2. Autonomy of artistic practices in the Anthropocene: political and ecological perspectives.Karolina Rybačiauskaitė - 2019 - Athena 14:221-233.
    In this article, it is claimed that by considering Rancière’s understanding of politics of aesthetics alongside Stengers’ conception of the ecology of practices, it is possible to think about the autonomy of artistic practices which would be created and sustained politically. Rancière demonstrates that the artistic autonomy was previously subordinated to a variety of historical imperatives, while Stengers warns about an apolitical mission of the great narrative of the Anthropocene. Both philosophers make a case for talking about the autonomy of (...)
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  3. Arts of Dress: Rancière and Fashion.Timothy Patrick Campbell - 2018 - Critical Inquiry 44 (4):619-640.
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  4. Aesthetic Regime's Occupation of Representation.Yonathan Listik - 2018 - Kriterion: Journal of Philosophy 59 (139):309-326.
    RESUMO Esse artigo trata da relação entre a estética e a representação na teoria de Jacques Rancière. Segundo o autor, a representação é simultaneamente presente e proibida na estética moderna. Ela aparece como um parasita ou um intruso na produção artística. Rancière pergunta: sob quais condições a representação se torna proibida e o que significa a arte não representar? O eixo central da análise explora quais as consequências dessa configuração, com destaque para a política. Segundo Rancière, o conceito de partilha (...)
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  5. Art, Politics and Rancière: Broken Perceptions.Scott Robinson - 2018 - Critical Horizons 19 (3):264-269.
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  6. Tecer Imagens Artísticas: Aparência, Expressão.Caio Russo - 2018 - Kriterion: Journal of Philosophy 59 (139):55-76.
    RESUMO A fim de nos aproximarmos da singular constelação conceitual que nos permite falar de uma noção de imagem artística na estética adorniana - ainda que na margem do seu pensamento e muito menos manifesta do que na escrita de Walter Benjamin - partimos da conexão entre os conceitos de “aparência” e “expressão”, remetendo-nos à própria materialidade das obras de arte, da literatura à música, para uma maior nitidez teórico-crítica. O intuito de ressaltar a importância do conceito de imagem artística (...)
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  7. Understanding Ranciere, Understanding Modernism.Patrick M. Bray (ed.) - 2017 - Bloomsbury Academic.
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  8. Feminist Art: Disrupting and Consolidating the Police Order.Tina Chanter - 2017 - In Patrick M. Bray (ed.), Understanding Ranciere, understanding modernism. London, U.K.: Bloomsbury Academic. pp. 147-160.
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  9. Translation ~ Politics.Katharina Clausius - 2017 - Philosophy Today 61 (1):249-266.
    The concept of intellectual equality dominates Jacques Rancière’s prolific bibliography and remains fundamental to his aesthetic philosophy. Whereas equality’s relationship to Rancièrean pedagogy, politics, and literature has been discussed at length in recent years, however, I argue that translation represents a sustained and specific focus in Rancière’s political-aesthetic framework, one that scholarship has so far overlooked. This article considers the important but rarely-cited essay “Politics, Identification, and Subjectivization” alongside several of Rancière’s more canonical works in order to trace the role (...)
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  10. Jacques Rancière. Contra-historias estéticas.Fernando Infante del Rosal - 2017 - Daimon: Revista Internacional de Filosofía 70:67-81.
    Este artículo se plantea definir en qué medida la estética de Jacques Rancière constituye un programa a seguir, un nuevo modo de reflexión estética dedicado tanto a la revisión de la historia del arte moderno como a la autocomprensión de la estética. Para ello, se centra en el análisis de la reescritura de la modernidad artística emprendida por el filósofo francés señalando cuáles son sus ejes conceptuales y sus herramientas. Por otra parte, se propone la tesis de que la estética, (...)
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  11. Albertine and the Refusal of the Excluded: A Reply to Jacques Rancière's Politics of Appearance.Caitlyn Doyle - 2017 - Symploke 25 (1-2):375.
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  12. Beyond the Politics of Reception: Jacques Rancière and the Politics of Art.Matthew Lampert - 2017 - Continental Philosophy Review 50 (2):181-200.
    Jacques Rancière’s work has become a major reference point for discussions of art and politics. However, while Rancière’s negative theses are becoming widespread and well understood, his positive thesis is still poorly understood, owing partly to Rancière’s own formulation of the issue. I first clarify Rancière’s account of the links between politics and art. I then explore a gap in this account; Rancière has stuck too closely to a politics of art’s reception. I argue for a politics of art production, (...)
