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Emergencies and spectatorship
Sam Haddow

as somehow passive and voyeuristic, and the latter an uncomfortable thought of the ways in which spectatorial appetites  –​especially those that spectators are unwilling to admit  –​may be catered for by people who produce spectacles. I consider this latter worry in Chapter 1, in a discussion of the IS murder videos produced for western spectators. In terms of the debates around spectatorial ‘passivity’, Jacques Rancière’s The Emancipated Spectator is still one of the most valuable contributions of recent years. Rancière dismisses the ‘passive’ argument, calling

in Precarious spectatorship
Aesthetico-political misprision in Derricke’s A Discoverie of Woodkarne
Thomas Cartelli

polyscenic frames, which, as in the present instance, invite viewers to assume or imagine both continuous connections and discontinuous collisions between juxtaposed actions or events. In so doing, I plan to apply to these scenes an understanding of the ‘aesthetico-political’ – a term Jacques Rancière and others employ to identify aesthetic transactions that cross and complicate established orders of reason and channels of perception – that mainly signifies a politically motivated and ideologically informed aesthetic choice

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
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Counter-power in photography from slavery to Occupy Wall Street
Nicholas Mirzoeff

means representation. Rather, as Jacques Rancière has put it, ‘[o]‌riginally representation was the exact contrary of democracy’ (Rancière 2009, 53). It is instead an ‘oligarchic form’, precisely the mode of governance that is so palpable under global neo-​liberalism. The commons that is endeavouring to emerge is the interaction of indigenous and urban knowledge. Perhaps the most striking example of this interaction was the People’s Agreement of Cochabamba (2010), a document drawn up in response to the scientific consensus on anthropogenic climate change that is

in Image operations
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The topos of/for a post-politics of images?
Anne-Laure Amilhat Szary

consensus, who is subverting what? A post-political analysis is the opposite of searching for consensus in a democracy where, after an election, power is exercised on behalf of the entire community. In the post-political context, artistic intervention is considered powerful because the presence of the work makes it possible to renew the presence of contradiction within the political arena. Whilst nearing Jacques Rancière's notion of ‘dissensus’ ( 2008 ), Chantal Mouffe goes further, insisting on the fact that art could be ‘agonistic’ inasmuch as, beyond stemming debate

in Border images, border narratives
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Shakespeare’s voyage to Greece
Richard Wilson

–9. 61 Jacques Rancière, The Emancipated Spectator , trans. Gregory Elliott (London: Verso, 2009), pp 122–3; Judith Halberstam, The Queer Art of Failure (Durham, NC: Duke University Press, 2011), pp. 60, 80 et passim. 62 Hugh Grady, Shakespeare and Impure

in Free Will
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Shakespeare’s brute part
Richard Wilson

’s instruction would have been like that of the eighteenth-century teacher praised by Jacques Rancière in The Ignorant Schoolmaster , who encouraged pupils to ‘get lost’ in their very confusion, rather than cramming them with knowledge and ‘having them repeat it like parrots’, on the subversive principle he announced: ‘I must teach you that I have nothing to teach you’. 85

in Free Will
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Carolyn Steedman

called the vast condescension of posterity.49 Other kinds of historian have been plain-speaking about our desires: social historians’ desire that our historical subjects be the way we want them to be. In 1977, Jacques Rancière addressed a History Workshop held in Oxford on the topic of ‘French social historiography … and the real deep gap between French social history as an intellectual product and the organised working-class movements’. He emphasised social history’s effacement by Annales-school longue durée history in general, and the ‘motionless history’ of Leroy

in Poetry for historians
Steven Ungar

features a circular pan when Scottie kisses the Madeleine Elster he has recreated with help from a reluctant Judy Barton. In line with Samuel Beckett’s insight some seventy years earlier, Jacques Rancière has written of the extent to which Akerman’s treatment of faces and gazes conveys the Proustian lesson (démonstration) of obsessive love.55 Nowhere is this treatment more forceful than in a two-minute segment during which Ariane and Simon are seen in adjoining bath tubs separated by a panel of patterned glass. Simon is in a frontal plane talking to Ariane, whose nudity

in French literature on screen
Leah Modigliani

from others. Jeff Wall and Jacques Ranciére have both written about the significance of the two women pictured inside this panel, the larger of which they have identified as a 1912 photograph of the Marquesa Louisa Casati by Baron de Mayer, and the smaller, an Irish peasant from 1913. According to Wall, these two women constitute the extremes of the decadent bourgeois aristocracy (Casati was a famous and fabled eccentric) and the struggle of labour (the rugged and honest working woman) at the fin de siècle, documented at the very time that the historical avant

in Engendering an avant-garde
Carl Lavery

new type of collective politics based on what Jacques Rancière calls the ‘wrong’, a demand for recognition on the part of those who are denied visibility in and by the dominant culture, and who exist as representatives of the ‘part who have no part’ ( 1999 : 9). 2 Filth and marginality In the mid-to-late 1950s, ‘race’ relations in France underwent a seismic shift, the consequences of which are still felt today in the depressing cités , or housing estates located beyond the Boulevard Périphérique that separates central Paris from the banlieus . Where Paris had

in The politics of Jean Genet’s late theatre