Rancière Research Papers - Academia.edu (original) (raw)

If the critique of neoliberal capitalism has become a staple of leftist documentary filmmaking in France since the late 1990s, few films have gone as far in their rejection of work as those made by Pierre Carles, Stéphane Goxe and... more

If the critique of neoliberal capitalism has become a staple of leftist documentary filmmaking in France since the late 1990s, few films have gone as far in their rejection of work as those made by Pierre Carles, Stéphane Goxe and Christophe Coello. Following late nineteenth-century pamphleteer Paul Lafargue’s advocacy for “the right to be lazy” and the enjoyment of the flourishing society of leisure, Attention, Danger, Travail (2003) and Volem rien foutre al païs (2007) unapologetically and uncompromisingly reject the normative legitimacy of waged employment as a warrant of individual and social productivity. Nonetheless, it would be highly reductive to see in these two films and in the filmmakers’ project a celebration of idleness. Rather, as they strive to restore the productive value of individuals unable and unwilling to enter the labor market, Attention, Danger, Travail (2003) and Volem rien foutre al païs (2007) reject what the filmmakers see as leftist politics’ complacency with capitalism’s promotion of work as an ethics of self-realization. Drawing from Jacques Rancière’s emphasis on the proletariat’s self-identification and incidental political inscription in late 19th century society, this analysis argues that the two films discussed here operate therefore a political and aesthetic shift away from twentieth-century militant cinema by replacing the figure of political consciousness commonly associated with the industrial, capitalist society, namely the worker, with the unemployed post-industrial subjects of late-twentieth and early twenty-first centuries. In doing so, these two films disrupt dominant narratives; by giving authority to the refusal of work as a legitimate experience, they allow the sharing and debating of these experiences to produce ‘disturbances’ in such public discourse. Entertainment and didacticism are thus intricately interwoven in these films.

FROM THE BACK COVER: What is the essential nature of meaning? . . . . . This book answers by examining interpretive theories from the past and present. It finds that an historical struggle with meaning has been underway since the... more

FROM THE BACK COVER: What is the essential nature of meaning? . . . . . This book answers by examining interpretive theories from the past and present. It finds that an historical struggle with meaning has been underway since the Reformation, a struggle that reaches crisis proportions in the 20th century. On the one hand, this crisis is mollified by Heidegger's hermeneutical phenomenology, which argues that we are always already in a meaningful relationship to the objects of the world. On the other hand, this crisis is exacerbated when phenomenology, structuralism, and aesthetic theory directly make meaning into an object of study. . . . . . . . . These historical developments culminate with the psychoanalyst Jacques Lacan, whose non-hermeneutical phenomenology delimits a cause of meaning said to be closely linked to the core of subjectivity. Intriguingly, Lacan's work reveals meaning to be sexual in nature. By integrating his notion of sexual difference with his work in discourse theory and topology, this book demonstrates how the subject's struggle with meaning can be suspended.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GENERAL DESCRIPTION: Broadly speaking, the majority of books on Jacques Lacan focus on the earlier periods of his career. They also tend to target the psychoanalytic clinical community, or else discuss his work in various political, social, and cultural contexts. But in almost all cases these books refrain from a detailed exegesis of his actual texts. They instead prefer to comment on his theoretical apparatus as a whole before turning to its practical implications. . . . . . This book positions itself against this grain. Firstly, it closely analyzes some half-dozen key Lacanian texts. This analysis is organized under a single thematic – the question of meaning – in order to advance the reader's understanding of the trajectory of Lacan's thought across his entire career, as well as to promote the book's thesis that the field of meaning can be suspended. Accordingly, an initial chapter takes up the hermeneutical tradition from Flacius onward. This is then supplemented by a chapter which surveys phenomenological, structuralist and aesthetic theories of meaning and their differing methods of textual analysis. Together these two chapters provide a unique context for the sustained analysis of Lacan's texts which begins in the third chapter, an analysis that forms the bulk of the book's content. This contextualization potentially widens the book's appeal to any scholar wishing to explore his relationship to those textual objects he interacts with on a daily basis. And because this book assumes the reader has little to no familiarity with Lacan, the reader will find patient explanations of the basics of his theories before slowly being led up to the more difficult theories of his late years. Again the argument is that Lacan has something to offer all scholars. His work is not just reserved for psychoanalysts. . . . . . It is with his late theories that the serious student of Lacan will find the book's most original contribution. For in the fourth chapter a detailed account is provided of how Lacan derived his infamous formulae of sexuation from Aristotelian logic. These formulae are then extensively discussed against the backdrop of interpretive theory and textual analysis, showing how these formulae capture much more than just the difference between the sexes. Strikingly, this difference is also found to run through meaning itself, something the final chapter aims to demonstrate. It does this by amalgamating three key components of late-Lacan: sexuation, discourse theory and his use of topological spaces. This amalgamation is a first in the literature. But this amalgamation is not just useful in demonstrating the book's thesis. It further suggests how seemingly divergent aspects of late-Lacanian theory can be made to work together.