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  13. How to Do Things with Rancière.Matthew Lampert - 2017 - Comparative and Continental Philosophy 9 (1):96-106.
    Devin Zane Shaw’s new book Egalitarian Moments is an attempt to think with and through Jacques Rancière. Shaw’s highly original interpretation of Rancière opens space within Rancière’s thought for a new, expanded account of the politics of art and literature, and Shaw is then able to use this theory as a way of rereading the history of philosophy. Shaw’s project is ultimately an attempt to show that it is possible to do philosophy in an egalitarian way – that not all (...)
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  14. Paul Bowman, Ed. Rancière and Film. Reviewed By.Nina Belmonte - 2016 - Philosophy in Review 36 (2):50-53.
    The first collection of critical essays on the film work of the philosopher Jacques Ranciere. Jacques Ranciere rose to prominence as a radical egalitarian philosopher, political theorist and historian. Recently he has intervened into the discourses of film theory and film studies, publishing controversial and challenging works on these topics. This book offers an exciting range of responses to and assessments of his contributions to film studies and includes an afterword response to the essays by Ranciere himself.
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  15. On Rethoric of the Visible to Distribution of the Sensible: The Policy of the Esthetic in J. Rancière.Pedro Lucas Dulci - 2016 - Aufklärung 3 (1):155-168.
    The present paper aims to investigate the critique of the French philosopher Jacques Rancière to a traditional way of looking the relationship between politics and art appropriated for a specific current of social criticism that examines political vocation of artistic creation as simple privileged means of showing the real domination behind the numerous other images released to us. Against this perspective, Rancière proposes to reconsider the logic that is involved in the common distribution of the sensible, the audible and speakable (...)
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  16. Guest Editor's Introduction: Speech in Revolt - Rancière, Rhetoric, Politics. Ferguson - 2016 - Philosophy and Rhetoric 49 (4):357-367.
    “Rhetoric,” Jacques Rancière pronounces in The Ignorant Schoolmaster, “is speech in revolt against the poetic condition of the speaking being. It speaks in order to silence. You will speak no longer, you will think no longer, you will do this: that is its program”. Rhetoric, he suggests, understood in its classical formulation as the art of persuasion, stages a particular relationship of power between the speaker and the listener: one of hierarchy and inequality. It has “war as its principle,” and (...)
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  17. "The Power of a Form of Thought That Has Become Foreign to Itself": Ranciere, Romanticism and the Partage of the Sensible.Kir Kuiken - 2016 - Substance 45 (1):6-21.
    “Where did this unexpected mobility of epistemological arrangements come from…? What event, what law, do these mutations obey, these mutations that suddenly decide that things are no longer perceived, described, expressed, characterized, classified, and known in the same way…?” The recent wave of interest in the work of Jacques Rancière in North America can likely be traced back to the unique status he gives to the category of the aesthetic in its relation to the political. Coming after the exhaustion of (...)
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  18. Activism Vs Antagonism: Socially Engaged Art From Bourriaud to Bishop and Beyond.Jason Miller - 2016 - Field A Journal of Socially Engaged Art Criticism 1 (3):165-183.
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  19. From Freedom to Equality: Rancière and the Aesthetic Experience of Equality.Rika Dunlap - 2015 - Continental Philosophy Review 48 (3):341-358.
    This article examines Rancière’s political reading of aesthetics through a historical analysis into the two aesthetic theories of freedom at work in Rancière’s philosophy; Kant’s freedom as self-governance and Schiller’s freedom as harmony. While aesthetic experience is considered morally conducive through its association with freedom, this article argues that Rancière translates such discussions of freedom into that of equality by extracting the political dimensions of aesthetic experience. Given that art has the unique ability to empower the spectator through its aesthetic (...)
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  20. Algunas aristas de lo que está en juego en la política de la estética en Jacques Rancière.Emilse Galvis - 2015 - Revista de filosofía (Chile) 71:65-78.
    Este artículo sugiere algunas aristas que permiten pensar lo que está en juego en la política de la estética en la filosofía de Jacques Rancière. A partir de una de las escenas de la obra Aisthesis, el texto pretende enlazar dos registros de la política de la estética: por un lado, la irrupción del régimen estético del arte como un tejido de la experiencia sensible que desestabiliza las determinaciones de lo que quiere decir el “universal reportaje”; y por el otro, (...)
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  21. Algunas aristas de lo que está en juego en la política de la estética en Jacques Rancière.Emilse Galvis - 2015 - Revista de Filosofía 71:65-78.
