The global triumph of democracy was announced thirty years ago, promising an age of consensus in which the dispassionate consideration of objective problems would give birth to a world at peace. Today, these grand hopes have been destroyed, and the era touted as new and exceptional has turned out to be remarkably similar to the old order – but not simply due to the aggression of external forces. Instead, we must look to the nature of consensus itself, which, in the view of leading radical philosopher Jacques Rancière, is revealed as a violent, absolutized capitalist machine whose output is ever more inequality, exclusion and hate. This book delivers a frank and piercing assessment of the globalised capitalist consensus. The invasion of Iraq, the riots on Capitol Hill and the rise of the European far right all provide evidence of the consummation of consensual realism, as does the current state-sanctioned racism which exploits the disenchanted progressive tradition and is led by an intelligentsia that claims to be left-wing. At the same time, Rancière also praises the dynamism of social movements which affirm the power of the assembly of equals and its capacity for worldmaking: autonomous protest collectives have proven themselves capable of opening breaches in the consensual order and challenging the post-1989 system of domination.

Literature holds a privileged place in Deleuze's works. Not only is it the art that most clearly reveals his aesthetics, but it also serves as the laboratory of his thought, the space where he experiments with concepts that become part of his ongoing philosophical project. In this brilliant analyses of Deleuze's texts on Proust, Sacher-Masoch, Kafka, Carmelo Bene, Melville and Beckett, Pombo Nabais traces the development of Deleuze's aesthetics across three distinct periods of his thought: the transcendental empiricism of Difference and Repetition and The Logic of Sense; the philosophy of Nature of Anti-Oedipus and A Thousand Plateaus; and the philosophy of Spirit of The Fold, What Is Philosophy? and Essays Critical and Clinical. More than a simple account of Deleuze's literary theory and aesthetics, this book offers a provocative and original reading of Deleuze's entire philosophy, highlighting the question of modality (the actual, the virtual, the possible, the impossible and the incompossible), the problematic relationship between the event and the assemblage, and the unifying theme of the vitalism of nonorganic life.

It is frequently said that we are living through the end of politics, the end of social upheavals, the end of utopian folly. Consensual realism is the order of the day. But political realists, remarks Jacques Ranciere, are always several steps behind reality, and the only thing which may come to an end with their dominance is democracy. In these subtle and perceptive essays, Ranciere argues that since Plato and Aristotle politics has always constructed itself as the art of ending politics, that realism is itself utopian, and that what has succeeded the polemical forms of class struggle is not the wisdom of a new millennium but the return of old fears, criminality and chaos. Whether he is discussing the confrontation between Mitterrand and Chirac, French working-class discourse after the 1830 revolution, or the ideology of recent student mobilizations, his aim is to restore philosophy to politics and give politics back its original and necessary meaning: the organization of dissent.

Literature holds a privileged place in Deleuze's works. Not only is it the art that most clearly reveals his aesthetics, but it also serves as the laboratory of his thought, the space where he experiments with concepts that become part of his ongoing philosophical project. In this brilliant analyses of Deleuze's texts on Proust, Sacher-Masoch, Kafka, Carmelo Bene, Melville and Beckett, Pombo Nabais traces the development of Deleuze's aesthetics across three distinct periods of his thought: the transcendental empiricism of Difference and Repetition and The Logic of Sense; the philosophy of Nature of Anti-Oedipus and A Thousand Plateaus; and the philosophy of Spirit of The Fold, What Is Philosophy? and Essays Critical and Clinical. More than a simple account of Deleuze's literary theory and aesthetics, this book offers a provocative and original reading of Deleuze's entire philosophy, highlighting the question of modality (the actual, the virtual, the possible, the impossible and the incompossible), the problematic relationship between the event and the assemblage, and the unifying theme of the vitalism of nonorganic life.

Axel Honneth is best known for his critique of modern society centered on a concept of recognition. Jacques Ranciere has advanced an influential theory of modern politics based on disagreement. Underpinning their thought is a concern for the logics of exclusion and domination that structure contemporary societies. In a rare dialogue, these two philosophers explore the affinities and tensions between their perspectives to provoke new ideas for social and political change. Honneth sees modern society as a field in which the logic of recognition provides individuals with increasing possibilities for freedom and is a constant catalyst for transformation. Ranciere sees the social as a policing order and the political as a force that must radically assert equality. Honneth claims Ranciere's conception of the political lies outside of actual historical societies and involves a problematic desire for egalitarianism. Ranciere argues that Honneth's theory of recognition relies on an overly substantial conception of identity and subjectivity. While impassioned, their exchange seeks to advance critical theory's political project by reconciling the rift between German and French post-Marxist traditions and proposing new frameworks for justice.

