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Tom Scriven

development and the manner in which it left a complicated legacy.  104 104 Popular virtue Historians have generally regarded moral improvement culture in this period in terms of intellectual and literary aspirations.2 Case studies of the leaders of working-​class political movements similarly emphasise a distance between themselves and their constituencies engendered by a desire to escape and a sense of intellectual or cultural superiority. Jacques Rancieré, in his study of French artisans during the 1830s, argued that worker-​intellectuals ‘were seeking intellectual

in Popular virtue
Karen Fricker

3 Lepage’s cinematic dramaturgy This chapter and the one that follows explore the ways in which Lepage uses cinematic techniques in his original theatre work, and the effects of these techniques. Many have noted his productions’ cinematic qualities, and the scholars Ludovic Fouquet and Piotr Woycicki have explored his engagement with film at some length. I build on these studies and extend them further by drawing on film and media theory, on affect theory, and on the work of Jacques Rancière to focus on questions of spectatorship. As I argue, Lepage borrows

in Robert Lepage’s original stage productions
Epstein’s philosophy of the cinema
Christophe Wall-Romana

memories, everything is projected together, side by side, upon the same square of screen’ (1921a: 144–5). Wall-Romana_Epstein.indd 180 11/02/2013 17:10 epstein’s philosophy of the cinema  181 Guattari call Spinoza ‘the infinite becoming-philosopher’ (ibid.: 60). But it might be indeed Epstein’s interest in both Spinoza and cinema that proved the determining factor for Deleuze. The case is much more straightforward in the philosophy of politics and aesthetics of another philosopher who arrived on the scene in the 1980s: Jacques Rancière. He addresses Epstein head

in Jean Epstein
On essence and deconstruction
Gabriel Feltran

interpositioning of the most diverse of contents – sexuality and madness, for example – that Jacques Rancière identifies in Michel Foucault’s ‘dispositif’ [apparatus] (1976), is in close dialogue with the formal sociology as suggested by Georg Simmel (2010a [1918], p1): Man’s position in the world is defined by the fact he constantly finds himself between two boundaries in every dimension of his being and behaviour. This condition appears as the formal structure of our existence, filled as it always is with different contents in life’s diverse provinces, activities and destinies

in The entangled city
Identity, difference, representation
Nizan Shaked

and redefined by Michel Foucault throughout his career, subjectivation was addressed by Hall, as well as Butler and Jacques Rancière, who articulated the individual’s subjection to discursive formations.64 Whether standing in for the voice of the researcher/artist or the artist’s interface with the world as a representative figure, the first person “I” was presented as a factor within a system.65 In 1994 Renée Green, whose 1992 installation Import/Export Funk Office was included in the Biennial, organised a symposium titled Negotiations in the Contact Zone that

in The synthetic proposition
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
Politics and aesthetics
Carl Lavery

Maoist students, the Situationist International or Socialisme ou Barbarie. Rather, as I explain below, Genet’s politics remained consistent with the sophisticated and open-ended view of revolution that he proposed in his late theatre. In both his theatre and militancy, Genet always insists on the necessity for social change, without, for all that, being willing to invest in what Jacques Rancière would call metapolitical solutions. 9 For Genet, the social is an open wound that resists healing, and both aesthetics and revolutionary politics are instances of permanent

in The politics of Jean Genet’s late theatre
Philip Proudfoot

, and they rejected many established examples of more “formally-recognised” Syrian political artwork, where they felt it failed to “fight the regime.” 15 To help make sense of these distinctions, I will borrow and combine some insights from the philosopher Jacques Rancière and the anthropologist Alfred Gell. Drawing their observations on art and agency together, I conclude that the political

in Rebel populism
Abstract only
Carolyn Steedman

Discourse from Braudel to Chartier, Johns Hopkins University Press, Maryland MD, 1992; Jacques Rancière, The Names of History. On the Poetics of Knowledge, University of Minnesota Press, Minneapolis MN, 1994; Philippe Carrard, ‘History as a kind of writing. Michael de Certeau and the poetics of historiography’, South Atlantic Quarterly, 100:2 (2001), pp. 465–483. For history as a genre of writing, see Devoney Looser, British Women Writers and the Writing of History, 1670–1820, Johns Hopkins University Press, Baltimore MD, 2000; Anders Ingram, Writing the Ottomans. Turkish

in Poetry for historians
Aislinn O'Donnell

coercively uniform set of ideologically driven values ( Rivers, 2018 ) and an intolerant, even illiberal, liberalism. Indeed, the nature of democracy is such that it requires the endless vital agonism of the political sphere to renew it and keep it alive. Coming to understand these values and priorities in a multiplicity of ways shapes the democratic experience, exemplifying the pluralism of the human condition and giving space for the ongoing contestation of what Jacques Rancière (2004) calls ‘the part that has no part’ that struggles to visibility and audibility. In

in Encountering extremism