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"Este libro pretende ser el comentario de la lección de marxismo impartida por Louis Althusser y una reflexión sobre lo que esa lección quiere enseñarnos y sobre lo que de hecho nos enseña: no sobre la teoría de Marx, sino sobre la realidad presente del marxismo; sobre lo que es el discurso de un reconocido filósofo marxista; sobre las condiciones que vuelven enunciable esa lección y que le permiten encontrar un eco: en los intelectuales y en los políticos. No quise escribir una monografía explicando las ideas de un pensador, sino estudiar la política de un pensamiento, la manera en que ese pensamiento se adueña de los significantes y de los desafíos políticos de un tiempo y, de esa manera, define por sí mismo un escenario y un tiempo específicos para su propia efectividad política."

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En el horizonte contemporáneo, diríase que nada le es ajeno a este impenitente discípulo de la escuela althusseriana: lo ideológico y lo estético constituyen por igual sus genuinos objetos de estudio. Pues lejos del sistema filosófico que pretende reorganizar el universo y de la intervención especializada con una jerga específica, la obra de Jacques Rancière (Algiers, 1940) es un aporte crítico y personal en los más diversos campos de la cultura, sin presupuestos, sin compromisos, sin concesiones.
Esta Política de la literatura continúa, con distintos abordajes y matices, una línea de reflexión que viene ocupando al filósofo desde años atrás: ¿en qué sentido puede decirse que el arte en general y la literatura en particular tienen un valor social y un sentido político? Guiado por el axioma de que «la literatura hace política en tanto literatura», el volumen discute con la moderna teoría literaria y se detiene en algunas estaciones insoslayables: Flaubert, Mallarmé, Proust, Brecht… y hasta Borges.

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In this short book, Jacques Rancière takes stock of the state of contemporary politics and examines current developments in the light of his writings. Rancière takes issue with what he sees as the consolidation in recent years of an increasingly oligarchic class of professional politicians within the system of representative democracy, while simultaneously objecting to leftist animosity towards electoral politics. He discusses a wide range of contemporary political movements and figures, from Nuit debout and Marine le Pen to Occupy, Trump, Syriza and Podemos, and he offers a trenchant critique of a variety of ideas and thinkers associated with radical politics, such as the ideas of immaterial labour and cognitive capitalism and the concept of insurrection put forward by the Invisible Committee. But above all he talks about the time in which it makes sense to talk about all this, a time for which history has made no promises and the past has left no lessons, only moments to be extended as far as possible. In politics, there are only presents. It is at every moment that the bonds of unequal servitude are renewed or that the paths of emancipation are invented. <br /><br />Presented in the form of a dialogue between Jacques Rancière and Eric Hazan, this timely reflection by one of the most influential radical thinkers writing today will be of interest to a wide readership.

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What distinguishes fiction from ordinary experience is not a lack of reality but a surfeit of rationality – this was the thesis of Aristotle’s Poetics. The rationality of fiction is that appearances are inverted. Fiction overturns the ordinary course of events that occur one after the other, aiming to show how the unexpected arises, happiness transforms into unhappiness and ignorance into knowledge. In the modern age, argues Rancière, this fictional rationality was developed in new ways. The social sciences extended the model of causal linkage to all spheres of human action, seeking to show us how causes produce their effects by inverting appearances and expectations. Literature took the opposite path. Instead of democratizing fictional rationality to include all human activity in the world of rational knowledge, it destroyed its principles by abolishing the limits that circumscribed a reality peculiar to fiction. It aligned itself with the rhythms of everyday life and plumbed the power of the “random moment” into which an entire life is condensed. In the avowed fictions of literature as well as in the unavowed fictions of politics, social science or journalism, the central question is the same: how to construct the perceptible forms of a shared world. From Stendhal to João Guimarães Rosa and from Marx to Sebald, via Balzac, Poe, Maupassant, Proust, Rilke, Conrad, Auerbach, Faulkner and some others, this book explores these constructions and sheds new light on the constitutive movement of modern fiction, the movement that shifted its centre of gravity from its traditional core toward those edges in which fiction gets confronted with its possible revocation.

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An essential analysis of cinema from one of the great figures of French philosophy. Cinema, like language, can be said to exist as a system of differences. In his latest book, acclaimed philosopher Jacques Rancière looks at cinematic art in comparison to its corollary forms in literature and theatre. From literature, he argues, cinema takes its narrative conventions, while at the same time effacing literature’s images and philosophy; and film rejects theatre, while also fulfilling theatre’s dream. Built on these contradictions, the cinema is the real, material space in which one is moved by the spectacle of shadows. Thus, for Rancière, film is the perpetually disappointed dream of a language of images.

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Rancière's classic essays from the 1970s, as he was developing his distinctive method. These essays from the 1970s mark the inception of the distinctive project that Jacques Rancière 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. For the short-lived journal Les Révoltes Logiques , Rancière wrote on subjects ranging across a hundred years, from the California Gold Rush to trade-union collaboration with fascism, from early feminism to the «dictatorship of the proletariat,» from the respectability of the Paris Exposition to the disrespectable carousing outside the Paris gates. Rancière characteristically combines telling historical detail with deep insight into the development of the popular mind. In a new preface, he explains why such «rude words» as «people,» «factory,» «proletarians» and «revolution» still need to be spoken.

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Rancière’s magnum opus on the aesthetic. Composed in a series of scenes, Aisthesis–Rancière’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 Mallarmé to the Folies-Bergère, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Rancière 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.

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Rethinking the role of the radical public intellectual. Following the previous volume of essays by Jacques Rancière from the 1970s, Staging the People: The Proletarian and His Double , this second collection focuses on the ways in which radical philosophers understand the people they profess to speak for. The Intellectual and His People engages in an incisive and original way with current political and cultural issues, including the &#8220;discovery&#8221; of totalitarianism by the &#8220;new philosophers,&#8221; the relationship of Sartre and Foucault to popular struggles, nostalgia for the ebbing world of the factory, the slippage of the artistic avant-garde into defending corporate privilege, and the ambiguous sociological critique of Pierre Bourdieu. As ever, Rancière challenges all patterns of thought in which one-time radicalism has become empty convention.

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Jacques Rancière, sin duda uno de los filósofos más relevantes de la actualidad, realiza aquí un recorrido exquisito por la historia de la literatura en el que analiza la naturaleza y las modalidades del cambio de paradigma que destruyó el sistema normativo de las Bellas Letras, al tiempo que se pregunta por las contradicciones y tensiones de la literatura hoy. Rancière propone una nueva interpretación de este cambio, donde la literatura ya no será «ni la idea imprecisa del repertorio de las obras de la escritura ni la idea de una esencia particular capaz de conferir a esas obras su calidad 'literaria'», sino «el modo histórico de visibilidad de las obras del arte de escribir, que produce esa distinción». Antes que preguntarse por el concepto de literatura –y distanciándose de posiciones como las de Sartre o Blanchot–, para Rancière resultará más interesante indagar acerca de las condiciones que hacen posible enunciar tal o cual principio o definición. Un análisis histórico filosófico de la literatura en un libro que se ha convertido en una referencia ineludible para la crítica literaria contemporánea.

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