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This proposal considers analyzing certain meanings that the expression politics of fiction has in its double meaning in the literary thought of Jacques Rancière. The aim is to draw the conceptual map of a contradictory thought, as literature itself, that escapes the logic reason / action. I will attend the two dimensions in which this statement would be working and that I consider affect what would be the strong core of his thought, that is to say, to the concept of equality. The politics of fiction in Rancière is, at the same time, an aesthetic of equality. In this way, we can answer the question that lies at the bottom of this double statement, and that rests on the perplexity that its concept of equality awakens: What does it do, how does it work, in short, how does his concept of equality act? ; Este trabajo propone analizar los sentidos que la expresión política de la ficción tiene en su doble acepción en el pensamiento literario de Jacques Rancière. Para tal fin, voy a atender a dos dimensiones en las que estaría funcionando este enunciado y que considero afectan a lo que sería el núcleo fuerte de su pensamiento, es decir, al concepto de igualdad. La política de la ficción en Rancière es, al tiempo, una estética de la igualdad. De este modo, podremos responder a la pregunta que se sitúa en el fondo de este enunciado doble, y que descansa sobre la perplejidad que su concepto de igualdad despierta: ¿Qué hace, cómo funciona, en definitiva, cómo actúa su concepto de igualdad?This proposal considers analyzing certain meanings that the expression politics of fiction has in its double meaning in the literary thought of Jacques Rancière. The aim is to draw the conceptual map of a contradictory thought, as literature itself, that escapes the logic reason / action. I will attend the two dimensions in which this statement would be working and that I consider affect what would be the strong core of his thought, that is to say, to the concept of equality. The politics of fiction in Rancière is, at the same time, an aesthetic of equality. In this way, we can answer the question that lies at the bottom of this double statement, and that rests on the perplexity that its concept of equality awakens: What does it do, how does it work, in short, how does his concept of equality act?

Rezension zu Gebhardt, Mareike (Hg.): Staatskritik und Radikaldemokratie. Das Denken Jacques Rancières. Baden-Baden: Nomos 2020.

In this essay our framework will be Jacques Rancière's aesthetic perspective as mainly presented in his work Malaise dans l'esthétique to examine the critical role that certain works or artistic practices can play in the production and transformation of social space. In his book the philosopher presents an extreme defense of aesthetics in its most political dimension, where art is not political by the messages and feelings it conveys, but by the reconfiguration of the particular sensorium it produces. We are interested in exploring and thinking artistic practices in regard to their ability to work as a mechanism that offers an opportunity for critical analysis on certain political issues. What makes the political be present in an artistic work or practice, as a constituent part of the aesthetic experience, is not its content or the discourse it supports, but how it does it. To clarify this assumption, among the examples that we will analyze is the video/installation 12 vecinas of the Puerto Rican artist Marisol Plard. ; En este ensayo tomaremos como guía el pensamiento estético de Jacques Rancière tal y como se presenta principalmente en su obra Malaise dans l'esthétique para examinar críticamente el rol que pueden jugar ciertas obras o prácticas artísticas en la producción y transformación del espacio social. En su libro el filósofo presenta una defensa a ultranza de la estética en su dimensión más política, donde el arte no es político por los mensajes y sentimientos que transmite, sino por la reconfiguración del sensorium particular que produce. Nos interesa explorar y pensar las prácticas artísticas que funcionan como un mecanismo dispuesto a ofrecer una oportunidad de reflexión crítica sobre ciertos temas políticos. Lo que hace que lo político esté presente en una obra o práctica artística como parte constitutiva de la experiencia estética, no es su contenido ni el discurso que apoya, sino cómo lo hace. Para aclarar este supuesto, entre los ejemplos que analizaremos está la video/instalación 12 vecinas de la artista puertorriqueña Marisol Plard.