"ABSTRACT: This study assumes the subject's pursuit of meaning is generally incapacitating and should be suspended. It aims to demonstrate how such a suspension is theoretically accomplished by utilizing Lacan's formulae of... more

"ABSTRACT:
This study assumes the subject's pursuit of meaning is generally incapacitating and should be suspended. It aims to demonstrate how such a suspension is theoretically accomplished by utilizing Lacan's formulae of sexuation integrated with his work in discourse theory and topology.
Part I places this study into context by examining scholarship from the established fields of hermeneutics, phenomenology, (post)structuralism, aesthetic theory and psychoanalysis in order to extract out their respective theory of meaning. These theories reveal that an historical struggle with meaning has been underway since the Reformation and reaches near crisis proportions in the 20th century. On the one hand this crisis is mollified by the rise of Heideggerian-Gadamerian hermeneutical phenomenology which questions traditional epistemological approaches to the text using a new ontological conceptualization of meaning and a conscious rejection of methodology. On the other hand this crisis is exacerbated when the ubiquitous nature of meaning is itself challenged by (post)structuralism's discovery of the signifier which inscribes a limit to meaning, and by the domains of sense and nonsense newly opened up by aesthetic theory. These historical developments culminate in the field of psychoanalysis which most consequentially delimits a cause of meaning said to be closely linked to the core of subjectivity.
Part II extends these findings by rigorously constructing out of the Lacanian sexuated formulae a decidedly non-hermeneutical phenomenological approach useful in demonstrating the sexual nature of meaning. Explicated in their static state by way of an account of their original derivation from the Aristotelian logical square, it is argued that these four formulae are relevant to basic concerns of textual theory inclusive of the hermeneutical circle of meaning. These formulae are then set into motion by integrating them with Lacan's four discourses to demonstrate the breakdown of meaning. Finally, the cuts and sutures of two-dimensional space that is topology as set down in L'étourdit are performed to confirm how the very field of meaning is ultimately suspended from a nonsensical singular point known in Lacanian psychoanalysis as objet a. The contention is that by occupying this point the subject frees himself from the debilitating grip of meaning."

Not published yet. It is argued that agonistic democracy fails to fully distinguish itself from delibertive democracy and so it shares similar shortcomings. basically, agonistic democracy is unable to think about conflict as radical... more

Not published yet.
It is argued that agonistic democracy fails to fully distinguish itself from delibertive democracy and so it shares similar shortcomings. basically, agonistic democracy is unable to think about conflict as radical contestation of power.