These essays from the 1970s mark the inception of the distinctive project that Jacques Ranciere has pursued across forty years, with four interwoven themes: the study of working-class identity, of its philosophical interpretation, of "heretical" knowledge and of the relationship between work and leisure.

The global triumph of democracy was announced thirty years ago, promising an age of consensus in which the dispassionate consideration of objective problems would give birth to a world at peace. Today, these grand hopes have been destroyed, and the era touted as new and exceptional has turned out to be remarkably similar to the old order – but not simply due to the aggression of external forces. Instead, we must look to the nature of consensus itself, which, in the view of leading radical philosopher Jacques Rancière, is revealed as a violent, absolutized capitalist machine whose output is ever more inequality, exclusion and hate. This book delivers a frank and piercing assessment of the globalised capitalist consensus. The invasion of Iraq, the riots on Capitol Hill and the rise of the European far right all provide evidence of the consummation of consensual realism, as does the current state-sanctioned racism which exploits the disenchanted progressive tradition and is led by an intelligentsia that claims to be left-wing. At the same time, Rancière also praises the dynamism of social movements which affirm the power of the assembly of equals and its capacity for worldmaking: autonomous protest collectives have proven themselves capable of opening breaches in the consensual order and challenging the post-1989 system of domination.

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 familiar and unfamiliar works.
A text is always a commencement, the word setting out on its excursions through the implausible vicissitudes of narrative and the bizarre phantasmagorias of imagery, Don Quixote's unsent letter reaching us through generous Balzac, lovely Rimbaud, demonic Althusser. The word is on its way to an incarnation that always lies ahead of the writer and the reader both, in this anguished democracy of language where the word is always taking on its flesh.

Axel Honneth is best known for his critique of modern society centered on a concept of recognition. Jacques Ranciere has advanced an influential theory of modern politics based on disagreement. Underpinning their thought is a concern for the logics of exclusion and domination that structure contemporary societies. In a rare dialogue, these two philosophers explore the affinities and tensions between their perspectives to provoke new ideas for social and political change. Honneth sees modern society as a field in which the logic of recognition provides individuals with increasing possibilities for freedom and is a constant catalyst for transformation. Ranciere sees the social as a policing order and the political as a force that must radically assert equality. Honneth claims Ranciere's conception of the political lies outside of actual historical societies and involves a problematic desire for egalitarianism. Ranciere argues that Honneth's theory of recognition relies on an overly substantial conception of identity and subjectivity. While impassioned, their exchange seeks to advance critical theory's political project by reconciling the rift between German and French post-Marxist traditions and proposing new frameworks for justice.

"Is there any such thing as political philosophy?" So begins this provocative book by one of the foremost figures in Continental thought. Here, Jacques Ranciere brings a new and highly useful set of terms to the vexed debate about political effectiveness in the face of a new world order.

What precisely is at stake in the relationship between "philosophy" and the adjective "political"? In Disagreement, Ranciere explores the apparent contradiction between these terms and reveals the uneasy meaning of their union in the phrase "political philosophy" -- a juncture related to age-old attempts in philosophy to answer Plato's devaluing of politics as a "democratic egalitarian" process.

According to Ranciere, the phrase also expresses the paradox of politics itself: the absence of a proper foundation. Politics, he argues, begins when the "demos" (the "excessive" or unrepresented part of society) seeks to disrupt the order of domination and distribution of goods "naturalized" by police and legal institutions. In addition, the notion of "equality" operates as a game of contestation that constantly substitutes litigation for political action and community. This game, Ranciere maintains, operates by a primary logic of "misunderstanding". In turn, political philosophy has always tried to substitute the "politics of truth" for the politics of appearances.

Disagreement investigates the various transformations of this regime of "truth" and their effects on practical politics. Ranciere then distinguishes what we mean by "democracy" from the practices of a consensual system in order to unravel the ramifications of the fashionable phrase "the end of politics". His conclusions will be of interest toreaders concerned with political questions from the broadest to the most specific and local.

"Is it meaningful to call oneself a democrat? And if so, how do you interpret the word?"