The photographer Hiroshi Sugimoto decided once to push his camera's focal length to twice-infinity while shooting urban landscapes. He interpreted the resulting blur as an erosion-test of modernity that would only be survived by the super large buildings of architectural landmarks. His related series "Architectures" serves as the analytical a erimage for reflecting on Jacques Rancière's concept of the Distribution of the Sensible and his aesthetic-political thought. This article discusses key elements of his theory in opposition to Sugimotos very own visual interface between politics and aesthetics, exposing a problematic and romantic lack of technicality and mediality in Rancière's tableau of visual regimes. Serving also as a retrospective on what has been an ongoing conversation with Siegfried Mattl about Jacques Rancière, aesthetics, cinema, photography, romanticism and liberty this text remains necessarily indecisive since the colloquist has sadly passed away recently. ; The photographer Hiroshi Sugimoto decided once to push his camera's focal length to twice-infinity while shooting urban landscapes. He interpreted the resulting blur as an erosion-test of modernity that would only be survived by the super large buildings of architectural landmarks. His related series "Architectures" serves as the analytical a erimage for reflecting on Jacques Rancière's concept of the Distribution of the Sensible and his aesthetic-political thought. This article discusses key elements of his theory in opposition to Sugimotos very own visual interface between politics and aesthetics, exposing a problematic and romantic lack of technicality and mediality in Rancière's tableau of visual regimes. Serving also as a retrospective on what has been an ongoing conversation with Siegfried Mattl about Jacques Rancière, aesthetics, cinema, photography, romanticism and liberty this text remains necessarily indecisive since the colloquist has sadly passed away recently.

GBS_insertPreviewButtonPopup('ISBN:9780748635863');This is the first single-authored book in any language devoted entirely to the thought of Jacques Rancière. It focuses on his central political idea that a democratic politics emerges from the presupposition of equality. Todd May examines and extends this presupposition, offering a framework for understanding it, placing it in the current political context, and showing how it challenges traditional political philosophy and opens up neglected political paths.May aims to show that Rancière's view offers both hope and perspective for those who seek to think about and engage in progressive political action.Key FeaturesOffers a thorough discussion of Rancière's concept of equalityProvides an ethical framework in which to ground his politicsShows why Rancière is crucial for political reflection todayBoth translated and untranslated works are referred to"

This paper proposes a conversation between Jacques Rancière and feminist care ethicists. It argues that there are important resonances between these two bodies of scholarship, thanks to their similar indictments of Western hierarchies and binaries, their shared invitation to "blur boundaries" and embrace a politics of "impropriety", and their views on the significance of storytelling/narratives and of the ordinary. Drawing largely on Disagreement, Proletarian Nights, and The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation, I also indicate that Rancière's work offers crucial and timely insights for care ethicists on the importance of attending to desire and hope in research, the inevitability of conflict in social transformation, and the need to think together the transformation of care work/practices and of dominant social norms.

Dans l'un de ses ouvrages les plus récents, Les Bords de la fiction, Jacques Rancière reprend la question des limites et des débordements, qu'il avait examinée auparavant dans Aux bords du politique, un livre dont la première édition est parue en 1990. À ce moment-là, le philosophe s'intéressait surtout à la topographie métaphorique construite dans la pensée politique, c'est-à-dire à l'usage des métaphores spatiales, parmi lesquelles l'on trouve celle du bord. Presque trente ans plus tard, la réflexion s'est déplacée, par contre, au domaine de la fiction littéraire. Mon but dans cet article est de rapprocher ces deux moments de l'oeuvre de Rancière afin d'y trouver un arrière-plan commun à partir duquel continuer à penser le nouage du littéraire et du politique. Pour ce faire, je propose d'analyser quelques oeuvres littéraires écrites au fil des années 1990 (le moment clé autour duquel s'articule Aux bords du politique) dont les titres font référence à l'enjeu des bords o des débordements : le Journal du dehors et La vie extérieure d'Annie Ernaux, ainsi que le roman Vivir afuera, de l'écrivain argentin Rodolfo Fogwill. Quel imaginaire topographique mettent-elles en place ? Et quelle est la signification politique des métaphores spatiales dont elles se servent ? ; En una de sus obras más recientes, Los bordes de la ficción, Jacques Rancière retoma la cuestión de los límites y desbordamientos, que ya había examinado anteriormente en su libro En los bordes de lo político, cuya primera edición data de 1990. En aquel momento, al filósofo le interesaba sobre todo la topografía metafórica construida por el pensamiento político, es decir, el uso que este hacía de las metáforas espaciales, entre las cuales destaca la del borde. Casi treinta años más tarde, la reflexión se ha desplazado, en cambio, al ámbito de la ficción literaria. Mi objetivo en este artículo es el de hacer dialogar estos dos momentos de la obra de Rancière, con el fin de encontrar un trasfondo común a partir del cual seguir pensando la relación entre lo literario y lo político. Para ello, propongo analizar algunas obras literarias escritas en la década de los noventa (momento en torno al cual orbita En los bordes de lo político) cuyos títulos hacen referencia a la cuestión de los bordes o los desbordes: el Diario de afuera y La vida exterior de Annie Ernaux, y la novela Vivir afuera, del escritor argentino Rodolfo Fogwill. ¿Qué imaginario topográfico construyen y cuál es la significación política de las metáforas espaciales a las que recurren?

