Böcker av Jacques Ranciere

A collection of essays on art and politics. It shows how the author's ideas can be used to analyse contemporary trends in both art and politics, including the events surrounding 9/11, war in the contemporary consensual age, and the ethical turn of aesthetics and politics.

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.

Gives politics the following meaning: the organization of dissent.

Following the previous volume of essays by Jacques Rancire from the 1970s, Staging the People: The Proletarian and His Double, this second collection focuses on the ways in which radical philosophers understand the people they profess to speak for. The Intellectual and His People engages in an incisive and original way with current political and cultural issues, including the ';discovery' of totalitarianism by the ';new philosophers,' the relationship of Sartre and Foucault to popular struggles, nostalgia for the ebbing world of the factory, the slippage of the artistic avant-garde into defending corporate privilege, and the ambiguous sociological critique of Pierre Bourdieu. As ever, Rancire challenges all patterns of thought in which one-time radicalism has become empty convention.

The theorists of art and film commonly depict the modern audience as aesthetically and politically passive. In response, both artists and thinkers have sought to transform the spectator into an active agent and the spectacle into a communal performance.In this follow-up to the acclaimed The Future of the Image, Ranciere takes a radically different approach to this attempted emancipation. First asking exactly what we mean by political art or the politics of art, he goes on to look at what the tradition of critical art, and the desire to insert art into life, has achieved. Has the militant critique of the consumption of images and commodities become, ironically, a sad affirmation of its omnipotence?

First published in French as Les bords de la fiction (Paris: aEditions du Seuil, 2017).

"In this book, Jacques Ranciaere 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"--

* Jacques Ranciere is a leading French philosopher, particularly well known for his work in aesthetics and political philosophy * In this concise and brilliant text, Ranciere presents a thoughtful analysis of the way in which artworks and films represent historical events and those who were involved.

Translated from: La maethode de l'aegalitae.

* Jacques Ranciere is one of the leading philosophers in France today, well-known for his work on aesthetics, politics and the philosophy of literature. * This book is a thoughtful and stimulating account of the relationship between literature and politics, in the style of great thinkers like Sartre.

A work that is not concerned with the use of Freudian concepts for the interpretation of literary and artistic works. Rather, it is concerned with why this interpretation plays such an important role in demonstrating the contemporary relevance of psychoanalytic concepts.

This book analyzes a range of texts that seek, in different ways, to represent "the people." Ranciere approaches these texts as travel narratives or ethnographies whose authors have traveled not to distant or exotic lands but across class lines.

Develops a fresh concept of the image in contemporary art, showing how art and politics have always been intrinsically intertwined. Covering a range of art movements, and thinkers such as Foucault, Deleuze, Adorno, Barthes, Lyotard and Greenberg, the author argues that contemporary theorists of the image are suffering from religious tendencies.

Ranciere's account of Western philosophical thought from Plato to Bourdieu argues that philosophers depend on an ideal "poor" for their own analyses but preclude them from abstract thought

This new collection of challenging literary studies plays with a foundational definition of Western culture: the word become flesh. But the word become flesh is not, or is no longer, a theological already-given. It is a millennial goal or telos toward which each text strives.

Axel Honneth is best known for his critique of modern society centered on a concept of recognition. Jacques Ranciere has advanced an influential theory of modern politics based on disagreement. Underpinning their thought is a concern for the logics of exclusion and domination that structure contemporary societies. In a rare dialogue, these two philosophers explore the affinities and tensions between their perspectives to provoke new ideas for social and political change.Honneth sees modern society as a field in which the logic of recognition provides individuals with increasing possibilities for freedom and is a constant catalyst for transformation. Ranciere sees the social as a policing order and the political as a force that must radically assert equality. Honneth claims Ranciere's conception of the political lies outside of actual historical societies and involves a problematic desire for egalitarianism. Ranciere argues that Honneth's theory of recognition relies on an overly substantial conception of identity and subjectivity. While impassioned, their exchange seeks to advance critical theory's political project by reconciling the rift between German and French post-Marxist traditions and proposing new frameworks for justice.

Cinema, like language, can be said to exist as a system of differences. In his latest book, acclaimed philosopher Jacques Ranciere 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 Ranciere, film is the perpetually disappointed dream of a language of images.

Composed in a series of scenes, AisthesisRanciere's definitive statement on the aesthetictakes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarme to the Folies-Bergere, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Ranciere uses these sites and eventssome famous, others forgottento ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the specificities of the different arts, as well as the borders that separated them from ordinary experience. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.

In this vehement defence of democracy, Jacques Ranciere explodes the complacency of Western politicians who pride themselves as the defenders of political freedom. As America and its allies use their military might in the misguided attempt to export a desiccated version democracy, and reactionary strands in mainstream political opinion abandon civil liberties, Ranciere argues that true democracygovernment by allis held in profound contempt by the new ruling class. In a compelling and timely analysis, Hatred of Democracy rethinks the subversive power of the democratic ideal.

Proletarian Nights, previously published in English as Nights of Labor and one of Ranciere's most important works, dramatically reinterprets the Revolution of 1830, contending that workers were not rebelling against specific hardships and conditions but against the unyielding predetermination of their lives. Through a study of worker-run newspapers, letters, journals, and worker-poetry, Ranciere reveals the contradictory and conflicting stories that challenge the coherence of these statements celebrating labor.This updated edition includes a new preface by the author, revisiting the work twenty years since its first publication in France.

These essays from the 1970s mark the inception of the distinctive project that Jacques Rancire has pursued across forty years, with four interwoven themes: the study of working-class identity, of its philosophical interpretation, of ';heretical' knowledge and of the relationship between work and leisure. For the short-lived journal Les Rvoltes Logiques, Rancire wrote on subjects ranging across a hundred years, from the California Gold Rush to trade-union collaboration with fascism, from early feminism to the ';dictatorship of the proletariat,' from the respectability of the Paris Exposition to the disrespectable carousing outside the Paris gates. Rancire characteristically combines telling historical detail with deep insight into the development of the popular mind. In a new preface, he explains why such ';rude words' as ';people,' ';factory,' ';proletarians' and ';revolution' still need to be spoken.

What Is a People? seeks to reclaim "e;people"e; as an effective political concept by revisiting its uses and abuses over time. Alain Badiou surveys the idea of a people as a productive force of solidarity and emancipation and as a negative tool of categorization and suppression. Pierre Bourdieu follows with a sociolinguistic analysis of "e;popular"e; and its transformation of democracy, beliefs, songs, and even soups into phenomena with outsized importance. Judith Butler calls out those who use freedom of assembly to create an exclusionary "e;we,"e; while Georges Didi-Huberman addresses the problem of summing up a people with totalizing narratives. Sadri Khiari applies an activist's perspective to the racial hierarchies inherent in ethnic and national categories, and Jacques Ranciere comments on the futility of isolating theories of populism when, as these thinkers have shown, the idea of a "e;people"e; is too diffuse to support them. By engaging this topic linguistically, ethnically, culturally, and ontologically, the voices in this volume help separate "e;people"e; from its fraught associations to pursue more vital formulations.Together with Democracy in What State?, in which Giorgio Agamben, Alain Badiou, Daniel Bensaid, Wendy Brown, Jean-Luc Nancy, Jacques Ranciere, Kristin Ross, and Slavoj iek discuss the nature and purpose of democracy today, What Is a People? expands an essential exploration of political action and being in our time.