La presente tesis pretende estudiar los textos fílmicos del filósofo francés Alain Badiou con el objetivo de sustraer el papel que juega el cine en su proyecto de (re)comienzo de la filosofía. De esta manera hemos dividido su exposición en dos partes: el estudio de su proyecto de (re)comienzo filosófico y el estudio del papel que juega el cine en dicho proyecto y de su teoría fílmica implícita. En la primera parte trataremos de justificar en qué medida su proyecto puede ser entendido como un intento de reivindicar la tarea filosófica como la eterna tarea de educar a pensar la contemporaneidad de manera universal e igualitaria. Así en primer lugar expondremos como este proyecto tiene sus fundamentos en la teoría de causalidad estructural althusseriana, en la teoría subjetiva de los afectos lacanianos y en la teoría dialéctica maoísta. A partir de cada una de estas teorías definiremos tres dimensiones fundamentales del proyecto filosófico de Badiou, a saber, la dimensión formal o intelectual, la dimensión afectiva o ética, y la dimensión didáctica o igualitaria. Por un lado, veremos cómo las dimensiones intelectual y ética subyacen en la búsqueda de un sistema formal y afectivo, respectivamente, con el que la filosofía puede orientarse en su tarea eterna de pensar en el presente. A este sistema de pensamiento formal-afectivo Badiou le denominará "teoría de del sujeto". Por otro lado veremos cómo, Badiou encuentra en el proyecto platónico de una educación según la universalidad de la Idea -proyecto que Platón desarrolló para hacer frente a la educación según la opinión relativa propia del sofismo dominante de su época-, el modelo al que debe acudir la filosofía para renovarse como pensamiento eterno de la contemporaneidad. Expondremos, por tanto, cómo la renovación de la filosofía contemporánea pasa por concebirla como la puesta en práctica de un proceso pedagógico por el que se transmite un sistema formal y afectivo para pensar el Sujeto o la Idea del presente. / García Puchades, W. (2012). EL LUGAR DEL CINE EN EL PENSAMIENTO FILOSÓFICO DE ALAIN BADIOU [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/14862 / Palancia

This thesis considers Virginia Woolf’s The Years (1937) in relation to Jacques Rancière’s thinking of the politics of literature. It examines the novel’s different spatial configurations and the relationships it establishes between private and public spaces, home and city, inner and outer. The thesis puts particular emphasis on the novel’s many windows in order to show how they mediate these relationships between different spaces and rooms and how these relationships in turn relate to the political through what the windows present and make visible to the observer and in what way. It also shows how different kinds of spaces in the novel continually open up to their outside. In addition to Rancière’s thinking of the politics of literature in general this thesis also draws on his readings of Woolf in order to establish a dialogue between the two. The thesis reconsiders the prevalent view of the political aspect of the novel and shows how the novel’s politics lies not solely in its tracing of changes in society or its representation of the relationship between private and public spaces, but also in the way it configures sensible experience and its inherent possibilities.

v anglickém jazyce Proposed thesis focuses on the writings of french theoretician Jacques Rancière. Particular emphasis is put on a manner, in which the spheres of aesthetics and politics appear and intervine in Rancière's works. The consequence of forementioned delimitation of the subject of my interest is that the thesis doesn't fully embody Rancière's thought. Mainly because of the restricted space, i omitted Rancière's historiographical works and also texts that deal with the narrowly defined questions of literature and film. Despite of those limitations, my goal is to provide a monographical introduction to Rancière's thought. This monograph, on the one hand, doesn't claim the complete coverage of Rancière's works, but it aims, on the other hand, to provide the overall insight into the essential questions that shaped (and still shape) Rancière's thought.