    Este artículo sugiere algunas aristas que permiten pensar lo que está en juego en la política de la estética en la filosofía de Jacques Rancière. A partir de una de las escenas de la obra Aisthesis, el texto pretende enlazar dos registros de la política de la estética: por un lado, la irrupción del régimen estético del arte como un tejido de la experiencia sensible que desestabiliza las determinaciones de lo que quiere decir el “universal reportaje”; y por el otro, (...)
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  22. Performance et expérience esthétuque le régime contemporian.Maud Hagelstein - 2015 - Revue Philosophique De Louvain 113 (3):479-495.
    La théorie des régimes d’identification de l’art établie par le philosophe J. Rancière décrit le passage de l’ancien système des Beaux-Arts au régime esthétique de l’art. Selon ce régime contemporain, le propre des différents arts ne repose plus essentiellement sur leur technicité, mais sur l’expérience sensible qu’ils favorisent indépendamment de leurs modes de faire spécifique. La performance artistique s’inscrit pleinement dans ce régime esthétique de l’art, à la faveur de son projet idéologique: elle vise l’élargissement de l’expérience sensible au-delà de (...)
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  23. Paul Bowman, Ed. (2013) Rancière and Film.James Harvey-Davitt - 2015 - Film-Philosophy 19 (1).
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  24. Gilles Deleuze y Jacques Rancière. Arte, montaje y acontecimiento.Patricio Landaeta Mardones - 2015 - Estudios de Filosofía: Revista del Seminaro de Filosofia del instituto Riva-Aguero 13:173-183.
    The critique of images is seen as a set-up’s critique for the emergency ofcritical thinking in the era of the proliferation of information and communication systems, imposed due to their apparent objectivity. This article discusses in seven paragraphs the link among montage, image and event according to the thoughts ofGilles Deleuze and Jacques Rancière.
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  25. On Diffident and Dissident Practices: A Picture of Romania at the End of the 19th Century.Roxana Patraș - 2015 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 2 (1):35-51.
    The present paper explores diffident and dissident practices reflected by the political talk at the end of the 19th-century in Romania. Relying on Jacques Rancière’s theories on the ‘aesthetic regime of politics,’ the introduction sketches a historical frame and proposes a focus change: the relation between ‘politics’ and ‘aesthetics’ does not stand on a set of literary cases, but on political scripts as such. Thus, the hypotheses investigated by the next three parts can be formulated as follows: 1. though determined (...)
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  26. Minding Literature’s Business: Cultivating a Sense of Evanescence Within Political Affairs.Roxana Patraș - 2015 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 2 (4):481–491.
    The paper investigates the relationship between political oratory and literature in Romania during the second part of the 19th century. Extending the theories of Jacques Rancière, Fredric Jameson, Slavoj Žižec, and Leonidas Donskis, I analyze the relationship between politics and literature by comparing a set of illustrative speeches delivered by Take Ionescu and P. P. Carp, who distinguished themselves as brilliant political orators and also as personalities who gave up literature in order to assume a political career. My main goal (...)
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  27. Thinking in the Dark: Cinema, Theory, Practice.Murray Pomerance & R. Barton Palmer (eds.) - 2015 - Rutgers University Press.
    Today’s film scholars draw from a dizzying range of theoretical perspectives—they’re just as likely to cite philosopher Gilles Deleuze as they are to quote classic film theorist André Bazin. To students first encountering them, these theoretical lenses for viewing film can seem exhilarating, but also overwhelming. _Thinking in the Dark _introduces readers to twenty-one key theorists whose work has made a great impact on film scholarship today, including Rudolf Arnheim, Sergei Eisenstein, Michel Foucault, Siegfried Kracauer, and Judith Butler. Rather than (...)
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  28. Jacques Rancière and Time: Le Temps D'Après.Mark Robson - 2015 - Paragraph 38 (3):297-311.
    This article asks whether the work of Jacques Rancière might be said to present a philosophy of time. Outlining the ways in which a consideration of time is a central component of Rancière's thinking on a range of issues, particularly in his attention to the politics of time, the article shows Rancière's resistance both to certain Marxist and to phenomenological notions of time. Particular emphasis is given to the ways in which close attention to Rancière's writing as writing is essential (...)
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  29. Politics and Aesthetics: Partitions and Partitioning in Contemporary Art.Jonathan Owen Clark - 2014 - Contemporary Aesthetics 12.
    Jacques Rancière has defined the 'distribution of the sensible' as the effect of a type of aesthetico-political decision making that creates a partitioning of the realm of the perceivable in relation to both art and society. The artworld itself constructs its own particular types of curatorial partitioning: between art and non-art, between 'dominant, residual and emergent', and between mainstream and periphery. This essay examines certain 'boundary effects' that come into being as a result of the act of the partitioning itself, (...)
