Dissenting Words is a lively and engaging collection of interviews that span the length of Jacques Rancière's trajectory, from the critique of Althusserian Marxism and the work on proletarian thinking in the nineteenth century to the more recent reflections on politics and aesthetics. Across these pages, Rancière discusses the figures, concepts and arguments he has introduced to the theoretical landscape over the past forty years, the themes and concerns that have animated his thinking, the positions he has defended and (...) the wide range of objects and discourses that have attracted his attention and through which his thought has unfolded: history, pedagogy, literature, art, cinema. But more than reflecting on the continuities, turns, ruptures and deviations in his thought, Rancière recasts his work in a different discursive register. And the pleasure we experience in reading these interviews – with their asides, displacements and reconstructions – stems from the way Rancière transforms the voice of the thinker commenting on his texts and elucidating his concepts into another, and equally rich, manifestation of his thought. (shrink)

What has philosophy to do with the poor? If, as has often been supposed, the poor have no time for philosophy, then why have philosophers always made time for them? Why is the history of philosophy—from Plato to Karl Marx to Jean-Paul Sartre to Pierre Bourdieu—the history of so many figures of the poor: plebes, men of iron, the demos, artisans, common people, proletarians, the masses? Why have philosophers made the shoemaker, in particular, a remarkably ubiquitous presence in this history? (...) Does philosophy itself depend on this thinking about the poor? If so, can it ever refrain from thinking for them? Jacques Rancière’s The Philosopher and His Poor meditates on these questions in close readings of major texts of Western thought in which the poor have played a leading role—sometimes as the objects of philosophical analysis, sometimes as illustrations of philosophical argument. Published in France in 1983 and made available here for the first time in English, this consummate study assesses the consequences for Marx, Sartre, and Bourdieu of Plato’s admonition that workers should do “nothing else” than their own work. It offers innovative readings of these thinkers’ struggles to elaborate a philosophy of the poor. Presenting a left critique of Bourdieu, the terms of which are largely unknown to an English-language readership, The Philosopher and His Poor remains remarkably timely twenty years after its initial publication. (shrink)

"Recounts the story of Joseph Jacotot" -- vii.

A leading philosopher presents a radical manifesto for the future of art andfilm.

Only yesterday aesthetics stood accused of concealing cultural games of social distinction. Now it is considered a parasitic discourse from which artistic practices must be freed. But aesthetics is not a discourse. It is an historical regime of the identification of art. This regime is paradoxical, because it founds the autonomy of art only at the price of suppressing the boundaries separating its practices and its objects from those of everyday life and of making free aesthetic play into the promise (...) of a new revolution. Aesthetics is not a politics by accident but in essence. But this politics operates in the unresolved tension between two opposed forms of politics: the first consists in transforming art into forms of collective life, the second in preserving from all forms of militant or commercial compromise the autonomy that makes it a promise of emancipation. This constitutive tension sheds light on the paradoxes and transformations of critical art. It also makes it possible to understand why today's calls to free art from aesthetics are misguided and lead to a smothering of both aesthetics and politics in ethics. (shrink)

In this book, Jacques Rancière explores how political relations develop fundamentally from sensual experience, as individual feelings become the concern of the whole community. Since politics emerges then from the 'division of the sensual', aesthetic experience becomes a radical means for social and political upheaval.

Moments Politiques collects the short essays and interviews of Jacques Rancière from a span of thirty years, 1977 to 2007. Sparked by specific events in European and world news as they were happening, these pieces seek to call into question the inevitability we see in the world and undermine the legitimacy of what we think is possible. By examining the issues in which political moments arise, such as 9/11, immigration laws, and even the philosophy of Foucault, Rancière opens us (...) up to the possibility of a different world, to reimagining, and re-charting, the map of what is possible. (shrink)

Cinema, like language, can be said to exist as a system of differences. In his latest book, acclaimed philosopher Jacques Rancière looks at cinematic art in comparison to its corollary forms in literature and theatre. From literature, he argues, cinema takes its narrative conventions, while at the same time effacing literature’s images and philosophy; and film rejects theatre, while also fulfilling theatre’s dream. Built on these contradictions, the cinema is the real, material space in which one is moved by (...) the spectacle of shadows. Thus, for Rancière, film is the perpetually disappointed dream of a language of images. (shrink)