Esta tesis propone una lectura y evaluación crítica de la propuesta de Jacques Rancière de dar una solución a las tensiones históricas y actuales entre el arte y la política. Para esto Rancière ofrecerá el concepto de régimen estético del arte, que definirá lo estético ya no como belleza o sensibilidad, sino como la indeterminación de lo que es propio del arte que caracteriza a la modernidad. Este concepto servirá para realizar una relectura de la historia del arte moderno y contemporáneo, así como para entender la politicidad del arte de tal manera que no implicará ni una renuncia a la calidad y búsquedas formales de un arte puro, ni tampoco un alejamiento de las contradicciones y antagonismos sociales. Mi objetivo es evaluar esta “solución” investigando más precisamente qué se quiere solucionar, cómo se soluciona y si esta solución está a la altura del problema que se plantea. Para esto divido mi tesis en tres capítulos. El primero es una reconstrucción del debate moderno sobre las relaciones entre arte y política; que me servirá para comprender el estado del problema del arte político al que se enfrenta Rancière. El segundo es una lectura cercana de la obra de Rancière que concluye que su solución se basa en las relecturas gemelas de los conceptos de la estética y de la política, que se relacionan a través de una lógica de la indeterminación. El tercer capítulo plantea una evaluación a este principio de la indeterminación, donde se visibilizan dos problemas teóricos en el pensamiento de Rancière que lo llevan a generalizar el principio de la indeterminación tanto en el arte y la política, lo que termina ocluyendo dimensiones de lo estético y lo político que son importantes para pensar la historia del arte moderno, así como la transformación social. El primero de estos problemas es la deshistorización de las temporalidades específicas que operan en el marco temporal e institucional del régimen estético (la vanguardia, el modernismo y lo contemporáneo) en un solo principio que es, además, políticamente inocuo respecto a la temporalidad del capitalismo contemporáneo. El segundo es un sesgo antisociológico que impide una mayor profundidad sociohistórica a sus conceptos estéticos, así como lo lleva a ignorar la dimensión estética existente en los proyectos políticos. Finalmente, estos problemas también lastran la operatividad política del arte político “ranciereano”, así como la justificación normativa de su teoría de la emancipación.

This thesis examines the politics of poetry in works by the contemporary Swedish poets Jörgen Gassilewski and Lars Raattamaa. This is accomplished within a theoretical framework based on the aesthetic philosophy of Jacques Rancière and his understanding of politics, aesthetics, and artistic forms and practices. The thesis aims to elucidate the politics of poetry in Gassilewski and Raattamaa beyond the political categories of engagement and activism, and argues that poetry is political in and of itself, as a way of reconfiguring common forms of sense experience. Proceeding from the philosophy of Rancière and his understanding of montage and of historical discourse the thesis shows how the kaleidoscopic poetry of Gassilewski in skapelsens sedelärande samtal (2002) and Raattamaa’s poetry structured around names from the history of communism in Kommunismen (2014) propose political possibilities by intervening in the configurations of the forms of the sensible. The thesis also shows how a poetics of sprawl is explicitly elaborated on the basis of the concept of urban sprawl in the writings of Raattamaa which can be encountered in different ways in the work of both poets more broadly.

This essay provides a thorough reading of Gilles Deleuze’s (1925–95) philosophy of nature and the way music relates to this philosophy. It does so with regards to changes in the view of nature in 20th century science, especially in the theories of self-organisation as developed by, among others, Ilya Prigogine. Deleuze’s metaphysics is viewed in relation to these theories, and is also compared to the philosophy of Immanuel Kant, which is related to classical science. The essay then investigates certain key issues in Deleuze’s philosophy concerning difference and univocity (or immanence), developed in his doctoral thesis Différence et répétition (1968). Also, certain aspects of the further evolution of this philosophy of immanence in Mille plateaux (1980), co-written with Félix Guattari, are examined. The essay then studies the role of aesthetics in Deleuze’s philosophy, and the way he transforms the aesthetics of Kant. The following chapter deals with Deleuze & Guattari’s primary text concerning music, ”De la ritournelle” in Mille plateaux. In this text, they develop a highly abstract concept of music, which, in their philosophy, is: 1) granted a cosmological reach regarding rhythms and motives; 2) made an essential aspect of the emergence of art, which they find in animals creating a territory (especially in the songbird); 3) used to discuss Baroque/Classicist, Romantic and 20th century musical styles. Apart from analysing these aspects, this chapter focuses on 20th century music, with a thorough examination of Gustav Mahler and of spectral music, demonstrating that Deleuze’s philosophy can deepen the understanding of this music. The chapter also discusses problematic tendencies in Deleuzian research on contemporary music, which does not take the entirety of Deleuze’s philosophy of nature into account. This essay argues that such knowledge is necessary to correctly examine the implications of Deleuze & Guattari’s philosophy of music. The lack of awareness of Deleuze’s philosophy of nature is also significant in the critique that Deleuze’s aesthetics has received by Jacques Rancière, which is analysed in the final chapter. This chapter also discusses Michael Gallope’s reading of Deleuze & Guattari, in which he makes a distinction between a metaphysical and an ethical-aesthetic philosophy of music. Although the relation between metaphysics, ethics, and aesthetics, is key to understanding their philosophy of music, this essay argues that Gallope’s idea of what sort of music they advocate is incorrect.