Course Syllabus for the Specialized Field: Subjectivity and the Psychoanalytic Subject

Cover for book on the last twenty some years of the Spanish-American novel, from the relationship between masters and disciples in a digital age. To be published by Madrid's Iberoamericana-Vervuert in March 2019

Jill Schostak and I wrote this book as part of our evolving interest in doing research radically. By radically we mean engaging with people's voices to learn how to create the conditions for social justice and for democratising all the... more

Jill Schostak and I wrote this book as part of our evolving interest in doing research radically. By radically we mean engaging with people's voices to learn how to create the conditions for social justice and for democratising all the organisations of everyday life. We draw on our own research but also on the ways in which the media is used to shaw people's voices and behaviours. We explore all the ways in which the desires and demands of elites are inscribed upon minds and bodies as well as how writing may create the conditions for counter inscriptions. Writing research is to engage politically. Whether it is the Arab Spring re-inscribing hopes for freedom, the Occupy Movement or young people challenging orthodoxies at home or in classrooms through use of the media, it is the power of writing in its broadest sense that makes the difference.

La estrategia política orientada a las emancipaciones democráticas ha sido central en el pensamiento de Ernesto Laclau. Producto del diálogo con múltiples autores y su adscripción post estructural, post marxista y post fundacional, sus... more

La estrategia política orientada a las emancipaciones democráticas ha sido central en el pensamiento de Ernesto Laclau. Producto del diálogo con múltiples autores y su adscripción post estructural, post marxista y post fundacional, sus posiciones fueron cambiando. La tensión entre la producción de un sujeto político que ponga en cuestión el orden y la reinscripción de lo social se propone un eje de lectura que permite sostener dos estrategias dependiendo del contexto histórico geográfico: la multiplicación de los antagonismos democráticos y la construcción de un Pueblo. El diálogo sobre todo con Mouffe y Rancière será útil para ordenar el debate en torno a cómo se van transformando las estrategias políticas emancipadoras.

The concept of intellectual equality dominates Jacques Rancière's prolific (and ever increasing) bibliography and remains fundamental to his aesthetic philosophy. Whereas equality's relationship to Rancièrean pedagogy, politics, and... more

The concept of intellectual equality dominates Jacques Rancière's prolific (and ever increasing) 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 of translation as a metonymy, a scholarly style, and a political activity in his philosophical thought. The intersection of translation with ways of " doing, being, and saying " clarifies Rancière's elegant elision of poetics and politics and ultimately sheds new light on his specific contribution to literary studies.

Dieser Beitrag zur Filmtheorie geht von Jacques Rancières Schriften zur Politik und zum Film aus. Rancière konzipiert Politik und (Film-)Ästhetik "ineinander" – die Politik im Zeichen der Ästhetik, die Ästhetik im Medium der Politik.... more

Dieser Beitrag zur Filmtheorie geht von Jacques Rancières Schriften zur Politik und zum Film aus. Rancière konzipiert Politik und (Film-)Ästhetik "ineinander" – die Politik im Zeichen der Ästhetik, die Ästhetik im Medium der Politik. Beide betreffen gemeinschaftliche Wahrnehmungsweisen und Platzzuweisungen ebenso wie deren Störung. Im Fokus dieser Theorie stehen dissensuale Akte: Inszenierungen von Streitfällen, durch die sich politische Subjekte bilden, indem sie sich von ihrer Identität und Bodenhaftung im Sozialen absetzen. Es geht um Wortergreifungen, die nicht vorgesehen sind, und um Erscheinen ohne sicheren Grund.
Film ohne Grund sondiert Rancières Film-Texte – zumal sein Verhältnis zu Gilles Deleuze – im Licht seines Politikbegriffs und wirft einen kritischen Blick auf aktuelle Mainstreamfilme wie auch auf Theorien, die jeweils beanspruchen, Kino und Politik zusammenzuführen. Daraus resultiert ein Votum für Dissens und Voraussetzungsbruch als Momente einer politischen Filmästhetik.

