Search results for ""Author Jacques Rancière""

A classic collection of essay by Jacques Ranciere, that focuses on the ways in which radical philosophers understand the people they profess to speak for. The Intellectual and His People engages in an incisive and original way with current political and cultural issues, including the "discovery" of totalitarianism by the "new philosophers," the relationship of Sartre and Foucault to popular struggles, nostalgia for the ebbing world of the factory, the slippage of the artistic avant-garde into defending corporate privilege, and the ambiguous sociological critique of Pierre Bourdieu. As ever, Rancière challenges all patterns of thought in which one-time radicalism has become empty convention.

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The politics of literature is not the same as the politics of writers and their commitments, nor does it concern the way writers represent social structures or political struggles. The expression 'politics of literature' assumes that there is a specific connection between politics as a form of collective practice and literature as a historically determined regime of the art of writing. It implies that literature intervenes in the parceling out of space and time, place and identity, speech and noise, the visible and the invisible, that is the arena of the political. This book seeks to show how the literary revolution shatters the perceptible order that underpinned traditional hierarchies, but also why literary equality foils any bid to place literature in the service of politics or in its place. It tests its hypotheses on certain writers: Flaubert, Tolstoy, Hugo, Mallarmé, Brecht and Borges, to name a few. It also shows the consequences of this for psychoanalytical intepretation, historical narration and philosophical conceptualization.

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This extraordinary book can be read on several levels. Primarily, it is the story of Joseph Jacotot, an exiles French schoolteacher who discovered in 1818 an unconventional teaching method that spread panic throughout the learned community of Europe. Knowing no Flemish, Jacotot found himself able to teach in French to Flemish students who knew no French; knowledge, Jacotot concluded, was not necessary to teach, nor explication necessary to learn. The results of this unusual experiment in pedagogy led him to announce that all people were equally intelligent. From this postulate, Jacotot devised a philosophy and a method for what he called "intellectual emancipation"—a method that would allow, for instance, illiterate parents to themselves teach their children how to read. The greater part of the book is devoted to a description and analysis of Jacotot's method, its premises, and (perhaps most important) its implications for understanding both the learning process and the emancipation that results when that most subtle of hierarchies, intelligence, is overturned. The book, as Kristin Ross argues in her introduction, has profound implications for the ongoing debate about education and class in France that has raged since the student riots of 1968, and it affords Rancière an opportunity (albeit indirectly) to attack the influential educational and sociological theories of Pierre Bourdieu (and others) that Rancière sees as perpetuating inequality.

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In this book Jacques Rancière radicalises his critique of modernism and its postmodern appendix. He contrasts their unilinear and exclusive time with the interweaving of temporalities at play in modern processes of emancipation and artistic revolutions, showing how this plurality itself refers to the double dimension of time. Time is more than a line drawn from the past to the future. It is a form of life, marked by the ancient hierarchy between those who have time and those who do not. This hierarchy, continued in the Marxist notion of the vanguard and nakedly exhibited in Clement Greenberg's modernism, still governs a present which clings to the fable of historical necessity and its experts. In opposition to this, Rancière shows how the break with the hierarchical conception of time, formulated by Emerson in his vision of the new poet, implies a completely different idea of the modern. He sees the fulfilment of this in the two arts of movement, cinema and dance, which at the beginning of the twentieth century abolished the opposition between free and mechanical people, at the price of exposing the rift between the revolution of artists and that of strategists.

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In Film Fables Jacques Ranciere turns his critical eye to the history of modern cinema. Combining an extraordinary breadth of analysis with an attentiveness to detail born from an obvious love of cinema, Ranciere shows us new ways of looking at and interpreting film. His analysis moves effortlessly from Eisenstein's and Murnau's transition from theatre to film to Fritz Lang's confrontation with television, from the classical poetics of Mann's Westerns to Ray's romantic poetics of the image, from Rossellini's neo-realism to Deleuze's philosophy of the cinema. The book also includes extended commentaries on the work of Hitchcock, Godard, Vertov and Bergman. Film Fables is essential reading for anyone wanting to gain a better understanding of the power and complexity of the cinematic form and it’s rich history.

