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now discusses the chronic nature of my particular fragmented and unfinished path by Rancière's work, which I will organise on the basis of some of the images which, in my view, play an important role in his argument. I hope that this image album and the skewed speech from them can be useful for the discussion of the sense or political use of the images and, more generally, for the discussion of aesthetic/political relations. Clella Lacasa, M. (2011). The image policy in Jacques Rancière. RES Publica. 26: 91-109. http://hdl.handle.net/10251/51312 ; 91 109 26 ; now discusses the chronic nature of my particular fragmented and unfinished path by Rancière's work, which I will organise on the basis of some of the images which, in my view, play an important role in his argument. I hope that this image album and the skewed speech from them can be useful for the discussion of the sense or political use of the images and, more generally, for the discussion of aesthetic/political relations. Clella Lacasa, M. (2011). The image policy in Jacques Rancière. RES Publica. 26: 91-109. http://hdl.handle.net/10251/51312 ; Senia ; now discusses the chronic nature of my particular fragmented and unfinished path by Rancière's work, which I will organise on the basis of some of the images which, in my view, play an important role in his argument. I hope that this image album and the skewed speech from them can be useful for the discussion of the sense or political use of the images and, more generally, for the discussion of aesthetic/political relations. Clella Lacasa, M. (2011). The image policy in Jacques Rancière. RES Publica. 26: 91-109. http://hdl.handle.net/10251/51312 ; Someto hoy a discusión la crónica de mi particular recorrido fragmentario e inacabado por la obra de Rancière, que organizaré a partir algunas de las imágenes que, en mi opinión, juegan un papel importante en su argumenta ción. Espero que este álbum de imágenes y el discurso tramado a partir de ellas puedan ser de alguna utilidad para el debate acerca del sentido ...

The French philosopher Jacques Rancière has influenced disciplines from history and philosophy to political theory, literature, art history, and film studies. His research into nineteenth-century workers' archives, reflections on political equality, critique of the traditional division between intellectual and manual labor, and analysis of the place of literature, film, and art in modern society have all constituted major contributions to contemporary thought. In this collection, leading scholars in the fields of philosophy, literary theory, and cultural criticism engage Rancière's work, illuminating its originality, breadth, and rigor, as well as its place in current debates. They also explore the relationships between Rancière and the various authors and artists he has analyzed, ranging from Plato and Aristotle to Flaubert, Rossellini, Auerbach, Bourdieu, and Deleuze. The contributors to this collection do not simply elucidate Rancière's project; they also critically respond to it from their own perspectives. They consider the theorist's engagement with the writing of history, with institutional and narrative constructions of time, and with the ways that individuals and communities can disturb or reconfigure what he has called the "distribution of the sensible." They examine his unique conception of politics as the disruption of the established distribution of bodies and roles in the social order, and they elucidate his novel account of the relationship between aesthetics and politics by exploring his astute analyses of literature and the visual arts. In the collection's final essay, Rancière addresses some of the questions raised by the other contributors and returns to his early work to provide a retrospective account of the fundamental stakes of his project. Contributors. Alain Badiou, Étienne Balibar, Bruno Bosteels, Yves Citton, Tom Conley, Solange Guénoun, Peter Hallward, Todd May, Eric Méchoulan, Giuseppina Mecchia, Jean-Luc Nancy, Andrew Parker, Jacques Rancière, Gabriel Rockhill, Kristin Ross, James Swenson, Rajeshwari Vallury, Philip Watts