This essay examines the disruption of linear time in experimental forms of “history painting” as represented by Dierk Schmidt’s SIEV-X—On a Case of Intensified Refugee Politics (2001-2005). It analyses how the aesthetics of... more

This essay examines the disruption of linear time in experimental forms of “history painting” as represented by Dierk Schmidt’s SIEV-X—On a Case of Intensified Refugee Politics (2001-2005). It analyses how the aesthetics of heterochronoia—multiple temporalities—play a crucial role in the development of a new understanding of the politics of “history painting.” As Schmidt’s work reveals, a radical conception of history exists outside the “singular moment,” and in dialogue with heterogenous visual cultures (news media, art history, advertising). In attempting to understand the import of Schmidt’s work, this essay considers his methodologies for creating a heterochronous mode of history painting, particularly his anachronistic engagement with the work of Theodore Géricault and the iconic history painting, The Raft of the Medusa. Unlike previous critical responses to Schmidt’s work, this paper argues that (after Géricault) the artist’s use of investigative “journalistic” methodologies for SIEV-X—On a Case of Intensified Refugee Politics do not generate an aesthetics of exposé but rather an aesthetics of “fictionalization.” This aesthetic is defined by the recalibration of documentary and speculative data as a means to reconceive the landscape of the perceptual. The findings of this research demonstrate that the use of disparate fragments—or data—to visualize otherwise diminishing historical events underpins contemporary history painting’s capacity for advancing a distinct economy of affect that circumvents the limitations of the news media and its “monopoly on reality.”

Introdução Este trabalho se propõe relacionar arte e política, a partir das reflexões de Jacques Rancière, com o fim de demonstrar as razões pelas quais, para esse filósofo, a política é consubstancial à arte no regime estético, pois... more

Introdução Este trabalho se propõe relacionar arte e política, a partir das reflexões de Jacques Rancière, com o fim de demonstrar as razões pelas quais, para esse filósofo, a política é consubstancial à arte no regime estético, pois considera que a propriedade da arte, nesse regime, não é extraída da indistinção pretendida da arte ao modo de vida de uma comunidade, nem da conformidade da obra a uma ideia específica ou a padrões de representação, mas aquela propriedade é extraída de sua participação a um sensorium específico, a uma certa forma de apreensão do sensível, ou seja, a uma revolução estética que provocou uma nova partilha do mundo comum cuja efetividade, por sua vez, é compreendida pelo noção de "jogo" que Rancière recupera de Schiller. Com efeito, no regime estético da arte, em razão da suspensão da atividade do entendimento e da passividade sensível da experiência estética da obra de arte, ocasionada pelo seu sensorium específico e efetivada pelo "jogo", a arte se identifica à natureza da política porque, para Rancière, política é exatamente a esfera de atividade da partilha do sensível. Assim, a política é consubstancial à arte no regime estético porque ambas "reafirmam uma mesma função 'comunitária': a de construir um espaço específico, uma

O intuito desse artigo é pensar um novo regime de escrita em Rancière pautado no modo com que o autor interpreta Schiller, não a partir da linha argumentativa do texto, mas, antes, a partir de seu caráter literário e descritivo. Partindo... more

O intuito desse artigo é pensar um novo regime de escrita em Rancière pautado no modo com que o autor interpreta Schiller, não a partir da linha argumentativa do texto, mas, antes, a partir de seu caráter literário e descritivo. Partindo do debate em torno das relações entre a imagem e a palavra, pretendemos dar a ver como Rancière pensa as construções e desconstruções de uma série de hierarquias do pensamento estético que dizem mais respeito a um regime de identificação das artes do que à simples defesa de uma arte em detrimento de outra. Trata-se de pensar o modo como se relaciona a aisthesis à poiesis, assim como as ideias de humanidade e de sujeito que essas relações dão a ver. O pensamento do estatuto do sensível nos regimes de escrita nos auxiliará a pensar como certas operações textuais-como a descrição-são, ora vistas como subordinadas a um encadeamento causal, ora vistas em sua autonomia como pensamento. Trata-se de afirmar o surgimento de um novo regime de escrita que rompe com as hierarquias do princípio mimético e que, ao fazê-lo, rompe também com as ideias de humanidade e de sujeito que preexistiriam à escrita e à linguagem.