Time is more than a line drawn from the past to the future. It is a form of life, marked by the ancient hierarchy between those who have time and those who do not. This hierarchy still governs a present which clings to the fable of historical necessity and its experts. In opposition to this, Jacques Rancière shows how the break with the hierarchical conception of time implies a completely different idea of the modern. He sees the fulfilment of (...) this in two arts of movement, cinema and dance, which at the beginning of the twentieth century abolished the opposition between free and mechanical people, and exposed the rift between the revolution of artists and that of strategists. (shrink)

Divided beauty (Dresden, 1764) -- Little gods of the street (Munich-Berlin, 1828) -- Plebeian heaven (Paris, 1830) -- The poet of the new world (Boston, 1841-New York, 1855) -- The gymnasts of the impossible (Paris, 1879) -- The dance of light (Paris, Folies Bergère, 1893) -- The immobile theatre (Paris 1894-95) -- Decorative art as social art: temple, house, factory (Paris-London-Berlin) -- Master of surfaces (Paris, 1902) -- The temple staircase (Moscow-Dresden, 1912) -- The machine and its shadow (Hollywood, 1916) (...) -- The majesty of the moment (New York, 1921) -- Seeing things through things (Moscow, 1926) -- The cruel radiance of what is (Hale County, 1936-New York, 1941). (shrink)

The development of Rancière’s philosophical work, from his formative years through the political and methodological break with Louis Althusser and the lessons of May 68, is documented here, as are the confrontations with other thinkers, the controversies and occasional misunderstandings. So too are the unity of his work and the distinctive style of his thinking, despite the frequent disconnect between politics and aesthetics and the subterranean movement between categories and works. Lastly one sees his view of our age, and of (...) our age’s many different and competing realities. What we gain in the end is a rich and multi-layered portrait of a life and a body of thought dedicated to the exercise of philosophy and to the emergence of possible new worlds. (shrink)

It is frequently said that we are living through the end of politics, the end of social upheavals, the end of utopian folly. Consensual realism is the order of the day. But political realists, remarks Jacques Ranciere, are always several steps behind reality, and the only thing which may come to an end with their dominance is democracy. 'We could', he suggests, 'merely smile at the duplicity of the conclusion/suppression of politics which is simultaneously a suppression/conclusion of philosophy.' This (...) is precisely the task which Ranciere undertakes in these subtle and perceptive essays. He argues persuasively that since Plato and Aristotle politics has always constructed itself as the art of ending politics, that realism is itself utopian, and that what has succeeded the polemical forms of class struggle is not the wisdom of a new millennium but the return of old fears, criminality and chaos. Whether he is discussing the confrontation between Mitterrand and Chirac, French working-class discourse after the 1830 revolution, or the ideology of recent student mobilizations, his aim is to restore philosophy to politics and give politics back its original and necessary meaning: the organization of dissent. (shrink)

The people's theatre : a long drawn-out affair -- The cultural historic compromise -- The philosopher's tale : intellectuals and the trajectory of Gauchisme -- Joan of Arc in the Gulag -- The inconceivable revolution -- Factory nostalgia (notes on an article and various books) -- The ethics of sociology.

A lesson in orthodoxy : M. L. teaches John Lewis that it is the masses which make history -- A lesson in politics : philosophers do not become kings -- A lesson in self-criticism : class struggle rages in theory -- A lesson in history : the damages of humanism -- A discourse in its place -- Appendix. For the record : on the theory of ideology.

The time of the landscape is not the time when people started describing landscapes in poems or representing gardens in works of art: it is the time when the landscape imposed itself as a specific object of thought. This object of thought was constituted through quarrels about how gardens were to be arranged, through accounts of travels to solitary lakes and remote mountains, or through evocations of mythological or rustic paintings. Jacques Rancière retraces these narratives and quarrels, showing how (...) they gave rise to a form of sensibility capable of modifying the existing configuration of modes of perception and objects of thought. The time of the landscape is the time when both the harmony of arranged gardens and the disharmony of wild nature contributed to a revolution in the criteria of the beautiful and the meaning of the word ‘art’. It coincided with the birth of aesthetics, understood as a regime for the perception of and thinking about art, and also with the French Revolution, understood as a revolution in the very idea of what binds a human community. The time of the landscape was the time when the conjunction of these two upheavals brought into focus, however hazily, a common horizon: that of a revolution that no longer concerns only state laws or artistic norms, but the very forms of sensible experience. This brilliant and wide-ranging book will be of interest to students and scholars in philosophy, literature, the visual arts and the humanities generally, and it will appeal to anyone interested in critical theory and philosophy. (shrink)

