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Soviet things that talk
Yulia Karpova

historical background of socialist objects sketched briefly in this introduction. It introduces the concept of the aesthetic turn to describe the gradual KARPOVA 9781526139870 PRINT.indd 15 20/01/2020 11:10 16 Comradely objects ­ roadening of the meaning of aesthetics after Stalin’s death in 1953, which b culminated in the early 1960s. The aesthetic turn resulted in the formation in the USSR of what the philosopher Jacques Rancière calls an ‘aesthetic regime of arts’ – a mode of identifying different arts as equal and valu­ able in their specificity. I will analyse

in Comradely objects
The boundaries of the ‘world of crime’ in São Paulo
Gabriel Feltran

distribution, according to Jacques Rancière (1995, p. 7): ‘distribution means two things: participation in a common set and, conversely, separation, distribution in instalments’. In order to study the expansion of the boundaries of ‘crime’ in São Paulo, it is therefore necessary to understand the broader social dynamics on which they are based, beyond their internal dimensions. In the first part of the chapter I argue that the emergence of a ‘world of crime’ in the peripheries of São Paulo must be understood in the context of at least three decades of crisis and dislocation

in The entangled city
Abstract only
Gabriel Feltran

political terms. Concepts such as sovereignty, state authority, security and hybrid orders or governscapes are mobilised to account for empirical challenges to modern states,5 but also for our interpretations in contexts of extreme violence (Mbembe, 2003; Das, 2006a; Stepputat, 2013, 2015, 2018; Willis, 2015; Arias and Barnes, 2017; Lessing, 2017; Darke, 2018). Jacques Rancière, in his classic work La mésentente (1995), pursues a related conceptual argument. For the philosopher, the key conflict that helps us to understand contemporary politics does not occur when one

in The entangled city
Abstract only
Sir Thomas More
Mark Robson

–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

in The sense of early modern writing
Abstract only
Saul Newman

identification, one that is crucial to the theorisation of radical politics. There are a number of contemporary continental thinkers who employ a [ 88 ] The subject similar notion of subjectification in their radical political analyses. Furthermore, as I shall show, their understanding of political subjectification points to a universal political dimension that goes beyond a simple politics of difference, while at the same time avoiding essentialist claims about the human subject. For instance, according to Jacques Rancière, politics emerges from a fundamental dispute or

in Unstable universalities
The global exposition and the museum
Jane Chin Davidson

and Politics: An Introduction to Jacques Rancière,’ Theory, Culture & Society, vol. 31, no. 7/8 (2014), 6. 3 Gunhild Borggreen and Rune Gade, eds, Performing Archives/Archives of Performance (Copenhagen: Museum Tusculanum Press, 2013), 25–6. 4 Manthia Diawara, ‘Édouard Glissant’s Worldmentality: An Introduction to One World in Relation,’ South as a State of Mind, No. 6 [Documenta 14 #1, 2016], (accessed 19 January 2018). 5 Wu Hung, ‘Introduction: A Decade of Chinese Experimental Art (1990–2000),’ in Wu Hung, Huang Zhuan and Feng

in Staging art and Chineseness
Rhodri Hayward

(Minneapolis: University of Minnesota Press, 1989), pp. 101–18, esp. p. 112; Jacques Ranciere, The Names of History: On the Poetics of Knowledge, trans. Hassan Melehy (Minneapolis: University of Minnesota Press, 1994). 13 Bonnie Smith, The Gender of History: Men, Women and Historical Practice (Cambridge MA: Harvard University Press, 1998), pp. 103–5, 130–55. 14 David Armstrong, ‘Silence and truth in death and dying’, Social Science and Medicine 74 (1987), 655. 15 There is now a burgeoning literature on historical conceptions of death, see: Philippe Ariès, The Hour of our

in Resisting history
From Hans Haacke’s Systems Theory to Andrea Fraser’s feminist economies
Nizan Shaked

aimed to reveal such connections, not as a reference to a “truth”—a reality the viewer could access through the reference to politics in his work—but as a way to show how dynamics that take place on the level of representation reflect the ties of wealth and government that are material. Vered Maimon criticised Haacke’s positivism, arguing that later works by Pierre Huyghe and Walid Raad have dealt more successfully with the contemporary conditions of virtuality. Referencing Jacques Rancière, Maimon argued that revealing the discrepancies between what the institution

in The synthetic proposition
Michael Leonard

Rivette’s desire to restore to visibility what has been obscured by hegemonic historical accounts: ‘Historically May 68 has been a great defeat. What makes my film optimistic, though, is the sheer fact of its existence. It is positive to know that you cannot censor this era at last. Art always finally tries to re-establish different truths of events; there’s never just one truth to an event, after all, but always many’ (Grissemann 2006 ). Garrel’s comment lays claim to the political power of art and to the labour of fiction, as defined by Jacques Rancière, where

in Philippe Garrel
Anna Dezeuze

Davila, Marcher, créer. 135 inoculons de la longue durée et de l’extrême lenteur au centre même de la vitesse. Bourriaud, Radicant, p. 60. 136 A la précarisation de notre expérience, opposons une pensée résolument précaire, qui s’insère et s’inocule dans les réseaux même [sic] qui nous étouffent. Ibid. 137 flux, mouvements de capitaux, répétition et distribution de l’information. Ibid., p. 66. 138 Ibid., p. 157. 139 Nicolas Bourriaud, ‘Precarious Constructions: Answer to Jacques Rancière on Art and Politics’, Open, 17 (2009), special issue on ‘A Precarious

in Almost nothing