A partir de un recorrido por las imágenes que han jugado un papel relevante en la obra de J. Rancière y, en particular, de un grupo de imágenes en que se representa el rostro o el cuerpo de la mujer, se establece una comparación entre las estéticas de J. Rancière y J. F. Lyotard. Recurriendo al estudio sobre la imaginación apocalíptica de M. Jay y a las críticas de Rancière a la concepción apocalíptica del tiempo se contraponen dos imágenes enfrentadas de una misma figura femenina desdoblada. Estas dos visiones del cuerpo de la mujer, dos versiones de la figura-madre, corresponden a dos concepciones distintas de la política de las imágenes. ; Taking as a starting point the images that have played an outstanding role in J. Rancière's work, especially in a group of images where the woman's face or body is portrayed, a comparison is drawn between the aesthetics of J. Rancière and J. F. Lyotard. If we turn to M. Jay's study about apocalyptic imagination and Rancière's critique to the apocalyptic concept of time, we find that two images in conflict of the same split female figure are opposed. These two visions of the woman's body, two versions of the mother figure, correspond to two different concepts of the politics of image.

The following text emerges as a result of accepting the challenge that Jacques Ranciere's issued in one of his texts, where the French philosopher, echoing Jean Borreil's words in L'Artiste Roi, describes the philosophical situation today as the one that takes a stand against Plato. Therefore, the challenge consists of suggesting an interpretation of his political, pedagogical and artistic theory as the places of Ranciere's thought that develop within an implicit debate with and against Plato. ; El siguiente texto surge como consecuencia de aceptar un reto lanzado por el propio Jacques Rancière en unos de sus textos. En dicho texto, el filósofo francés, haciéndose eco de unas palabras de Jean Borreil en L'Artiste Roi, caracteriza la situación filosófica actual como aquella que se desarrolla posicionándose frente a Platón. La tarea que realizaremos en este texto consistirá en abordar la obra de Rancière desde este prisma, preguntándonos en qué medida elige a Platón contra Platón. El reto, por tanto, es proponer una lectura de su teoría política, pedagógica y artística como aquellos lugares del pensamiento rancierano en los que se desarrollan en un debate implícito con y contra Platón.

Tests and exams are more or less unquestioned parts of academic life. In his book on the "ignorant schoolmaster", the French educator Joseph Jacotot, Jacques Rancière argues for a radical critique of the disciplinary effects of these instruments of state education and thereby also rejects on anarchist grounds all progressive attempts of educational reform. In this early text, he already fully formulates the principle of "axiomatic equality", which will play a fundamental role in his later writings. My paper reconstructs Rancière's position, partly by tracing it back to its Foucauldian roots, and argues that although it is too spontaneist and thus voluntarist, Rancière's intervention poses an important challenge for every reflection on critical educational practice today.

"Tests and exams are more or less unquestioned parts of academic life. In his book on the 'ignorant schoolmaster', the French educator Joseph Jacotot, Jacques Rancière argues for a radical critique of the disciplinary effects of these instruments of state education and thereby also rejects on anarchist grounds all progressive attempts of educational reform. In this early text, he already fully formulates the principle of 'axiomatic equality', which will play a fundamental role in his later writings. The author's paper reconstructs Rancière's position, partly by tracing it back to its Foucauldian roots, and argues that although it is too spontaneist and thus voluntarist, Rancière's intervention poses an important challenge for every reflection on critical educational practice today." (author's abstract)

Dieses Büchlein versteht sich als Beitrag zur Filmtheorie. Es geht aus von Jacques Rancières Schriften zum Film und von deren Beziehung zu seinem Politikbegriff der unfundierten Subjektivierung im Streit. Eine Grundlosigkeit, auf die Film und Politik jeweils ihre Erscheinungen gründen, steht im Fluchtpunkt des Büchleins.

Das politische Denken Jacques Rancières verspricht eine theoretische Auflehnung gegen die neoliberale Verwaltung des universalen Sachzwangs. Der Beitrag diskutiert seine Version einer radikalen Demokratietheorie aus der Perspektive der dialektischen Gesellschaftstheorie und -kritik im Anschluss an Adorno und untersucht sein Denken in Bezug auf die Feindbilder des dialektischen Denkens: Ontologie und Positivismus. Rancières Theorie radikaler Demokratie wird identifiziert als verdinglichtes Denken, das Konflikt als sozialanthropologische Konstante in einer positivistischen Ontologie des Sozialen theoretisch fixiert.