Search results
that argument was Maurice Blanchot in his 1959 Le Livre à venir . 8. Jacques Rancière makes a powerful argument affirming and defining Mallarmé’s engagement with the world in La Politique de la sirène (1996), which builds on Marchal’s research in La Religion de Mallarmé , as does Anna Sigrídur Arnar, from a different angle, in The Book as Instrument (2011). Arnar also gives a useful overview situating many works of Mallarmé criticism over several decades with respect to this question. 9. All of these texts can be found with extensive critical apparatus
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
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
. Rather, I take presentness to be the equivalent of a physical ‘thereness’ which is resistant to all knowledge. Presentness, in my reading, is disruptive; it sets subjectivity reeling. In order to get to grips with the politics involved in Genet’s attempts to dislocate the audience, I supplement Lefebvre’s ideas with those of the post-Althusserian philosophers Jacques Rancière and Alain Badiou. 19 According to Rancière, becoming a political subject does not mean that we identify with a pre-existing set of ideological roles (say, for instance, signing up as a party
Andrew Gibson says the same thing about Rancière’s notion of aesthetic politics and Badiou’s inaesthetics. See ‘The Unfinished Song: Intermittency and Melancholy in Rancière’, in M. Robson (ed.), Jacques Rancière: Aesthetics, Politics and Philosophy (Edinburgh: Edinburgh University Press, 2005), pp. 61–76; and Beckett and Badiou: The Pathos of Intermittency (Oxford: Oxford University Press, 2006), pp. 162–71.
resurrection men’, p. 71. 98 Ibid ., p. 73. 99 A. Woloch, The One vs. the Many (Princeton, NJ: Princeton University Press, 2003 ), p. 27. 100 Reynolds, The Mysteries of London , I, p. 312. 101 Ibid ., p. 545. 102 Ibid ., pp. 546–7. 103 T. Carlyle, ‘Chartism’, in The Works of Thomas Carlyle in Thirty Volumes (New York: Charles Scribner and Sons, 1904 ), XXIX, p. 157. 104 Jacques Rancière identifies ‘thousand games of social mobility’ as that which complicates the polarising of oppositional practices and tastes among the classes. J. Rancière
, 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
Minnesota Press, 1978 ). 44 This notion of partage has been central to the recent work of both Jean-Luc Nancy and Jacques Rancière. See, for example, Nancy, The Inoperative Community , trans. P. Connor and others (Minneapolis, Minnesota University Press, 1991 ); La
–302. 7 See the discussion of this in terms of the work of Jacques Rancière below, pp. 123–4. 8 Shakespeare, Titus Andronicus , ed. E. M. Waith (Oxford: Oxford University Press, 1984 ). 9 It is hard to avoid the