« Je suis quelqu’un qui n’aime pas parler et qui aime les mots, qui pense que la puissance de l’événement est malgré tout liée à la puissance des mots capables de le qualifier ». Littéraire et cinéphile, Jacques Rancière élabore depuis les années 1960/1970 une philosophie de l’émancipation, celle de la participation de tous à l’exercice de la pensée, et donc au gouvernement de la cité. Contre ces intellectuels qui prétendent détenir la vérité, il se bat pour l’abandon de (...) la traditionnelle distinction entre savants et ignorants. Dans ce livre d’entretien, Dork Zabunyan et Laurent Jeanpierre croisent avec lui le parcours biographique, l’oeuvre philosophique et le regard du philosophe sur le monde. Nous relisons avec eux les années de formation et le parcours intellectuel, l’ENS, les maîtres, le séminaire d’Althusser, la thèse sur la nuit des prolétaires, Foucault, le cinéma, mais aussi des moments et des questions de notre histoire commune comme la guerre d’Algérie, le Parti communiste, 68, ou encore les révoltes arabes, l’écologie politique, le vote des étrangers... Une vie qui se veut tout sauf exemplaire, dédiée à l’exercice de la philosophie c’est-à-dire à l’émergence de nouveaux mondes possibles. (shrink)

Mi mtavor arkats -- Angeti dasě -- Havasarneri banakanutʻyuně -- Arhamarhankʻi hasarakutʻyuně -- Azatagroghě ev nra kapikě -- Anget usutsʻchʻi ardiakanutʻyuně.

A leading radical thinker reflects on the state of contemporary politics.

Distributions of the Sensible is a collection original essays by leading scholars on the relation of Jacques Rancière's thought to political theory, critical theory, philosophical aesthetics, and film.

Winner - AERA 2011 Outstanding Book Award Jacques Rancière: Education, Truth, Emancipation demonstrates the importance of Rancière's work for educational theory, and in turn, it shows just how central Rancière's educational thought is to his work in political theory and aesthetics. Charles Bingham and Gert Biesta illustrate brilliantly how philosophy can benefit from Rancière's particular way of thinking about education, and go on to offer their own provocative account of the relationship between education, truth, and emancipation. Including a new (...) essay by Rancière himself, this book is a must-read for scholars of social theory and all who profess to educate. (shrink)

Jacques Rancière hat die Frage der Gleichheit in den Mittelpunkt der Kunstbetrachtung gestellt und damit international gerade an Kunsthochschulen Furore gemacht. Volkmar Mühleis widmet sich eingehend Rancières ästhetischem Denken und befragt es erstmals kritisch im Rahmen der Kunstpraxis. Dabei zeigt sich zum einen die besondere Qualität von Rancières Ansatz für den Kunstdiskurs -- der stets die Freiheit, aber kaum ihre Bedingung, die Gleichheit, verhandelte --, zum andern aber auch seine Schwächen. So operiert Rancière mit einem medialen Begriff, der kaum (...) den Anforderungen technologischer Kritik heutzutage standhält. Wenn er ästhetische Erfahrung in Anspruch nimmt, ohne zu klären, was Erfahrung hier im Einzelnen heisst, so verbleibt er seinem emanzipatorischen Gedankengut nach in einer rationalistischen Tradition. Mit Blick auf die Schriften von Bernard Stiegler, Bernhard Waldenfels und Käte Meyer-Drawe zeigt Volkmar Mühleis, wie diese besondere Qualität von Rancières ästhetischem Denken auf ganz andere Art die gegenwärtige Debatte bereichern kann. (shrink)

