Sobre política y apariencia en la teoría de J. Rancière
Among the speeches about the end of history, ideologies or art that the end of the twentieth century brought, also a statement that went through very different theoretical perspectives was formulated: the death of representation, appearances. That diagnosis had, as spokespersons, two groups of autho...
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| Autores principales: | , |
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2015
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/CdF/article/view/3633 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=cufilo&d=3633_oai |
| Aporte de: |
| Sumario: | Among the speeches about the end of history, ideologies or art that the end of the twentieth century brought, also a statement that went through very different theoretical perspectives was formulated: the death of representation, appearances. That diagnosis had, as spokespersons, two groups of authors: pessimists of social aestheticization and optimists of consensual democracy and the crowd. J. Rancière formulated a critique that affects both positions; it is not true that the appearance is dead. The world is presented to us as a teathrum politicum in which the parts of the common have been distributed, configurating what Rancière calls a “police order”; in which always exists a part (that contributes to the existence of the common) that is invisible: has no part. The author of Disagreement (1995) calls “politics” at the moment in which this part appears and produces a “scene of dissent”. The rescue of the concept of appearance make less rigid the classical contrast terms of politics-police. However it puts on the surface a new problem: it equates aesthetics and politics. |
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