In responding to this question, eight iconoclastic thinkers prove the rich potential of democracy, along with its critical weaknesses, and reconceive the practice to accommodate new political and cultural realities. Giorgio Agamben traces the tense history of constitutions and their coexistence with various governments. Alain Badiou contrasts current democratic practice with democratic communism. Daniel Bensaid ponders the institutionalization of democracy, while Wendy Brown discusses the democratization of society under neoliberalism. Jean-Luc Nancy measures the difference between democracy as a form of rule and as a human end, and Jacques Ranci?re highlights its egalitarian nature. Kristin Ross identifies hierarchical relationships within democratic practice, and Slavoj Zizek complicates the distinction between those who desire to own the state and those who wish to do without it.

Concentrating on the classical roots of democracy and its changing meaning over time and within different contexts, these essays uniquely defend what is left of the left-wing tradition after the fall of Soviet communism. They confront disincentives to active democratic participation that have caused voter turnout to decline in western countries, and they address electoral indifference by invoking and reviving the tradition of citizen involvement. Passionately written and theoretically rich, this collection speaks to all facets of modern political and democratic debate.

What Is a People? seeks to reclaim "people" as an effective political concept by revisiting its uses and abuses over time. Alain Badiou surveys the idea of a people as a productive force of solidarity and emancipation and as a negative tool of categorization and suppression. Pierre Bourdieu follows with a sociolinguistic analysis of "popular" and its transformation of democracy, beliefs, songs, and even soups into phenomena with outsized importance. Judith Butler calls out those who use freedom of assembly to create an exclusionary "we," while Georges Didi-Huberman addresses the problem of summing up a people with totalizing narratives. Sadri Khiari applies an activist's perspective to the racial hierarchies inherent in ethnic and national categories, and Jacques Ranciere comments on the futility of isolating theories of populism when, as these thinkers have shown, the idea of a "people" is too diffuse to support them. By engaging this topic linguistically, ethnically, culturally, and ontologically, the voices in this volume help separate "people" from its fraught associations to pursue more vital formulations. Together with Democracy in What State?, in which Giorgio Agamben, Alain Badiou, Daniel Bensaid, Wendy Brown, Jean-Luc Nancy, Jacques Ranciere, Kristin Ross, and Slavoj Zizek discuss the nature and purpose of democracy today, What Is a People? expands an essential exploration of political action and being in our time.

"Is it meaningful to call oneself a democrat? And if so, how do you interpret the word?"

In responding to this question, eight iconoclastic thinkers prove the rich potential of democracy, along with its critical weaknesses, and reconceive the practice to accommodate new political and cultural realities. Giorgio Agamben traces the tense history of constitutions and their coexistence with various governments. Alain Badiou contrasts current democratic practice with democratic communism. Daniel Bensaid ponders the institutionalization of democracy, while Wendy Brown discusses the democratization of society under neoliberalism. Jean-Luc Nancy measures the difference between democracy as a form of rule and as a human end, and Jacques Ranci?re highlights its egalitarian nature. Kristin Ross identifies hierarchical relationships within democratic practice, and Slavoj Zizek complicates the distinction between those who desire to own the state and those who wish to do without it.

Concentrating on the classical roots of democracy and its changing meaning over time and within different contexts, these essays uniquely defend what is left of the left-wing tradition after the fall of Soviet communism. They confront disincentives to active democratic participation that have caused voter turnout to decline in western countries, and they address electoral indifference by invoking and reviving the tradition of citizen involvement. Passionately written and theoretically rich, this collection speaks to all facets of modern political and democratic debate.

The theorists of art and film commonly depict the modern audience as aesthetically and politically passive. In response, both artists and thinkers have sought to transform the spectator into an active agent and the spectacle into a communal performance. In this follow-up to the acclaimed The Future of the Image, Rancière takes a radically different approach to this attempted emancipation. First asking exactly what we mean by political art or the politics of art, he goes on to look at what the tradition of critical art, and the desire to insert art into life, has achieved. Has the militant critique of the consumption of images and commodities become, ironically, a sad affirmation of its omnipotence?

In Film Fables Jacques Ranciere turns his critical eye to the history of modern cinema. Combining an extraordinary breadth of analysis with an attentiveness to detail born from an obvious love of cinema, Ranciere shows us new ways of looking at and interpreting film. His analysis moves effortlessly from Eisenstein's and Murnau's transition from theatre to film to Fritz Lang's confrontation with television, from the classical poetics of Mann's Westerns to Ray's romantic poetics of the image, from Rossellini's neo-realism to Deleuze's philosophy of the cinema. The book also includes extended commentaries on the work of Hitchcock, Godard, Vertov and Bergman. Film Fables is essential reading for anyone wanting to gain a better understanding of the power and complexity of the cinematic form and it's rich history.