« Poétique du savoir): étude de l'ensemble des procédures littéraires par lesquelles un discours se soustrait à la littérature, se donne un statut de science et le signifie». C'est de cette façon, en apparence modeste, que Jacques Rancière débute Les noms de l'histoire. Mais comment comprendre cette affirmation a priori paradoxale selon laquelle une telle poétique utiliserait des «procédures littéraires» pour mieux se soustraire à la littérature)? Que penser, en outre, de cette idée selon laquelle l'historiographie telle qu'elle s'est (...) pratiquée jusqu'ici aurait eu tendance à occulter les conditions mêmes de toute historicité)? L'essai s'avère rapidement être une critique lucide et radicale des fondements mêmes du savoir historique, prenant appui sur certaines hypothèses majeures que le philosophe n'aura de cesse de développer durant tout son parcours): le nouage entre politique et esthétique, l'alliance entre littérature et démocratie caractérisée par un désordre salutaire de la parole. Pourtant, malgré le caractère familier de ces termes pour le lecteur de Jacques Rancière, l'essai conserve toute sa densité, et même une certaine part d'équivocité): c'est parfois entre les lignes qu'il convient de traquer la position de l'auteur, et surtout de cerner les contours de cette «histoire hérétique» vers laquelle il nous entraîne et qui conserve toute son actualité. Fruit d'un travail collectif consacré à cet essai, le présent ouvrage a pour ambition de rassembler des contributions dissensuelles): à l'image de la philosophie qui les inspire, celles-ci, en confrontant Rancière à ceux avec qui il entre en dialogue, visent à leur tour à éclairer la force, et parfois les zones d'ombre, de la poétique de cette pensée qui se veut elle-même «hérétique». (shrink)

Jerzy Franczak comprehensively presents Jacques Rancière's thought by emphasizing the relations between politics and literature. The detailed analysis considers the context of modern aesthetics and political philosophy, which is why the book introduces further protagonists, such as Louis Althusser, Michel Foucault, Pierre Bourdieu, or Jean-François Lyotard. Franczak first reconstructs Rancière's original philosophy of literature so as to then immediately apply it in readings of select world literature masterpieces by Gustav Flaubert, Max Jacob, Bertold Brecht, Vladimir Nabokov, and Philip Roth.

Essai sur l'évolution de la pensée du philosophe, et de son approche du concept d'égalité, égalité intellectuelle, égalité politique et égalité sensible. Electre 2018.

This publication contains reflections on Jacques Ranciáere's essay 'The Ignorant Master' by the artist Marc De Blieck and the art philosopher Volkmar Mèuhleis. The artist's practice is assuming an expanding variety of forms, the artist can leap from one method to another, and the media available to him, old and new, appear inexhaustible. Can and should art education prepare the artist for this? One possibility is to bring a never-ending abundance of experts into the art schools. Ranciáere offers us (...) a provocative alternative in the form of Jacotot, the ignorant master. In part, the book indirectly endorses present-day art education, but at the same time a number of the controversial arguments it contains challenge one to self-reflection. (shrink)

De Platon à Pierre Bourdieu en passant par Marcel Mauss, Joseph Jacotot, Jules Michelet et Karl Marx, l'écriture du présent ouvrage a été motivée par la volonté de faire retour sur les termes exacts de la critique développée par Jacques Rancière contre la sociologie de Pierre Bourdieu et de remettre sur le métier la vieille question de l'écart entre le philosophe et le politique.

How democratic progressive politics can happen and how it is happening in very different political arenas.

Philosophe et penseur du politique, intellectuel marxiste et militant communiste, enseignant, directeur de collection... : à travers le rayonnement de son oeuvre et de sa personne, Louis Althusser a renouvelé la théorie politique et la philosophie de l'histoire, de Machiavel à Marx. Parmi ses contemporains, Michel Foucault exhorte : " Ouvrez les livres d'Althusser! ", Jacques Derrida évoque " la force rayonnante et provocante de sa pensée ", Gilles Deleuze salue l'" Althusser's Band ", et pour Roland Barthes, " (...) le seul modèle acceptable de la science est celui mis au jour par les études d'Althusser sur Marx ". Aliocha Wald Lasowski converse avec vingt écrivains et philosophes qui ont lu, rencontré, parfois travaillé avec Althusser, quand ils n'ont pas fait partie de ses proches. Où l'on mesure à quel point la pensée d'Althusser demeure d'une actualité brûlante. (shrink)