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  30. Cinema, Scenes, Aesthetics: An Interview with Jacques Rancière.Mozelle Foreman, Bécquer Seguín & Jacques Rancière - 2014 - Diacritics 42 (3):22-35.
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  31. Collision: “Non-Film”: A Dialogue Between Rancière and Panahi on Asceticism as a Political Aesthetic.James Harvey-Davitt - 2014 - Evental Aesthetics 2 (4).
    Iranian national cinema is showing the scars of artistic persecution. The aesthetic landscape of this national cinema has become one of stark confines – both in its thematic allowances and its aesthetic possibilities. However, these confinements, both physical and technological, have not merely been passively affected by ideological constraints but have also been active in affecting ideological discourse, answering back as it does within imposed limitations. What we are seeing in contemporary Iranian cinema, I believe, is a complex movement of (...)
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  32. Reimagining the Role of Art in the Relationship Between Democracy and Education.Jane McDonnell - 2014 - Educational Philosophy and Theory 46 (1):1-13.
    Increased attention to the relationship between democracy and education in the UK has been accompanied over the past thirteen years by an interest in how art can be used to promote democratic citizenship.While this approach has led to increased funding for the arts, it is not without its problems,and has often entailed an apolitical and instrumentalist view of both art and education. This paper turns to the political philosophy of Mouffe and Rancière, the work of Rancière in aesthetics, and Biesta’s (...)
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  33. A Breathing Space for Aesthetics and Politics: An Introduction to Jacques Rancière.Nikos Papastergiadis - 2014 - Theory, Culture and Society 31 (7-8):5-26.
    Jacques Rancière is one of the central figures in the contemporary debates on aesthetics and politics. This introduction maps the shift of focus in Rancière’s writing from political theory to contemporary art practice and also traces the enduring interest in ideas on equality and creativity. It situates Rancière’s rich body of writing in relation to key theorists such as the philosopher Alain Badiou, art historian Terry Smith and anthropologist George E. Marcus. I argue that Rancière offers a distinctive approach in (...)
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  34. Thomas Hirschhorn and Jacques Rancière: Artists and Philosophers as Companions in the Love of the Infinitude of Thought.Nikos Papastergiadis - 2014 - Theory, Culture and Society 31 (7-8):97-100.
    Thomas Hirschhorn is an artist who has maintained an engaged approach to politics. His method of working is collaborative and speculative. It has a strong emphasis on community development and intellectual reflection. In this brief introduction I focus on the Bijlmer Spinoza Festival and his ongoing relationship and response to the ideas of the philosopher Jacques Rancière.
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  35. Aesthetics, Politics, and Art's Autonomy: A Critical Reading of Jacques Rancière.Ruben Yepes - 2014 - Evental Aesthetics 3 (1):40-64.
    This paper considers Jacques Rancière’s influential theory of the relation between aesthetics, politics, and art. First, it synthesizes Rancière’s theory. Second, it offers a critical perspective of Rancière’s conception of the autonomy of art in relation to his theory of politics and aesthetics. In doing so, the purpose is to work towards the development of a theoretical base in which we may follow Rancière’s theory of the relation between aesthetic experience and politics whilst avoiding compliance with his relatively fixed and (...)
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  36. Jacques Ranciére , The Politics of Literature . Reviewed By.Peter Admirand - 2013 - Philosophy in Review 33 (3):226–228.
  37. The Omnipresence Of The Political. An Attempt At The Introduction To Jacques Rancière’s Philosophy Of The Image.Łukasz Andrzejewski - 2013 - Studia Philosophica Wratislaviensia 8 (2):129-147.
    The aim of this paper is to present the „late” philosophy of Jacques Rancière and the theory of the image which it involves. Rancière’s philosophy can be divided into three main stages. The first was characterized by the interest in the „classical” Marxist philosophy . The second comprised the philosophy of history and political philosophy . The third involves the issues of art and politics and relations between them. In this article I primarily concentrate on the analysis of the Jacques (...)
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  38. Jacques Rancire.Oliver Davis - 2013 - Polity.
    This book is a critical introduction to contemporary French philosopher Jacques Rancière. It is the first introduction in any language to cover all of his major work and offers an accessible presentation and searching evaluation of his significant contributions to the fields of politics, pedagogy, history, literature, film theory and aesthetics. This book traces the emergence of Rancière’s thought over the last forty-five years and situates it in the diverse intellectual contexts in which it intervenes. Beginning with his egalitarian critique (...)
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  39. Ranciere Now.Oliver Davis - 2013 - Polity.
