This is a collection of interviews in which Cornelius Castoriadis discusses his key works and ideas. Cornelius Castoriadis (1922-1997) was a philosopher, social critic, political activist, practicisn psychoanalyst and professional economist. His work is widely recognized as one of the most singular and important contributions to twentieth-century thought. In this collection of interviews, Castoriadis discusses some of his most important ideas with leading figures in the disciplines that play such a crucial part in his philosophical work: poetry, psychoanalysis, biology and mathematics. Available in English for the first time, these interviews provide a concise and accessible introduction to his work as a whole, allowing him to draw on the astounding breadth of his knowledge (ranging from philosophy and mathematics to political theory and psychoanalysis). They also render Castoriadis' cutting, polemical and entertaining style while displaying the originality and clarity of his primary concepts. Intellectually provoking, this timely collection shows how Castoriadis' polemics are sharp and riveting, his conceptual manoeuvres rigorous and original, and his passion inspiring. This is an excellent introduction to one of Europe's most important intellectuals.

With a critical eye, Gabriel Rockhill guides you through complex debates in history, politics and aesthetics, giving you an overview of key issues and central figures, including Foucault, Derrida, Castoriadis, Badiou and Ranciere. Rockhill also engages in a nuanced exploration of recent work that calls into question the stereotype of 'prominent figures' and 'intellectual movements. Far from hiding behind towering figures of the intellectual world, Rockhill stakes out positions in relationship to them and formulates precise arguments in favour of a new understanding of the historical relationship between art and politics.

With a critical eye, Gabriel Rockhill guides you through complex debates in history, politics and aesthetics, giving you an overview of key issues and central figures, including Foucault, Derrida, Castoriadis, Badiou and Ranciere. Rockhill also questions the stereotypes of prominent figures and Intellectual movements. Instead of hiding behind these towering intellectuals, Rockhill stakes out positions in relationship to them and formulates precise arguments in favour of a new understanding of the historical relationship between art and politics.

In Counter-History of the Present Gabriel Rockhill contests, dismantles, and displaces one of the most widespread understandings of the contemporary world: that we are all living in a democratized and globalized era intimately connected by a single, overarching economic and technological network. Noting how such a narrative fails to account for the experiences of the billions of people who lack economic security, digital access, and real political power, Rockhill interrogates the ways in which this grand narrative has emerged in the same historical, economic, and cultural context as the fervid expansion of neoliberalism. He also critiques the concurrent valorization of democracy, which is often used to justify U.S. military interventions on the behalf of capital. Developing an alternative account of the current conjuncture that acknowledges the plurality of lived experiences around the globe and in different social strata, he shifts the foundations upon which debates about the contemporary world can be staged. Rockhill's counter-history thereby offers a new grammar for historical narratives, creating space for the articulation of futures no longer engulfed in the perpetuation of the present.

This book of tightly woven dialogues engages prominent thinkers in a discussion about the role of culture-broadly construed-in contemporary society and politics. Faced with the conceptual inflation of the notion of 'culture, ' which now imposes itself as an indispensable issue in contemporary moral and political debates, these dynamic exchanges seek to rethink culture and critique beyond the schematic models that have often predominated, such as the opposition between "mainstream multiculturalism" and the "clash of civilizations."

Prefaced by an introduction relating current cultural debates to the critical theory tradition, this book examines the politics of culture and the spirit of critique from three different vantage points. To begin, Gabriel Rockhill and Alfredo Gomez-Muller provide a stage-setting dialogue, followed by discussions with two major representatives of contemporary critical theory: Seyla Benhabib and Nancy Fraser. Working at the horizons of this tradition, Judith Butler, Immanuel Wallerstein, and Cornel West then provide important critical perspectives on cultural politics. The book's concluding section engages with Michael Sandel and Will Kymlicka, who work out of the Rawlsian tradition yet are uniquely concerned with the issue of culture, broadly understood. The epilogue, an interview with Axel Honneth, returns to the core issue of critical theory in cultural politics. Ranging from recent developments and progressive interventions in critical theory to dialogues that incorporate its insights into larger discussions of social and political philosophy, this book sharpens old critical tools while developing new strategies for rethinking the role of 'culture' in contemporary society.

Throughout his career, shaped by a notable collaboration with Louis Althusser, Jacques Ranci?re has continually unsettled political discourse, particularly by examining its relationship to aesthetics. Like Michel Foucault, he broke with his many of his predecessors to upend dominant twentieth-century historical narratives and critical theories. Often overlooked in the canon of his works, "Mute Speech" contains the critical seeds of Ranci?re's most provocative assertions, challenging the intellectual orthodoxy that had come to define the nature of art and representation.