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“Is there any such thing as political philosophy?” So begins this provocative book by one of the foremost figures in Continental thought. Here, Jacques Rancière brings a new and highly useful set of terms to the vexed debate about political effectiveness and “the end of politics.”What precisely is at stake in the relationship between “philosophy” and the adjective “political”? In Disagreement, Rancière explores the apparent contradiction between these terms and reveals the uneasy meaning of their union in the phrase “political philosophy”—a juncture related to age-old attempts in philosophy to answer Plato’s devaluing of politics as a “democratic egalitarian” process.According to Rancière, the phrase also expresses the paradox of politics itself: the absence of a proper foundation. Politics, he argues, begins when the “demos” (the “excessive” or unrepresented part of society) seeks to disrupt the order of domination and distribution of goods “naturalized” by police and legal institutions. In addition, the notion of “equality” operates as a game of contestation that constantly substitutes litigation for political action and community. This game, Rancière maintains, operates by a primary logic of “misunderstanding.” In turn, political philosophy has always tried to substitute the “politics of truth” for the politics of appearances.Disagreement investigates the various transformations of this regime of “truth” and their effects on practical politics. Rancière then distinguishes what we mean by “democracy” from the practices of a consensual system in order to unravel the ramifications of the fashionable phrase “the end of politics.” His conclusions will be of interest to readers concerned with political questions from the broadest to the most specific and local.

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This book is not concerned with the use of Freudian concepts for the interpretation of literary and artistic works. Rather, it is concerned with why this interpretation plays such an important role in demonstrating the contemporary relevance of psychoanalytic concepts. In order for Freud to use the Oedipus complex as a means for the interpretation of texts, it was necessary first of all for a particular notion of Oedipus, belonging to the Romantic reinvention of Greek antiquity, to have produced a certain idea of the power of that thought which does not think, and the power of that speech which remains silent. From this it does not follow that the Freudian unconscious was already prefigured by the aesthetic unconscious. Freud's 'aesthetic' analyses reveal instead a tension between the two forms of unconscious. In this concise and brilliant text Rancière brings out this tension and shows us what is at stake in this confrontation.

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Faced with growing inequalities and new forms of domination and exploitation, can the movement of emancipation take on a new life today, or has it been arrested by the powers of repression and normalization? In order to address this question, Jacques Rancière pays close attention to the sociopolitical rhythms of our time, listening for the figures of trembling and oscillation that are often drowned out by the deafening hubbub of the media. He questions the relationship between democracies and the very concept of democracy, and questions what, in the social movements and protests taking place today, offers a possibility of emancipation. Emancipation means breaking out of the established hierarchies, proposing a ludic attitude of free-floating distance and bringing into it a space of equality to replace the dominant order of inequalities. In five conversations on politics, art, literature, philosophy and cinema, Jacques Rancière and Aliocha Wald Lasowski consider the form, experienc

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Faced with growing inequalities and new forms of domination and exploitation, can the movement of emancipation take on a new life today, or has it been arrested by the powers of repression and normalization? In order to address this question, Jacques Rancière pays close attention to the sociopolitical rhythms of our time, listening for the figures of trembling and oscillation that are often drowned out by the deafening hubbub of the media. He questions the relationship between democracies and the very concept of democracy, and questions what, in the social movements and protests taking place today, offers a possibility of emancipation. Emancipation means breaking out of the established hierarchies, proposing a ludic attitude of free-floating distance and bringing into it a space of equality to replace the dominant order of inequalities. In five conversations on politics, art, literature, philosophy and cinema, Jacques Rancière and Aliocha Wald Lasowski consider the form, experienc

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“Music is the brute that shows. It is the avowal of materials, And stutters between its clanging of things.”How should one think this musical groove of the poem whose back and forth motion shuffles the material of ordinary language and revives the frozen speech of old chants? This question by renowned French thinker Jacques Rancière is the entry point for his earnest and careful reading of one of France’s most singular and important contemporary poets. For Rancière, Philippe Beck sets himself the task of a poetry after poetry whereby Beck re-writes and transforms the poems of the past, reanimating faded genres, poetizing the prose of popular tales and even commentaries regarding poems. To read and follow this groove traced as such cannot simply be done by way of taking the poems as objects of study. It supposes a dialogue regarding what these poems attempt to do as well as an idea of a poetry which serves as their foundation. This book on Philippe Beck is thus also a book made with him.