En una de sus obras más recientes, Los bordes de la ficción, Jacques Rancière retoma la cuestión de los límites y desbordamientos, que ya había examinado anteriormente en su libro En los bordes de lo político, cuya primera edición data de 1990. En aquel momento, al filósofo le interesaba sobre todo la topografía metafórica construida por el pensamiento político, es decir, el uso que este hacía de las metáforas espaciales, entre las cuales destaca la del borde. Casi treinta años más tarde, la reflexión se ha desplazado, en cambio, al ámbito de la ficción literaria. Mi objetivo en este artículo es el de hacer dialogar estos dos momentos de la obra de Rancière, con el fin de encontrar un trasfondo común a partir del cual seguir pensando la relación entre lo literario y lo político. Para ello, propongo analizar algunas obras literarias escritas en la década de los noventa (momento en torno al cual orbita En los bordes de lo político) cuyos títulos hacen referencia a la cuestión de los bordes o los desbordes: el Diario de afuera y La vida exterior de Annie Ernaux,y la novela Vivir afuera, del escritor argentino Rodolfo Fogwill. ¿Qué imaginario topográfico construyen y cuál es la significación política de las metáforas espaciales a las que recurren? ; Dans l'un de ses ouvrages les plus récents, Les Bords de la fiction, Jacques Rancière reprend la question des limites et des débordements, qu'il avait examinée auparavant dans Aux bords du politique, un livre dont la première édition est parue en 1990. À ce moment-là, le philosophe s'intéressait surtout à la topographie métaphorique construite dans la pensée politique, c'est-à-dire à l'usage des métaphores spatiales, parmi lesquelles l'on trouve celle du bord. Presque trente ans plus tard, la réflexion s'est déplacée, par contre, au domaine de la fiction littéraire. Mon but dans cet article est de rapprocher ces deux moments de l'œuvre de Rancière afin d'y trouver un arrière-plan commun à partir duquel continuer à penser le nouage du littéraire et du politique. Pour ce faire, je propose d'analyser quelques œuvres littéraires écrites au fil des années 1990 (le moment clé autour duquel s'articule Aux bords du politique) dont les titres font référence à l'enjeu des bords o des débordements : le Journal du dehors et La vie extérieure d'Annie Ernaux, ainsi que le roman Vivir afuera, de l'écrivain argentin Rodolfo Fogwill. Quel imaginaire topographique mettent-elles en place ? Et quelle est la signification politique des métaphores spatiales dont elles se servent ?

Over the past decade, Jacques Rancière's writings have increasingly provoked and inspired political theorists who wish to avoid both the abstraction of so-called normative theories and the philosophical platitudes of so-called postmodernism. Rancière offers a new and unique definition of politics, la politique, as that which opposes, thwarts and interrupts what Rancière calls the police order, la police — a term that encapsulates most of what we normally think of as politics (the actions of bureaucracies, parliaments, and courts). Interpreters have been tempted to read Rancière as proffering a formally pure conception of politics, wherein politics is ultimately separate from and in utter opposition to all police orders. Here I provide a different account of Rancière's thinking of politics: for Rancière politics goes on within police orders and for this reason he strongly rejects the very idea of a pure politics. Politics is precisely that which could never be pure; politics is an act of impurity, a process that resists purification. In carefully delineating the politique— police relation I show that the terms of Rancière's political writings are multiple and multiplied. Rancière consistently undermines any effort to render politics pure, and therein lies his potential contribution to contemporary political theory.