Abstract

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 the old regime of representation is therefore a new mode of expressive creativity inherent in individual and collective action. The combination of these two principles creates the structural conditions and the contradictions of the modern aesthetic field, within which individual poets define their tasks and encounter new limits and difficulties. Viewed as a series of individual, situated attempts at linguistic creation within a field in which the structures of perception and diction are inherently up for grabs, poetry becomes a particularly significant exercise. The great poets provide exemplary models of what saying and doing can mean in the conditions of modernity as a regime of equality; and from their individual exemplarity, profound theoretical implicit lessons can be drawn. Rancière’s writings on poetry as a result always seek to accomplish two aims: provide substantive hermeneutic reconstructions of writing practices, taken as exemplary forms of modern “poiesis”; and critique alternative theoretical uses of poetry and through these, alternative conceptions of modern practice and theory. To review these aspects of Rancière’s approach to poetry, I have adopted a genealogical approach, as it is the simplest way to give a sense of the richness of Rancière’s long engagement with the works of poets.