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History in our day is still a story, and yet one from which we expect to tell the truth - not just the facts, the names and events of the past, but the invisible order and forces behind them. How can the language of history balance these seemingly contrary tasks - the narrative, the scientific, and the political? This is the question Jacques Ranciere explores in "The names of history", a meditation on the poetics of historical knowledge. In the works of writers from Jules Michelet to Fernand Braudel, Ranciere traces an ongoing revolution in historical study, a movement that challenged, in the practice of language, the opposition of science and literature. By way of a commentary on Erich Auerbach, he shows how fictional narrative intertwines with historical narrative to produce a "truth" that retains mythical elements. The poetics of knowledge Ranciere develops here is an attempt to identify the literary procedures by which historical discourse escapes literature and gives itself the status of a science. His book is also an appreciation of Braudel, whose work in the Annales school greatly advanced this project. Ranciere follows and extends Braudel's discursive production of new agencies of history, which accounts for both the material conditions in which history takes place and the language in which it is written.

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From Almanac of Fall (1984) to The Turin Horse (2011), renowned Hungarian filmmaker Béla Tarr has followed the collapse of the communist promise. The “time after” is not the uniform and morose time of those who no longer believe in anything. It is the time when we are less interested in histories and their successes or failures than we are in the delicate fabric of time from which they are carved. It is the time of pure material events against which belief will be measured for as long as life will sustain it.

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The definitive statement on aesthetics and the history of modernism from one of France's most renowned philosophers. Composed of a series of scenes that defined modernism, Aisthesis takes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarmé to the Folies-Bergère, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Rancière uses these sites and events to ask what becomes art and what comes from it. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.

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The time of the landscape is not the time when people started describing gardens, mountains and lakes in poems or representing them in works of art: it is the time when the landscape imposed itself as a specific object of thought. It is the time when both the harmony of arranged gardens and the disharmony of wild nature led to a revolution in the criteria of the beautiful and in the meaning of the word “art.” It coincided with the birth of aesthetics, understood as a regime for shaping how art is seen and thought, and also with the French Revolution, understood as a revolution in the very idea of what binds together a human community. The time of the landscape is the time when the conjunction of these two upheavals brought into focus, however hazily, a common horizon: that of a revolution that no longer concerns only the laws of the state or the norms of art, but the very forms of sensible experience. This brilliant and wide-ranging book will be of interest to students and scholars in philosophy, literature, the visual arts, and the humanities generally, and to anyone interested in critical theory and philosophy.

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In this short book, Jacques Rancière takes stock of the state of contemporary politics and examines current developments in the light of his writings. Rancière takes issue with what he sees as the consolidation in recent years of an increasingly oligarchic class of professional politicians within the system of representative democracy, while simultaneously objecting to leftist animosity towards electoral politics. He discusses a wide range of contemporary political movements and figures, from Nuit debout and Marine le Pen to Occupy, Trump, Syriza and Podemos, and he offers a trenchant critique of a variety of ideas and thinkers associated with radical politics, such as the ideas of immaterial labour and cognitive capitalism and the concept of insurrection put forward by the Invisible Committee. But above all he talks about the time in which it makes sense to talk about all this, a time for which history has made no promises and the past has left no lessons, only moments to be extended as far as possible. In politics, there are only presents. It is at every moment that the bonds of unequal servitude are renewed or that the paths of emancipation are invented. Presented in the form of a dialogue between Jacques Rancière and Eric Hazan, this timely reflection by one of the most influential radical thinkers writing today will be of interest to a wide readership.

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The development of Rancière’s philosophical work, from his formative years through the political and methodological break with Louis Althusser and the lessons of May 68, is documented here, as are the confrontations with other thinkers, the controversies and occasional misunderstandings. So too are the unity of his work and the distinctive style of his thinking, despite the frequent disconnect between politics and aesthetics and the subterranean movement between categories and works. Lastly one sees his view of our age, and of our age’s many different and competing realities. What we gain in the end is a rich and multi-layered portrait of a life and a body of thought dedicated to the exercise of philosophy and to the emergence of possible new worlds.