Human rights have historically been enshrined in a plethora of theories derived from the tradition of analytic philosophy. Attempting to go beyond the potentially narrow economy of thought of only one discipline, this dissertation draws... more

Human rights have historically been enshrined in a plethora of theories derived from the tradition of analytic philosophy. Attempting to go beyond the potentially narrow economy of thought of only one discipline, this dissertation draws upon a staging of enquiries and arguments which stem from social and political theory, international relations, legal theory, and philosophy, proposing a new distribution of the thinkable. Inspired by Jacques Rancière’s thinking ‘in-between’ disciplines (a term which he establishes as ‘indisciplinarity’ (2007:101)), I contend that social studies are affected by the specialisation of knowledge within well-delimited disciplinary frameworks. For this reason, debates on human rights, political asylum, and democracy, as embedded within the realm of politics, aesthetics, and ethics will be discussed, whilst questioning the very meaning of these three realms. In other words, this dissertation focuses on the way in which human rights have been used as a means to various ends, and how the theory and praxis around them affect democracy and the bearers of rights. Some of the thematic questions which run throughout the dissertation are: are human rights means to an end, or are they an end in themselves? What kind of politics is desirable in order to recognise the obvious, namely the equality of asylum seekers with citizens, without having to appeal to an institution as a mediator and enactor of ‘rights’? Who is the subject of human rights? And ultimately, how are we to imagine a democracy based on a politics of equality and an ethics of hospitality?

This article develops the hypothesis that the paradoxical character of critique (the fact that it questions its own grounds) is not an obstacle to, but a condition of, its theoretical and practical effectiveness. In order to clarify and... more

This article develops the hypothesis that the paradoxical character of critique (the fact that it questions its own grounds) is not an obstacle to, but a condition of, its theoretical and practical effectiveness. In order to clarify and expand this hypothesis with regard to its political implications I examine Rancière’s distinction between “politics” and “police,” his appraisal of “disagreement” (in contrast to Lyotard’s “différend”), along with his thesis that the rationality of “disagreement” sheds light on the paradox of politics (which consists, to paraphrase Rancière, in the very absence of any ground for the power of ruling). This will help counter the well-known criticism raised by Habermas against Adorno according to which a non-normative understanding of critique entails a “performative contradiction.” Against this assumption, I argue that to foster “disagreement” over what constitutes politics, in order to stimulate new ways of imagining what might be done – rather than to promote “consensus” on what should be done – is hardly an inappropriate goal for a politically focused philosophical critique.

Les interventions artistiques dans le monde des entreprises soulèvent la question de leur capacité critique, et de leur posture politique. L’artiste peut-il contribuer par son intervention à humaniser l’organisation, et diminuer... more

Les interventions artistiques dans le monde des entreprises soulèvent la question de leur capacité critique, et de leur posture politique. L’artiste peut-il contribuer par son intervention à humaniser l’organisation, et diminuer l’exercice de l’autorité arbitraire qui s’y exerce ? Mes propres expériences au moyen d’un dispositif de discussion particulier, basé sur le principe « on choisit qui on écoute, on ne choisit pas à qui on parle », tentent d’instaurer un partage de la parole plus égalitaire sur les scènes ordinaires de la vie organisationnelle. En m’appuyant sur les théories de Jacques Rancière au sujet d’une esthétique politique, j’analyse deux cas où l’introduction de mon dispositif, destiné à ouvrir plus de possibilités d’écoute égalitaire, a résulté en conflits et en renforcement de l’autorité et de la confiscation de la parole. La description des logiques internes à l’expérience sensible des acteurs mène à penser une forme de dialogisme fondé non pas tant sur l’oppositio...