    The French philosopher Jacques Rancière is well known across the world for his groundbreaking contributions to aesthetic and political theory and for his radical rethinking of the question of equality. This much-needed new collection situates Rancière's thought in a range of practical and theoretical contexts. These specially commissioned essays cover the complete history of Rancière's work and reflect its interdisciplinary reach. They span his early historical research of the 1960s and '70s, his celebrated critique of pedagogy and his later political (...)
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  40. Aesthetics and Politics in Today's One-Dimensional Society.Robespierre de Oliveira - 2013 - Radical Philosophy Review 16 (1):123-140.
    Marcuse emphasizes a dialectical relationship between aesthetics and politics. Art promotes liberation through the education of sensibility and critique of reality—the Great Refusal—while still embodying elements of the ideological system of domination. Thus, although art itself cannot change the world, it can move people to social change. In this respect, the Great Refusal serves an important political role in challenging the Establishment. This paper argues for the continued theoretical relevance of the Great Refusal and for its practical possibilities in transforming (...)
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  41. Artistic Re-Appropriation and Reconfiguration of the Medium's Milieu.Jacob Lund - 2013 - Nordic Journal of Aesthetics 23 (44-45).
    Drawing upon Bernard Stiegler’s and Jacques Rancière’s conceptions of medium as a milieu this article seeks to address the question of the political aspects of the aesthetic in relation to the notion of medium. Based on the analysis of this theoretical question the article interprets and discusses artistic endeavors to re-appropriate and reconfigure conservative symbolic orders and media milieus that have become dissociated in relation to works of art by Alfredo Jaar and Thomas Hirschhorn.
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  42. RANCIÈRE, Jacques. El tiempo de la igualdad: Diálogos sobre política y estética. Prólogo y traducción de Javier Bassas Vila. Barcelona: Herder, 2011. [REVIEW]Mª del Carmen Bernabeu Rumi - 2013 - Enrahonar: Quaderns de Filosofía 50:107-108.
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  43. Review Essay: Daniel Morgan, Late Godard and the Possibilities of Cinema.Andrew Ryder - 2013 - Journal of French and Francophone Philosophy 21 (2):158-162.
    A review of Daniel Morgan, Late Godard and the Possibilities of Cinema (Berkeley, CA: University of California Press, 2013).
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  44. Jacques Rancière and the Contemporary Scene. The Philosophy of Radical Equality, Ed. By Jean‐Philippe Deranty and Alison Ross. London and New York, Continuum 2012. [REVIEW]Ruth Sonderegger - 2013 - Constellations 20 (2):365-367.
  45. Strategies of Distinction Ranciere's Aisthesis and the Two Regimes of Art.Nicolas Vieillescazes - 2013 - Radical Philosophy 177:26-31.
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  46. Aesthetics and Politics Revisited: An Interview with Jacques Rancière.Gavin Arnall, Laura Gandolfi & Enea Zaramella - 2012 - Critical Inquiry 38 (2):289-297.
    In this interview, Jacques Rancière describes the character of the aesthetic regime and the relationship between politics and aesthetics in his work, along with the role of artistic practices, technological innovations, and the institution of the museum in the redistribution of the sensible and the similarities and differences between his theories and Walter Benjamin’s work on modernity. Rancière argues that the aesthetic regime entails both a rupture with what came before it and the possibility of recycling and reinterpreting works of (...)
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  47. Opening Intervals: A Confrontation Between Ranciere and Deleuze on the Politics of Art.Vanessa Brito - 2012 - Filozofski Vestnik 33 (1).
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  48. Sensation as Participation in Visual Art.Clive Cazeaux - 2012 - Aesthetic Pathways 2 (2):2-30.
    Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic form (...)
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  49. Scenes of Aesthetic Education: Rancière, Oedipus, and Notre Musique. de Boever - 2012 - Journal of Aesthetic Education 46 (3):69-82.
    In an interview titled “The Janus-Face of Politicized Art,” Gabriel Rockhill notes that Jacques Rancière’s methodology “[calls] into question the symptomatology that attempts to unveil the truth hidden behind the obscure surface of appearances.”1 But how does Rancière himself avoid “this logic of the hidden and the apparent”? How does Rancière himself describe his own methodology? Rancière’s answer to Rockhill provides some more information: I always try to think in terms of horizontal distributions, combinations between systems of possibilities, not in (...)
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  50. Jacques Ranciere and the Contemporary Scene: The Evidence of Equality and the Practice of Writing.Jean-Philippe Deranty & Alison Ross - 2012 - In Jacques Ranciere and the Contemporary Scene: The Philosophy of Radical Equality. London: Continuum. pp. 1-13.
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