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These essays from the 1970s mark the inception of the distinctive project that Jacques Rancière has pursued across forty years, with four interwoven themes: the study of working-class identity, of its philosophical interpretation, of "heretical" knowledge and of the relationship between work and leisure.

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In this short book, Jacques Rancière takes stock of the state of contemporary politics and examines current developments in the light of his writings. Rancière takes issue with what he sees as the consolidation in recent years of an increasingly oligarchic class of professional politicians within the system of representative democracy, while simultaneously objecting to leftist animosity towards electoral politics. He discusses a wide range of contemporary political movements and figures, from Nuit debout and Marine le Pen to Occupy, Trump, Syriza and Podemos, and he offers a trenchant critique of a variety of ideas and thinkers associated with radical politics, such as the ideas of immaterial labour and cognitive capitalism and the concept of insurrection put forward by the Invisible Committee. But above all he talks about the time in which it makes sense to talk about all this, a time for which history has made no promises and the past has left no lessons, only moments to be extended as far as possible. In politics, there are only presents. It is at every moment that the bonds of unequal servitude are renewed or that the paths of emancipation are invented. Presented in the form of a dialogue between Jacques Rancière and Eric Hazan, this timely reflection by one of the most influential radical thinkers writing today will be of interest to a wide readership.

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The development of Rancière’s philosophical work, from his formative years through the political and methodological break with Louis Althusser and the lessons of May 68, is documented here, as are the confrontations with other thinkers, the controversies and occasional misunderstandings. So too are the unity of his work and the distinctive style of his thinking, despite the frequent disconnect between politics and aesthetics and the subterranean movement between categories and works. Lastly one sees his view of our age, and of our age’s many different and competing realities. What we gain in the end is a rich and multi-layered portrait of a life and a body of thought dedicated to the exercise of philosophy and to the emergence of possible new worlds.

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In this important new book the leading philosopher Jacques Rancière continues his reflections on the representative power of works of art. How does art render events that have spanned an era? What roles does it assign to those who enacted them or those who were the victims of such events? Rancière considers these questions in relation to the works of Claude Lanzmann, Goya, Manet, Kandinsky and Barnett Newman, among others, and demonstrates that these issues are not only confined to the spectator but have greater ramifications for the history of art itself. For Rancière, every image, in what it shows and what it hides, says something about what it is permissible to show and what must be hidden in any given place and time. Indeed the image, in its act of showing and hiding, can reopen debates that the official historical record had supposedly determined once and for all. He argues that representing the past can imprison history, but it can also liberate its true meaning.

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It is frequently said that we are living through the end of politics, the end of social upheavals, the end of utopian folly. Consensual realism is the order of the day. But political realists, remarks Jacques Ranciere, are always several steps behind reality, and the only thing which may come to an end with their dominance is democracy. In these subtle and perceptive essays, Ranciere argues that since Plato and Aristotle politics has always constructed itself as the art of ending politics, that realism is itself utopian, and that what has succeeded the polemical forms of class struggle is not the wisdom of a new millennium but the return of old fears, criminality and chaos. Whether he is discussing the confrontation between Mitterrand and Chirac, French working-class discourse after the 1830 revolution, or the ideology of recent student mobilizations, his aim is to restore philosophy to politics and give politics back its original and necessary meaning: the organization of dissent.

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The Politics of Aesthetics rethinks the relationship between art and politics, reclaiming "aesthetics" from the narrow confines it is often reduced to. Jacques Rancière reveals its intrinsic link to politics by analysing what they both have in common: the delimitation of the visible and the invisible, the audible and the inaudible, the thinkable and the unthinkable, the possible and the impossible. Presented as a set of inter-linked interviews, The Politics of Aesthetics provides the most comprehensive introduction to Rancière's work to date, ranging across the history of art and politics from the Greek polis to the aesthetic revolution of the modern age. Available now in the Bloomsbury Revelations series 10 years after its original publication, The Politics of Aesthetics includes an afterword by Slavoj Zizek, an interview for the English edition, a glossary of technical terms and an extensive bibliography.