Composed in a series of scenes, Aisthesis - Ranciere's definitive statement on the aesthetic - takes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarme to the Folies-Bergere, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Ranciere uses these sites and events - some famous, others forgotten - to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the specificities of the different arts, as well as the borders that separated them from ordinary experience. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.

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 familiar and unfamiliar works.
A text is always a commencement, the word setting out on its excursions through the implausible vicissitudes of narrative and the bizarre phantasmagorias of imagery, Don Quixote's unsent letter reaching us through generous Balzac, lovely Rimbaud, demonic Althusser. The word is on its way to an incarnation that always lies ahead of the writer and the reader both, in this anguished democracy of language where the word is always taking on its flesh.

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 cinema, like language, can be said to exist as a system of differences. In his latest book the acclaimed philosopher Jacques Ranciere relates cinema to literature and theatre. With literature, he argues, cinema takes its narrative conventions, while at the same time effacing its images and its philosophy; and it rejects theatre, while also fulfilling theatre's dream. Built on these contradictions, the cinema is the real, material space in which one feels moved by the spectacle of shadows. Thus for Ranciere, the cinema is the always disappointed dream of a language of images.

The theorists of art and film commonly depict the modern audience as aesthetically and politically passive. In response, both artists and thinkers have sought to transform the spectator into an active agent and the spectacle into a communal performance. In this follow-up to the acclaimed The Future of the Image, Ranciere takes a radically different approach to this attempted emancipation. First asking exactly what we mean by political art or the politics of art, he goes on to look at what the tradition of critical art, and the desire to insert art into life, has achieved. Has the militant critique of the consumption of images and commodities become, ironically, a sad affirmation of its omnipotence?

This is a brand new collection of Jacques Ranciere's writings on art and politics. "Dissensus: On Politics and Aesthetics" brings together some of Jacques Ranciere's most recent writings on art and politics to show the critical potential of two of his most important concepts: the aesthetics of politics and the politics of aesthetics. In this fascinating collection, Ranciere engages in a radical critique of some of his major contemporaries on questions of art and politics: Gilles Deleuze, Antonio Negri, Giorgio Agamben, Alain Badiou and Jacques Derrida. The essays show how Ranciere's ideas can be used to analyse contemporary trends in both art and politics, including the events surrounding 9/11, war in the contemporary consensual age, and the ethical turn of aesthetics and politics. Ranciere elaborates new directions for the concepts of politics and communism, as well as the notion of what a 'politics of art' might be. This important collection includes several essays that have never previously been published in English, as well as a brand new afterword. Together these essays serve as a superb introduction to the work of one of the world's most influential contemporary thinkers.

From Almanac of Fall (1984) to The Turin Horse (2011), renowned Hungarian filmmaker Bela Tarr has followed the collapse of the communist promise. The "time after" is not the uniform and morose time of those who no longer believe in anything. It is the time when we are less interested in histories and their successes or failures than we are in the delicate fabric of time from which they are carved. It is the time of pure material events against which belief will be measured for as long as life will sustain it.

In The Lost Thread, Ranciere debunks the notion of Flaubert, Baudelaire, Conrad, Woolf and Keats as reactionary producers of bourgeois mythologies, and instead foregrounds the egalitarian and democratic impulses of modernist literature. Contrary to the canonical interpretation of the relation between modernism and capitalism via the commodification of everyday life, Ranciere proposes a radical rethinking of our received ideas regarding the politics of aesthetics in the modern era. Through a complex and original stitching together of form and content, modernists strove to depict by embodying new forms and regimes of material and everyday life. Ranciere articulates this substantial change in the politics of representation by explaining the shattering of the sacrosanct hierarchies of the genres and life-forms of classical literature. In the midst of the 19th century, poets, novelists and playwrights challenged the narrative staples of noble means and moral ends, and introduced an entirely new "structure of feeling". In this work, Ranciere continues his project of outlining an egalitarian "distribution of the sensible" as the compelling linkage between politics and aesthetics in the modern age. The Lost Thread not only advances Ranciere's commended work on aesthetics, it also offers the reader in depth analyses of the writers in question.

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.