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Naomi Roux

Ivan Vladislavić, Double Negative (Cape Town: Random House, 2011), 90–91. 2 Yoliswa Sobuwa, ‘Homeless Man Wants His Shack Back from Museum’, Herald , 10 September 2014. 3 Derek Hook, (Post)Apartheid Conditions: Psychoanalysis and Social Formation (Basingstoke: Palgrave Macmillan, 2013). 4 Lodge, Sharpeville , 347. 5 Jacques Rancière, The Emancipated Spectator , trans. Gregory Elliott (London: Verso Books, 2009), 22.

in Remaking the urban
Abigail Susik

semi-skilled labour and by mechanised production infrastructure imported from the United States. 9 A hyper-regulated work environment quickly took hold in France during and after World War I, with Frederick Winslow Taylor’s time and motion studies subdividing workers’ movements into controlled ‘phasing’ and Henry Ford’s assembly line ensuring surplus production and minimising fatigue. 10 As Jacques Rancière has explained, this mechanisation was not just a question of more work, but of working faster

in Surrealist sabotage and the war on work
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Mark Robson

, does not. As Jacques Rancière notes, the Aristotelian distinction between human and animal can only be the result of a rather unlikely forgetting of Plato. In particular, it involves suppressing the passages in the Republic that are all too clear on the animalistic nature of crowds who, at the instigation of an orator, will express pleasure and displeasure. 11 Rancière argues

in The sense of early modern writing
Assemblages of images and the production of knowledge
W. J. T. Mitchell

Jacques Rancière has called ‘image sentences’ (Rancière 2007, 46ff.). Art history, for example, tends to confine its moments of simultaneity and synchronic presentation to what might be called ‘dialectical display’, the practice of comparing two slides side by side, a routine that Robert S. Nelson has traced back to the Hegelian ancestry of art history (Nelson 2000). There are notable exceptions to this rule of concealment, two of the best known being Aby Warburg’s Mnemosyne project, the Bilderatlas, which he assembled in Hamburg during the last few years of his life

in Image operations
Anna Dezeuze

. Indeed, as philosopher Jacques Rancière underlined in a 2009–10 exchange with Hirschhorn, the presence of the artist and the work over a continuous time set up a specific temporal framework in which to construct a space of appearance, ‘affirming anybody’s ability to see, produce and think’.168 A ‘fluctuating temporality’, according to Rancière, allowed Hirschhorn’s practice to operate at the junction of both the artist’s work and the ‘experiences of work’ by others, as well as the junction between his free time and others’ ‘idle time’, in an unpredictable, back

in Almost nothing
Saul Newman

systems and the general decline of the ideological apparatus of Marxism, far from seeing the promised universal reign of a liberal utopia we instead saw the uncanny return of ethnic violence, virulent nationalism and religious conservatism. As Jacques Rancière says: ‘The territory of “posthistorical” and peaceful humanity proved to be the territory of new figures of the Inhuman.’17 These forces have been intensified and invigorated by September 11. What we are seeing today is a global proliferation of religious fundamentalism – of both the Islamic and Judeo

in Unstable universalities
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Carolyn Steedman

described) the historian’s crab-like thinking backwards, he also suggested that her nostalgia for origins and original referents cannot be satisfied, because there is actually nothing there: she is not looking for anything: only silence, the space shaped by what once was; and now is no more.41 What has survived – the ghost – is not the thing itself, but what has already been said and written about it. ‘There is history’, says Jacques Rancière, ‘because there is the past and a specific passion for the past. And there is history because there is an absence … The status of

in Poetry for historians
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On the reality of film
Richard Rushton

between illusion and reality – that this book argues. The remaining six chapters of the book try to posit various ways of going beyond political modernism and its logic of illusion versus reality in the cinema. Each chapter focuses on the work of a specific film theorist, so that there are chapters on André Bazin, Christian Metz, Stanley Cavell, Gilles Deleuze, Slavoj Žižek and Jacques Rancière. What pans out, I think, is less a singular, pointed and specific theory of what filmic reality is and more of a sense that what I mean by filmic reality is an attitude one takes

in The reality of film
Jenny Edkins

be, in the face of attempts to interpellate her as a coherent ‘subject’. She refuses to misrecognise herself as ‘like’ the other woman, but she shows up at the party anyway. Interpellation is the process of ‘hailing’ whereby ‘concrete individuals’ are transformed into subjects. Louis Althusser’s famous example is the ‘Hey, you there!’ uttered by a policeman.30 When we recognise ourselves in the officer’s call and turn round, we are interpellated into a particular subject position: we become subjects of the police order, in Jacques Rancière’s terms.31 Interpellation

in Change and the politics of certainty
Selina Todd

C u lt u r e i n M a n c h e s t e r useful.15 However, this allows little scope for working-class resistance, which in MaD’s case took the form of seeking to create an alternative and oppositional cultural space. As we shall see later in this essay, MaD’s actions support Jacques Rancière’s conclusion that working-class actors can exercise a degree of autonomy and resistance within the cultural sphere, albeit within strict limits.16 I came to understand that any class analysis must interrogate those who hold power as well as those who lack it. Unfortunately, time

in Culture in Manchester