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What distinguishes fiction from ordinary experience is not a lack of reality but a surfeit of rationality – this was the thesis of Aristotle’s Poetics. The rationality of fiction is that appearances are inverted. Fiction overturns the ordinary course of events that occur one after the other, aiming to show how the unexpected arises, happiness transforms into unhappiness and ignorance into knowledge. In the modern age, argues Rancière, this fictional rationality was developed in new ways. The social sciences extended the model of causal linkage to all spheres of human action, seeking to show us how causes produce their effects by inverting appearances and expectations. Literature took the opposite path. Instead of democratizing fictional rationality to include all human activity in the world of rational knowledge, it destroyed its principles by abolishing the limits that circumscribed a reality peculiar to fiction. It aligned itself with the rhythms of everyday life and plumbed the power of the “random moment” into which an entire life is condensed. In the avowed fictions of literature as well as in the unavowed fictions of politics, social science or journalism, the central question is the same: how to construct the perceptible forms of a shared world. From Stendhal to João Guimarães Rosa and from Marx to Sebald, via Balzac, Poe, Maupassant, Proust, Rilke, Conrad, Auerbach, Faulkner and some others, this book explores these constructions and sheds new light on the constitutive movement of modern fiction, the movement that shifted its centre of gravity from its traditional core toward those edges in which fiction gets confronted with its possible revocation.

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In this important new book the leading philosopher Jacques Rancière continues his reflections on the representative power of works of art. How does art render events that have spanned an era? What roles does it assign to those who enacted them or those who were the victims of such events? Rancière considers these questions in relation to the works of Claude Lanzmann, Goya, Manet, Kandinsky and Barnett Newman, among others, and demonstrates that these issues are not only confined to the spectator but have greater ramifications for the history of art itself. For Rancière, every image, in what it shows and what it hides, says something about what it is permissible to show and what must be hidden in any given place and time. Indeed the image, in its act of showing and hiding, can reopen debates that the official historical record had supposedly determined once and for all. He argues that representing the past can imprison history, but it can also liberate its true meaning.

Read more less

In The Future of the Image, Jacques Rancière develops a fascinating new concept of the image in contemporary art, showing how art and politics have always been intrinsically intertwined. He argues that there is a stark political choice in art: it can either reinforce a radical democracy or create a new reactionary mysticism. For Rancière there is never a pure art: the aesthetic revolution must always embrace egalitarian ideals.

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These essays from the 1970s mark the inception of the distinctive project that Jacques Rancière has pursued across forty years, with four interwoven themes: the study of working-class identity, of its philosophical interpretation, of "heretical" knowledge and of the relationship between work and leisure. For the short-lived journal Les Révoltes Logiques, Rancière wrote on subjects ranging across a hundred years, from the California Gold Rush to trade-union collaboration with fascism, from early feminism to the "dictatorship of the proletariat," from the respectability of the Paris Exposition to the disrespectable carousing outside the Paris gates. Rancière characteristically combines telling historical detail with deep insight into the development of the popular mind. In a new preface, he explains why such "rude words" as "people," "factory," "proletarians" and "revolution" still need to be spoken.

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This book analyzes a range of texts that seek, in different ways, to represent "the people." Rancière approaches these texts as travel narratives or ethnographies whose authors have traveled not to distant or exotic lands but across class lines. In this truly comparative study, he examines Wordsworth's poetry, the utopian discourse of the Saint-Simoniens, the correspondence and theater of Büchner, Claude Genoux's Mémoires d'un enfant de la Savoie, Michelet's theories of history, the prose and poetry of Rilke, and the performance of Ingrid Bergman in Rossellini's postwar film Europe 51. Rancière examines the various forms of displacement that affect his subjects, enabling each to become foreign to the sites and trajectories commonly known as reality. He argues convincingly that "the people" have no proper signification in the texts under consideration, instead, they function as points of reality upon which the voyager can drape a conceptual framework shaped by the circumstances not of the other, but of the self.