Arguing that art is neither inherently political nor colonized by politics, Ranci?re casts art and politics as "distributions of the sensible," or configurations of what are visible and invisible in experience. Through an original reinterpretation of German Romanticism and phenomenology, especially the work of its most prominent figures Kant and Hegel, and engaging with the thought of Germaine de Sta?l, Jean-Paul Sartre, and Maurice Blanchot, among others, Ranci?re reevaluates conceptions of art in various decades, from the classical age of representation to the modern, anti-representational turn and its promise of political transformation. Rather than dwell on modernity's "crisis of representation," he celebrates the triumph of realism in modern aesthetics, which for him is the true representative art. Opening radical new vistas onto the history of art and philosophy, Ranci?re pioneers a theory of aesthetics in which democratic politics constitute the essence of art.

Gabriel Rockhill opens new space for rethinking the relationship between art and politics. Rather than understanding the two spheres as separated by an insurmountable divide or linked by a privileged bridge, Rockhill demonstrates that art and politics are not fixed entities with a singular relation but rather dynamically negotiated, sociohistorical practices with shifting and imprecise borders.

"Radical History and the Politics of Art" proposes a significant departure from extant debates on what is commonly called "art" and "politics," and the result is an impressive foray into the force field of history, in which cultural practices are meticulously analyzed in their social and temporal dynamism without assuming a conceptual unity behind them. Rockhill thereby develops an alternative logic of history and historical change, as well as a novel account of social practices and a multidimensional theory of agency. Engaging with a diverse array of intellectual, artistic, and political constellations, this tour de force diligently maps the various interactions between different dimensions of aesthetic and political practices as they intertwine and sometimes merge in precise fields of struggle.

Throughout his career, shaped by a notable collaboration with Louis Althusser, Jacques Ranci?re has continually unsettled political discourse, particularly by examining its relationship to aesthetics. Like Michel Foucault, he broke with his many of his predecessors to upend dominant twentieth-century historical narratives and critical theories. Often overlooked in the canon of his works, "Mute Speech" contains the critical seeds of Ranci?re's most provocative assertions, challenging the intellectual orthodoxy that had come to define the nature of art and representation.

Arguing that art is neither inherently political nor colonized by politics, Ranci?re casts art and politics as "distributions of the sensible," or configurations of what are visible and invisible in experience. Through an original reinterpretation of German Romanticism and phenomenology, especially the work of its most prominent figures Kant and Hegel, and engaging with the thought of Germaine de Sta?l, Jean-Paul Sartre, and Maurice Blanchot, among others, Ranci?re reevaluates conceptions of art in various decades, from the classical age of representation to the modern, anti-representational turn and its promise of political transformation. Rather than dwell on modernity's "crisis of representation," he celebrates the triumph of realism in modern aesthetics, which for him is the true representative art. Opening radical new vistas onto the history of art and philosophy, Ranci?re pioneers a theory of aesthetics in which democratic politics constitute the essence of art.

The French philosopher Jacques Ranciere 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 Ranciere's work, illuminating its originality, breadth, and rigor, as well as its place in current debates. They also explore the relationships between Ranciere 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 Ranciere'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, Ranciere 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, etienne Balibar, Bruno Bosteels, Yves Citton, Tom Conley, Solange Guenoun, Peter Hallward, Todd May, Eric Mechoulan, Giuseppina Mecchia, Jean-Luc Nancy, Andrew Parker, Jacques Ranciere, Gabriel Rockhill, Kristin Ross, James Swenson, Rajeshwari Vallury, Philip Watts

The Politics of Aesthetics rethinks the relationship between art and politics, reclaiming "aesthetics" from the narrow confines it is often reduced to. Jacques Ranciere reveals its intrinsic link to politics by analysing what they both have in common: the delimitation of the visible and the invisible, the audible and the inaudible, the thinkable and the unthinkable, the possible and the impossible. Presented as a set of inter-linked interviews, The Politics of Aesthetics provides the most comprehensive introduction to Ranciere's work to date, ranging across the history of art and politics from the Greek polis to the aesthetic revolution of the modern age. Available now in the Bloomsbury Revelations series 10 years after its original publication, The Politics of Aesthetics includes an afterword by Slavoj Zizek, an interview for the English edition, a glossary of technical terms and an extensive bibliography.

