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On Regie, media and spectating
Peter M. Boenisch

machinery that puts these means in the service of the dialectic force that is (artistic) mediation. Their at times minute realignments and refractions of the theatre space and of spectating conventions thus contribute to the prominent debate on ‘spectatorship’. Jacques Rancière rightly challenged, in The Emancipated Spectator, the widely assumed binary of a ‘passively’ consuming spectator and an audience getting ‘actively’ up on their feet. As he aptly demonstrated, many ‘interactive’ performances fail in the crucial task of challenging the underlying dominant ‘partition

in Directing scenes and senses
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Carolyn Steedman

of writing. Michel de Certeau and the poetics of historiography’, The South Atlantic Quarterly, 100:2 (2001), pp. 465–482; Jacques Rancière, The Names of History. On the Poetics of Knowledge (1992), University of Minnesota Press, Minneapolis MN, 1994. See also Frank Kermode’s remarks on history-as-writing in History and Value, Clarendon Press, Oxford, 1988, pp. 108–127. 28 See above, Chapter 3. 29 Illustrated Guide to the National Museum in Naples. Sanctioned by the Ministry of Education, Richter, Naples, 1909. STEEDMAN 9781526125217 PRINT.indd 193 16

in Poetry for historians
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Nizan Shaked

. 33 Rowbotham, Woman’s Consciousness, Man’s World, 120. 34 Eve Meltzer, “Antepartum,” in Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn (Chicago: Chicago University Press, 2013), 9. 35 Louis Althusser, “Ideology and Ideological State Apparatuses,” in Lenin and Philosophy, and Other Essays, trans. Ben Brewster (New York: Monthly Review Press, 1971), 127–186. 36 In various ways, and using variations on the term, theorists like Jacques Rancière, Michel Foucault, and Judith Butler have addressed the ways in which subjects are both

in The synthetic proposition
Sam Haddow

constructs. This is a significant part of the horror of Davis’ suicide: in making her video she transforms herself into a text, and thus the existence of the girl in the film depends entirely upon the spectator. She exists for us because she kills herself for us. Can the spectator avoid this awful responsibility? Or does the fact that her presence is assumed in the making of the video always render her partly culpable for its construction? In asking this question, we are moving into what Jacques Rancière calls the ‘intolerability of the image’, which was discussed in the

in Precarious spectatorship
Douglas Morrey

of practically all others, of the three primary colours red, yellow and blue. Nor do these colours mix with each other, but provide unified fields of colour: a blue wall, a red lampshade, a yellow sweater, the copies of Mao’s Little Red Book that proliferate on the bookshelves. As Jacques Rancière points out, the frankness and incorruptibility of these primary colours ‘s’opposent aux dégradés de nuances et à la

in Jean-Luc Godard
Douglas Morrey

spiritual centre of Robert Bresson’s film of Le Journal d’un curé de campagne (1951) (and that was already used in Nouvelle Vague ): ‘Ô quelle merveille que de pouvoir regarder ce qu’on ne voit pas! Ô miracle de nos yeux aveugles!’ 5 This sequence has provoked what is probably the most sustained and serious criticism of Histoire(s) du cinéma from Jacques Rancière who argues that this particular montage

in Jean-Luc Godard
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Staging the wound
Carl Lavery

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.

in The politics of Jean Genet’s late theatre
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Derek Robbins

7 The 1970s Introduction Jacques Rancière later criticized the work of Bourdieu and Passeron of the 1960s on the grounds that their analyses had reinforced the view that ordinary people live in ‘méconnaissance’ [ignorance] of the real conditions of their existence which can be identified by a ‘Sociologist King’ in a malign tradition going back to Plato’s conception of the function of the ‘Philosopher King’.1 Perhaps himself sensing this deficiency in his earlier work, Bourdieu began in the 1970s to articulate an epistemological position which would protect the

in The Bourdieu paradigm
On social systems and societal constitutions
Darrow Schecter

William Outhwaite (ed.), Brexit: Sociological Responses (London: Anthem Press, 2017), pp. 101–​10, at p. 108. 41 Jacques Rancière has done some very valuable research into the history of libertarian socialism, and has found that there are historical precedents for this kind of re-​ordering. See his La Nuit des prolétaires: Archives du rêve ouvrier (Paris: Fayard, 1981), ­chapters 7 and 11. 42 For example, the organisation responsible for uniting the French Colonies of Africa may have been renamed as the Financial Community of Africa, but the states that comprise it

in Critical theory and sociological theory
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Matt Perry

ADSSD AM 281J AM I B1 Marty, Affaire, p. 10. 41 Mark Michael Smith (ed.), Hearing History: A Reader (Athens: University of Georgia Press, 2004). 42 Sophia Rosenfeld, ‘On being heard: a case for paying attention to the historical ear’, American Historical Review, 116, 2 (2011), pp. 316–34. Jacques Rancière, The Politics of Aesthetics: Distribution of the Sensible (London: Bloomsbury, 2013). Jean-Rémy Julien, ‘Paris: cris, sons, bruits: l’environnement sonore des années pré-révolutionnaires d’après Le Tableau de Paris de Sébastien Mercier’, in Jean-Rémy Julien et

in Mutinous memories