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This is a brand new collection of Jacques Ranciere's writings on art and politics. "Dissensus: On Politics and Aesthetics" brings together some of Jacques Ranciere's most recent writings on art and politics to show the critical potential of two of his most important concepts: the aesthetics of politics and the politics of aesthetics. In this fascinating collection, Ranciere engages in a radical critique of some of his major contemporaries on questions of art and politics: Gilles Deleuze, Antonio Negri, Giorgio Agamben, Alain Badiou and Jacques Derrida. The essays show how Ranciere's ideas can be used to analyse contemporary trends in both art and politics, including the events surrounding 9/11, war in the contemporary consensual age, and the ethical turn of aesthetics and politics. Ranciere elaborates new directions for the concepts of politics and communism, as well as the notion of what a 'politics of art' might be. This important collection includes several essays that have never previously been published in English, as well as a brand new afterword. Together these essays serve as a superb introduction to the work of one of the world's most influential contemporary thinkers.

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The global triumph of democracy was announced thirty years ago, promising an age of consensus in which the dispassionate consideration of objective problems would give birth to a world at peace. Today, these grand hopes lie in ruins, and the era touted as new has turned out to be remarkably similar to the old order. To understand why this might be so, we need to examine the nature of the consensus itself, which is not the peace that it promised but rather the map of a territory on which new forms of warfare are being waged. The objective reality that imposed itself at the end of the 1990s was an absolutized and globalized capitalism which has produced ever more inequality, exclusion and hate. In this book Jacques Rancière delivers a frank and piercing critique of the globalized capitalist consensus. The invasion of Iraq, the riots on Capitol Hill and the rise of the European far right all attest to the true nature of this consensus, as does the current state-sanctioned racism which exploits the disenchanted progressive tradition and is led by an intelligentsia that claims to be left-wing. At the same time, Rancière praises the dynamism of social movements which affirm the power of the assembly of equals and its capacity for worldmaking: autonomous protest collectives have proven themselves capable of opening breaches in the consensual order and challenging the post-1989 system of domination.

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The time of the landscape is not the time when people started describing gardens, mountains and lakes in poems or representing them in works of art: it is the time when the landscape imposed itself as a specific object of thought. It is the time when both the harmony of arranged gardens and the disharmony of wild nature led to a revolution in the criteria of the beautiful and in the meaning of the word “art.” It coincided with the birth of aesthetics, understood as a regime for shaping how art is seen and thought, and also with the French Revolution, understood as a revolution in the very idea of what binds together a human community. The time of the landscape is the time when the conjunction of these two upheavals brought into focus, however hazily, a common horizon: that of a revolution that no longer concerns only the laws of the state or the norms of art, but the very forms of sensible experience. This brilliant and wide-ranging book will be of interest to students and scholars in philosophy, literature, the visual arts, and the humanities generally, and to anyone interested in critical theory and philosophy.

Read more less

What distinguishes fiction from ordinary experience is not a lack of reality but a surfeit of rationality – this was the thesis of Aristotle’s Poetics. The rationality of fiction is that appearances are inverted. Fiction overturns the ordinary course of events that occur one after the other, aiming to show how the unexpected arises, happiness transforms into unhappiness and ignorance into knowledge. In the modern age, argues Rancière, this fictional rationality was developed in new ways. The social sciences extended the model of causal linkage to all spheres of human action, seeking to show us how causes produce their effects by inverting appearances and expectations. Literature took the opposite path. Instead of democratizing fictional rationality to include all human activity in the world of rational knowledge, it destroyed its principles by abolishing the limits that circumscribed a reality peculiar to fiction. It aligned itself with the rhythms of everyday life and plumbed the power of the “random moment” into which an entire life is condensed. In the avowed fictions of literature as well as in the unavowed fictions of politics, social science or journalism, the central question is the same: how to construct the perceptible forms of a shared world. From Stendhal to João Guimarães Rosa and from Marx to Sebald, via Balzac, Poe, Maupassant, Proust, Rilke, Conrad, Auerbach, Faulkner and some others, this book explores these constructions and sheds new light on the constitutive movement of modern fiction, the movement that shifted its centre of gravity from its traditional core toward those edges in which fiction gets confronted with its possible revocation.