This title is a collection of interviews in which Cornelius Castoriadis discusses his key works and ideas. Cornelius Castoriadis (1922-1997) was a philosopher, social critic, political activist, practicing psychoanalyst and professional economist. His work is widely recognized as one of the most singular and important contributions to twentieth-century thought. In this collection of interviews, Castoriadis discusses some of his most important ideas with leading figures in the disciplines that play such a crucial part in his philosophical work: poetry, psychoanalysis, biology and mathematics. Available in English for the first time, these interviews provide a concise and accessible introduction to his work as a whole, allowing him to draw on the astounding breadth of his knowledge (ranging from philosophy and mathematics to political theory and psychoanalysis). They also render Castoriadis' cutting, polemical and entertaining style while displaying the originality and clarity of his primary concepts. Intellectually provoking, this timely collection shows how Castoriadis' polemics are sharp and riveting, his conceptual manoeuvres rigorous and original, and his passion inspiring. This is an excellent introduction to one of Europe's most important intellectuals.

In Counter-History of the Present Gabriel Rockhill contests, dismantles, and displaces one of the most widespread understandings of the contemporary world: that we are all living in a democratized and globalized era intimately connected by a single, overarching economic and technological network. Noting how such a narrative fails to account for the experiences of the billions of people who lack economic security, digital access, and real political power, Rockhill interrogates the ways in which this grand narrative has emerged in the same historical, economic, and cultural context as the fervid expansion of neoliberalism. He also critiques the concurrent valorization of democracy, which is often used to justify U.S. military interventions on the behalf of capital. Developing an alternative account of the current conjuncture that acknowledges the plurality of lived experiences around the globe and in different social strata, he shifts the foundations upon which debates about the contemporary world can be staged. Rockhill's counter-history thereby offers a new grammar for historical narratives, creating space for the articulation of futures no longer engulfed in the perpetuation of the present.

Gabriel Rockhill opens new space for rethinking the relationship between art and politics. Rather than understanding the two spheres as separated by an insurmountable divide or linked by a privileged bridge, Rockhill demonstrates that art and politics are not fixed entities with a singular relation but rather dynamically negotiated, sociohistorical practices with shifting and imprecise borders.

"Radical History and the Politics of Art" proposes a significant departure from extant debates on what is commonly called "art" and "politics," and the result is an impressive foray into the force field of history, in which cultural practices are meticulously analyzed in their social and temporal dynamism without assuming a conceptual unity behind them. Rockhill thereby develops an alternative logic of history and historical change, as well as a novel account of social practices and a multidimensional theory of agency. Engaging with a diverse array of intellectual, artistic, and political constellations, this tour de force diligently maps the various interactions between different dimensions of aesthetic and political practices as they intertwine and sometimes merge in precise fields of struggle.

This book of tightly woven dialogues engages prominent thinkers in a discussion about the role of culture-broadly construed-in contemporary society and politics. Faced with the conceptual inflation of the notion of 'culture, ' which now imposes itself as an indispensable issue in contemporary moral and political debates, these dynamic exchanges seek to rethink culture and critique beyond the schematic models that have often predominated, such as the opposition between "mainstream multiculturalism" and the "clash of civilizations."

Prefaced by an introduction relating current cultural debates to the critical theory tradition, this book examines the politics of culture and the spirit of critique from three different vantage points. To begin, Gabriel Rockhill and Alfredo Gomez-Muller provide a stage-setting dialogue, followed by discussions with two major representatives of contemporary critical theory: Seyla Benhabib and Nancy Fraser. Working at the horizons of this tradition, Judith Butler, Immanuel Wallerstein, and Cornel West then provide important critical perspectives on cultural politics. The book's concluding section engages with Michael Sandel and Will Kymlicka, who work out of the Rawlsian tradition yet are uniquely concerned with the issue of culture, broadly understood. The epilogue, an interview with Axel Honneth, returns to the core issue of critical theory in cultural politics. Ranging from recent developments and progressive interventions in critical theory to dialogues that incorporate its insights into larger discussions of social and political philosophy, this book sharpens old critical tools while developing new strategies for rethinking the role of 'culture' in contemporary society.

The French philosopher Jacques Ranciere 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 Ranciere's work, illuminating its originality, breadth, and rigor, as well as its place in current debates. They also explore the relationships between Ranciere 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 Ranciere'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, Ranciere 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, etienne Balibar, Bruno Bosteels, Yves Citton, Tom Conley, Solange Guenoun, Peter Hallward, Todd May, Eric Mechoulan, Giuseppina Mecchia, Jean-Luc Nancy, Andrew Parker, Jacques Ranciere, Gabriel Rockhill, Kristin Ross, James Swenson, Rajeshwari Vallury, Philip Watts