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Shakespeare’s brute part
Richard Wilson

speculate what kind of pedagogue he would have been. 84 If William’s queer Latin lesson is anything to go by, the dramatist’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

in Free Will
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Really existing democracy
Bryce Lease

, and I  would argue temporally bound, counterpublics to hegemonic discourses is therefore one of the primary political tasks of the theatre.6 Michael Warner has defined counterpublics as a public ‘structured by alternative discourses or protocols, making different assumptions about what can be said or what goes without saying,’ whose ‘exchanges remain distinct from authority and can have a critical relation to power’ (2002: 56). Borowski and Sugiera are invested in the notion of the ‘sensible’ elaborated in Jacques Rancière’s The Politics of Aesthetics (2004

in After ’89
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
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
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
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Shakespeare’s voyage to Greece
Richard Wilson

In place of the absolutist poetics and controlling ego of the self-consecrated Elizabethan penman promulgated by Sidney or Jonson, the distracted absent-mindedness of this ‘poor player’ augurs something far more modern: the potential that Jacques Rancière finds in pensiveness to deconstruct the literary text ‘in favour of an indeterminate expressive logic’; or which

in Free Will
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
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
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
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