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This new collection of challenging literary studies plays with a foundational definition of Western culture: the word become flesh. But the word become flesh is not, or no longer, a theological already-given. It is a millennial goal or telos toward which each text strives. Both witty and immensely erudite, Jacques Rancière leads the critical reader through a maze of arrivals toward the moment, perhaps always suspended, when the word finds its flesh. That is what he, a valiant and good-humored companion to these texts, goes questing for through seven essays examining a wide variety of familiar and unfamiliar works. A text is always a commencement, the word setting out on its excursions through the implausible vicissitudes of narrative and the bizarre phantasmagorias of imagery, Don Quixote's unsent letter reaching us through generous Balzac, lovely Rimbaud, demonic Althusser. The word is on its way to an incarnation that always lies ahead of the writer and the reader both, in this anguished democracy of language where the word is always taking on its flesh.

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In The Lost Thread, Rancière debunks the notion of Flaubert, Baudelaire, Conrad, Woolf and Keats as reactionary producers of bourgeois mythologies, and instead foregrounds the egalitarian and democratic impulses of modernist literature. Contrary to the canonical interpretation of the relation between modernism and capitalism via the commodification of everyday life, Rancière proposes a radical rethinking of our received ideas regarding the politics of aesthetics in the modern era. Through a complex and original stitching together of form and content, modernists strove to depict by embodying new forms and regimes of material and everyday life. Rancière articulates this substantial change in the politics of representation by explaining the shattering of the sacrosanct hierarchies of the genres and life-forms of classical literature. In the midst of the 19th century, poets, novelists and playwrights challenged the narrative staples of noble means and moral ends, and introduced an entirely new “structure of feeling”. In this work, Ranciere continues his project of outlining an egalitarian “distribution of the sensible” as the compelling linkage between politics and aesthetics in the modern age. The Lost Thread not only advances Rancière’s commended work on aesthetics, it also offers the reader in depth analyses of the writers in question.

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What has philosophy to do with the poor? If, as has often been supposed, the poor have no time for philosophy, then why have philosophers always made time for them? Why is the history of philosophy—from Plato to Karl Marx to Jean-Paul Sartre to Pierre Bourdieu—the history of so many figures of the poor: plebes, men of iron, the demos, artisans, common people, proletarians, the masses? Why have philosophers made the shoemaker, in particular, a remarkably ubiquitous presence in this history? Does philosophy itself depend on this thinking about the poor? If so, can it ever refrain from thinking for them?Jacques Rancière’s The Philosopher and His Poor meditates on these questions in close readings of major texts of Western thought in which the poor have played a leading role—sometimes as the objects of philosophical analysis, sometimes as illustrations of philosophical argument. Published in France in 1983 and made available here for the first time in English, this consummate study assesses the consequences for Marx, Sartre, and Bourdieu of Plato’s admonition that workers should do “nothing else” than their own work. It offers innovative readings of these thinkers’ struggles to elaborate a philosophy of the poor. Presenting a left critique of Bourdieu, the terms of which are largely unknown to an English-language readership, The Philosopher and His Poor remains remarkably timely twenty years after its initial publication.

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Axel Honneth is best known for his critique of modern society centered on a concept of recognition. Jacques Ranciere has advanced an influential theory of modern politics based on disagreement. Underpinning their thought is a concern for the logics of exclusion and domination that structure contemporary societies. In a rare dialogue, these two philosophers explore the affinities and tensions between their perspectives to provoke new ideas for social and political change. Honneth sees modern society as a field in which the logic of recognition provides individuals with increasing possibilities for freedom and is a constant catalyst for transformation. Ranciere sees the social as a policing order and the political as a force that must radically assert equality. Honneth claims Ranciere's conception of the political lies outside of actual historical societies and involves a problematic desire for egalitarianism. Ranciere argues that Honneth's theory of recognition relies on an overly substantial conception of identity and subjectivity. While impassioned, their exchange seeks to advance critical theory's political project by reconciling the rift between German and French post-Marxist traditions and proposing new frameworks for justice.

