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. In this truly comparative study, he examines Wordsworth's poetry, the utopian discourse of the Saint-Simoniens, the correspondence and theater of Buchner, Claude Genoux's Memoires d'un enfant de la Savoie, Michelet's theories of history, the prose and poetry of Rilke, and the performance of Ingrid Bergman in Rossellini's postwar film...
This book analyzes a range of texts that seek, in different ways, to represent "the people." Ranciere approaches these texts as travel narratives o...
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. In this truly comparative study, he examines Wordsworth's poetry, the utopian discourse of the Saint-Simoniens, the correspondence and theater of Buchner, Claude Genoux's Memoires d'un enfant de la Savoie, Michelet's theories of history, the prose and poetry of Rilke, and the performance of Ingrid Bergman in Rossellini's postwar film...
This book analyzes a range of texts that seek, in different ways, to represent "the people." Ranciere approaches these texts as travel narratives o...
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 no longer, a theological already-given. It is a millennial goal or telos toward which each text strives. Both witty and immensely erudite, Jacques Ranciere leads the critical reader through a maze of arrivals toward the moment, perhaps always suspended, when the word finds its flesh. That is what he, a valiant and good-humored companion to these texts, goes questing for through seven essays examining a wide variety of...
This new collection of challenging literary studies plays with a foundational definition of Western culture: the word become flesh. But the word be...
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 no longer, a theological already-given. It is a millennial goal or telos toward which each text strives. Both witty and immensely erudite, Jacques Ranciere leads the critical reader through a maze of arrivals toward the moment, perhaps always suspended, when the word finds its flesh. That is what he, a valiant and good-humored companion to these texts, goes questing for through seven essays examining a wide variety of...
This new collection of challenging literary studies plays with a foundational definition of Western culture: the word become flesh. But the word be...
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...
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 ...
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...
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 ...
This extraordinary book can be read on several levels. Primarily, it is the story of Joseph Jacotot, an exiles French schoolteacher who discovered in 1818 an unconventional teaching method that spread panic throughout the learned community of Europe. Knowing no Flemish, Jacotot found himself able to teach in French to Flemish students who knew no French; knowledge, Jacotot concluded, was not necessary to teach, nor explication necessary to learn. The results of this unusual experiment in pedagogy led him to announce that all people were equally intelligent. From this postulate, Jacotot...
This extraordinary book can be read on several levels. Primarily, it is the story of Joseph Jacotot, an exiles French schoolteacher who discovered in ...
This book 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. In order for Freud to use the Oedipus complex as a means for the interpretation of texts, it was necessary first of all for a particular notion of Oedipus, belonging to the Romantic reinvention of Greek antiquity, to have produced a certain idea of the power of the thought that does not think, and the power of the speech that...
This book is not concerned with the use of Freudian concepts for the interpretation of literary and artistic works. Rather, it is concerned with why t...
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...
Only yesterday aesthetics stood accused of concealing cultural games of social distinction. Now it is considered a parasitic discourse from which arti...