Teachers and prospective teachers read children's books, but that reading is often done as a "teacher" – that is, as planning for instruction – rather than as a "reader" engaged with the text. Children’s Books for Grown-Up Teachers models... more

Teachers and prospective teachers read children's books, but that reading is often done as a "teacher" – that is, as planning for instruction – rather than as a "reader" engaged with the text. Children’s Books for Grown-Up Teachers models the kind of thinking about teaching and learning – the sort of curriculum theorizing – accomplished through teachers’ interactions with the everyday materials of teaching. It starts with children’s books, branches out into other youth culture texts, and subsequently to thinking about everyday life itself. Texts of curriculum theory describe infrastructures that support the crafts of inquiry and learning, and introduce a new vocabulary of poaching, weirding, dark matter, and jazz. At the heart of this book is a method of reading; Each reader pulls idiosyncratic concepts from children’s books and from everyday life. Weaving these concepts into a discourse of curriculum theory is what makes the difference between "going through the motions of teaching" and "designing educational experiences.

En este artículo se indaga y compara las teorías de Jacques Rancière y Nelly Richard sobre la relación entre arte y política desde el pensamiento posfundacional, y se producen reflexiones y análisis de manifestaciones artísticas... more

En este artículo se indaga y compara las teorías de Jacques Rancière y Nelly Richard sobre la relación entre arte y política desde el pensamiento posfundacional, y se producen reflexiones y análisis de manifestaciones artísticas latinoamericanas vanguardistas o críticas en diálogo con ambas. Para ello, se parte de una presentación de las teorías de Rancière y Richard en términos generales, se focaliza en las ideas que dichos autores tienen de la política y, específicamente, en la conceptualización que hacen del arte y su relación con la política. Al mismo tiempo, se desarrolla una interpretación de producciones artísticas desde una mirada centrada en sus diversas conexiones con lo político, más allá del contenido temático de las mismas. Se utiliza la perspectiva metodológica cualitativa transdisciplinaria, que articula distintas áreas de conocimiento (filosofía política, sociología, historia del arte). En el caso de los desarrollos de Jacques Rancière, se recurre a herramientas teór...

O artigo aborda a conjunção temática entre estética e política. Discute o pensamento de dois autores da filosofia contemporânea que fazem essa conexão: Kierkegaard e Rancière. Ele debate como o critério do interesse no estádio estético... more

O artigo aborda a conjunção temática entre estética e política. Discute o pensamento de dois autores da filosofia contemporânea que fazem essa conexão: Kierkegaard e Rancière. Ele debate como o critério do interesse no estádio estético kierkegaardiano pode ser comparativamente analisado, no contexto estético-político de Rancière. O texto apresenta os regimes políticos de Rancière em alusão aos estádios da vida humana em Kierkegaard, especificamente se relacionando ao estádio estético. Objetiva oferecer um estudo atualizado da multiplicidade política contemporânea, através dos diversos interesses estéticos que influenciam a formação social. O trabalho resulta em uma abordagem estético-política despida de inclinações ideológicas por si mesmas, mas que possibilita a indicação de vanguardas e retaguardas no pensamento político hodierno.

O objetivo deste artigo reside em trazer para o âmbito da filosofia política de Jacques Rancière as dificuldades associadas com a animalidade no direito, normalmente concebidas por meio das discussões referentes aos direitos dos animais.... more

O objetivo deste artigo reside em trazer para o âmbito da filosofia política de Jacques Rancière as dificuldades associadas com a animalidade no direito, normalmente concebidas por meio das discussões referentes aos direitos dos animais. Em vez de se deter nas implicações especificamente jurídicas desses direitos, da extensão que possuem ou mesmo de sua fundamentação, o artigo, ao recorrer a uma leitura muito particular da filosofia de Rancière, pretende apontar as condições que permitem ou obstruem a representatividade dos animais no campo jurídico. Para tanto, a pesquisa desenvolvida situa a maneira como os sujeitos jurídicos são construídos por meio da formulação de demandas em meio a um espaço social que não lhes reconhecem como vozes a serem ouvidas, ou seja, contestam as narrativas que impedem o reconhecimento institucional de suas vozes. Certas narrativas consensualmente estabelecidas dificultam, senão impedem, que os animais apareçam perante o direito como entes cujas vidas possuem valor e consideração. Uma das questões apontadas é que, apesar da existência e da produção cada vez mais ampla de normas jurídicas comprometidas com a proteção dos animais, estas podem estar vinculadas a imperativos econômicos, excluindo determinadas espécies do seu âmbito de proteção e incidência. O artigo, por fim, salienta a importância de se manter em aberto questionamentos referentes a novas formas de juridicidade que levem em consideração, para além do cálculo de benefícios/custos e dos pressupostos antropocêntricos, o sofrimento e a condição precária dos entes não humanos.