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Between 2006 and 2020, French photographer and artist Bruno Serralongue conducted a prolonged engagement with the community of refugees on their last stop in a long journey to reach England. The resulting photographs, which formed the basis for an exhibition at Paris’s Centre Pompidou in 2019, are published here for the first time. Serralongue captured disparate moments in the lives of the exiles, their attempts to reach England and their provisional camps which were dismantled by the French government in 2020. Serralongue’s images employ a suspended temporality that contradicts the sensationalised images broadcast by the mass media, recalling the visual traditions of history painting more than photojournalism. The slowness of his photography, a characteristic of working with a view camera, requires both a distance from, and a proximity with, the subjects photographed, achievable only due to a relationship of trust built with the inhabitants of the ‘Jungle’.

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In this book the influential philosopher Jacques Rancière, in discussion with Peter Engelmann, explores the enduring connection between politics and aesthetics, arguing that aesthetics forms the fundamental basis for social and political upheaval. Beginning from his rejection of structuralist Marxism, Rancière outlines the development of his thought from his early studies on workers’ emancipation to his recent work on literature, film and visual art. Rather than discussing aesthetics within narrow terms of how we contemplate art or beauty, Rancière argues that aesthetics underpins our entire ‘regime of experience’. He shows how political relations develop from sensual experience, as individual feelings and perceptions become the concern of the community as a whole. Since politics emerges from the ‘division of the sensual’, aesthetic experience becomes a radically emancipatory and egalitarian means to disrupt this order and transform political reality. Investigating new forms of emancipatory politics arising from current art practices and social movements, this short book will appeal to anyone interested in contemporary art, aesthetics, philosophy and political theory.

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Jacques Ranciere has continually unsettled political discourse, particularly through his questioning of aesthetic "distributions of the sensible," which configure the limits of what can be seen and said. Widely recognized as a seminal work in Ranciere's corpus, the translation of which is long overdue, Mute Speech is an intellectual tour de force proposing a new framework for thinking about the history of art and literature. Ranciere argues that our current notion of "literature" is a relatively recent creation, having first appeared in the wake of the French Revolution and with the rise of Romanticism. In its rejection of the system of representational hierarchies that had constituted belles-letters, "literature" is founded upon a radical equivalence in which all things are possible expressions of the life of a people. With an analysis reaching back to Plato, Aristotle, the German Romantics, Vico, and Cervantes and concluding with brilliant readings of Flaubert, Mallarme, and Proust, Ranciere demonstrates the uncontrollable democratic impulse lying at the heart of literature's still-vital capacity for reinvention.

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In this book the influential philosopher Jacques Rancière, in discussion with Peter Engelmann, explores the enduring connection between politics and aesthetics, arguing that aesthetics forms the fundamental basis for social and political upheaval. Beginning from his rejection of structuralist Marxism, Rancière outlines the development of his thought from his early studies on workers’ emancipation to his recent work on literature, film and visual art. Rather than discussing aesthetics within narrow terms of how we contemplate art or beauty, Rancière argues that aesthetics underpins our entire ‘regime of experience’. He shows how political relations develop from sensual experience, as individual feelings and perceptions become the concern of the community as a whole. Since politics emerges from the ‘division of the sensual’, aesthetic experience becomes a radically emancipatory and egalitarian means to disrupt this order and transform political reality. Investigating new forms of emancipatory politics arising from current art practices and social movements, this short book will appeal to anyone interested in contemporary art, aesthetics, philosophy and political theory.

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Axel Honneth is best known for his critique of modern society centered on a concept of recognition. Jacques Ranciere has advanced an influential theory of modern politics based on disagreement. Underpinning their thought is a concern for the logics of exclusion and domination that structure contemporary societies. In a rare dialogue, these two philosophers explore the affinities and tensions between their perspectives to provoke new ideas for social and political change. Honneth sees modern society as a field in which the logic of recognition provides individuals with increasing possibilities for freedom and is a constant catalyst for transformation. Ranciere sees the social as a policing order and the political as a force that must radically assert equality. Honneth claims Ranciere's conception of the political lies outside of actual historical societies and involves a problematic desire for egalitarianism. Ranciere argues that Honneth's theory of recognition relies on an overly substantial conception of identity and subjectivity. While impassioned, their exchange seeks to advance critical theory's political project by reconciling the rift between German and French post-Marxist traditions and proposing new frameworks for justice.

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