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Aesthetics and its discontents

Author: Jacques Rancière
Publisher: Cambridge, UK ; Malden, MA : Polity Press, ©2009.
Edition/Format:   Book : English : English ed. (with minor revisions)View all editions and formats
Database:WorldCat
Summary:
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 for 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  Read more...
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Document Type: Book
All Authors / Contributors: Jacques Rancière
ISBN: 9780745646305 0745646301 9780745646312 074564631X
OCLC Number: 291391534
Language Note: Translation of: Malaise dans l'esthétique.
Description: 143 pages ; 22 cm
Contents: Politics of aesthetics --
Aesthetics as politics --
Problems and transformations of critical art --
The antinomies of modernism --
Alain Badiou's inaesthetics : the torsions of modernism --
Lyotard and the aesthetics of the sublime : a counter-reading of Kant --
The ethical turn of aesthetics and politics.
Other Titles: Malaise dans l'esthétique.
Responsibility: Jacques Rancière ; translated by Steven Corcoran.

Abstract:

Aesthetics is not a politics by accident but in essence. But this politics operates in the unresolved tension between two opposed forms of politics: the first consists in transforming art into forms  Read more...

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"Riveting. In short compass, Ranciere provides a razor-sharp critique of the anti-aesthetics of postmodernism. His ear for the substitution of political substance by empty moralism call it: the Read more...

 
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schema:description"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 for 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 this politics operates in the unresolved tension between two opposed forms of politics: the first consists in transforming art into forms of collective life, the second in preserving from all forms of militant or commercial compromise the autonomy that makes it a promise of emancipation. This constitutive tension sheds light on the paradoxes and transformations of critical art. It also makes it possible to understand why today's calls to free art from aesthetics are misguided and lead to a smothering of both aesthetics and politics in ethics."@en
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