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Out-marching exclusion and hatred
Jimia Boutouba

. (Jacques Rancière) In November 2013 Moroccan-Belgian filmmaker Nabil Ben Yadir released his second feature film, La Marche, to commemorate the thirtieth anniversary Out-marching exclusion and hatred  117 of the first national anti-racist movement in France. The six-week march was a historical touchstone event that mobilized over 100,000 demonstrators. It was described as France’s equivalent of America’s civil rights protests, a 500-mile march from Marseille to Paris, intended to awaken France to State racism, violence, and rampant discriminatory practices in its midst

in Reimagining North African Immigration
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
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Véronique Machelidon and Patrick Saveau

transforms the story of the long journey through France’s hinterland into a metaphor of ‘solidarity and connectedness across gender, class, race and sex divides’ and a paradigm for political intervention (p. 118). Undermining the stereotypical association banlieue–immigration–lawlessness and the French State’s systemic discrimination against immigrants from former colonies based on national amnesia, La Marche is a ‘heterogeneous text that weaves a new relationship between present and past’ and transforms France’s national historiography (p. 123). Using Jacques Rancière’s

in Reimagining North African Immigration
Introduction
Carl Lavery

. 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

in The politics of Jean Genet’s late theatre
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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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Mark Robson

, 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

in The sense of early modern writing
Mark Robson

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

in The sense of early modern writing
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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