In the opening chapter of Collodi’s The Adventures of Pinocchio, a little voice provokes an acoustic situation known as acousmatic: the sound of a voice whose speaker remains unseen. This article focusses on the vocina’s semantic and... more

Tradução do ensaio de Rancière sobra a teoria do cinema de Deleuze, já (e não mais) publicada na revista Intermídias. Nele Rancière se opõe (como seria de se esperar dele) à divisão de Deleuze entre cinema clássico e cinema moderno (mais... more

Tradução do ensaio de Rancière sobra a teoria do cinema de Deleuze, já (e não mais) publicada na revista Intermídias. Nele Rancière se opõe (como seria de se esperar dele) à divisão de Deleuze entre cinema clássico e cinema moderno (mais ou menos correspondente à divisão entre imagem-movimento e imagem-tempo). Mas fora isso aponta a riqueza e a importância da teoria deleuzeana (enquanto "história natural").

Uma parte considerável do atual pensamento filosófico-político tem se renovado no sentido de recolocar a questão da política a partir de uma perspectiva do comum e de uma problematização do sujeito político, mediante suas representações e... more

Uma parte considerável do atual pensamento filosófico-político tem se renovado no sentido de recolocar a questão da política a partir de uma perspectiva do comum e de uma problematização do sujeito político, mediante suas representações e alternativas de emancipação. Nesse diapasão, encontram-se os filósofos Jacques Rancière e Giorgio Agamben,
os quais têm sido cada vez mais estudados nos departamentos de pesquisa do Brasil. No intuito de estabelecer uma apresentação de caráter pedagógico, o presente artigo objetiva desenvolver uma articulação teórica entre esses dois pensadores contemporâneos em torno da ideia do “político”, enfatizando-a como categoria simbólica no seio das sociedades democráticas ocidentais, de modo a despertar possibilidades de pesquisas em estudos posteriores.

RESUMO: O que aqui se pretende é analisar a forma voltairiana de relacionar arte e política presente em sua obra, apontando seus alcances e limites a partir da noção da relação entre arte e política em Jacques Rancière. Para tal, este... more

RESUMO: O que aqui se pretende é analisar a forma voltairiana de relacionar arte e política presente em sua obra, apontando seus alcances e limites a partir da noção da relação entre arte e política em Jacques Rancière. Para tal, este trabalho se divide em três momentos: no primeiro, expor a proposta voltairiana de relacionar arte e política; em seguida, entender como essa relação se dá a partir de categorias de Rancière-"partilha do sensível", "estética da política", "política", "polícia", "dissenso" etc-e, por fim, aplicar essas categorias à proposta de Voltaire de relacionar arte e política com o fim de verificar se sua obra efetiva a relação almejada. PALAVRAS-CHAVE: Arte. Política. Voltaire. Rancière. ABSTRACT: It is intended here to analyse how Voltaire relates art and politics in his work, pointing its scope and limits from the notion of the relation between art and politics in Jacques Rancière. To that end, this paper is divided into three moments: first, the exposition of the Voltairean proposal that relates art and politics; in the following section, the comprehension on how this relation is given from Rancière's categories-"sharing the sensitive", "political esthetic", "politics", "police", "dissention" etc-and, finally, the aplication of these categories to the Voltairean proposal of relating art and politics aiming to verify if his work accomplish the relation that is intended.