As Sweden approached its 2006 national election, issues on order and discipline in educational environments came to the forefront of educational interest, debate, and reform. This thesis aims at a critical discussion of the discourses in question, making use of educational, post-structural as well as political philosophy. In a series of articles, disciplinary policies are contextualized within current understandings of major trends in global educational politics; empirically investigated with a focus on resistance and political subjectivation; but also theoretically/ philosophically examined with the intention of bringing alternative conceptualizations of discipline to light. As a result, it is concluded that the political platform supporting contemporary school discipline is highly ambiguous, especially in terms of the different subjectification ideals that it embodies. In consequence, substantial possibilities for resistance, political influence and creative subjectification emerge in the breaks and ruptures between neoliberal and neoconservative territory. As for the disciplinary policies themselves, this thesis highlights the possibility that they amount to little more than a powerful simulation; a mode of perceptual management rather than a hands-on engagement with the real demands of contemporary education. An alternative route, the thesis suggests, would be to radically re-conceptualize the meaning and relevance of discipline – using, for instance, philosophers like Gilles Deleuze, Félix Guattari and Jacques Rancière – but also while taking notice of relevant discussions in the fields of complexity and chaos theory. Such a re-conceptualization would allow for an immanent form of discipline, one that affords a circular segmentation to emerge; contextualized and sensitized to the particular demands of each learning situation rather than pre-stratified, pre-territorialized according to the ideals of classical discipline. / Syftet med den här avhandlingen är, att inom ett pedagogiskt-filosofiskt ramverk föra en kritisk diskussion av 2000-talets skolpolitiska diskurser om disciplin och ”ordning & reda”. Med hjälp av filosofer som Deleuze & Guattari, Foucault, Baudrillard och Rancière diskuteras den moderna disciplinens utmaning: att svara an på sin egen samtids behov av ordning och reda.   I sömmarna mellan de politiska krafter som den nya disciplinen hämtar sin kraft ur – neoliberalism och neokonservatism – identifierar avhandlingen också möjligheter till motstånd. Genom att påvisa de skillnader och komplexiteter som finns under ytan av politisk konsensus, utgör dessa former av motstånd nya potentialer till politiskt inflytande – samt nya möjligheter till kreativa subjektblivanden.   Slutligen hävdar studien, att vägen till en gräsrotsförankrad skoldisciplin för 2000-talet knappast kan ligga i återuppväckandet av forna tiders maktutövning, utan i en radikal omtolkning av disciplinbegreppet – en som tillvaratar den moderna människans förutsättningar till självdisciplin och självorganisering. En förutsättning är att vi, som en kontrast till neoliberalismens självtillräckliga subjektivitetsideal, börjar utforska subjektivitetens kollektiva och territoriella karaktärer.

The Great War (1914-1918) caused important changes in space and the sensory-motor apparatus of men. Technological advances and experiences of transformation of perception added to the war and cinema space articulate extremely rich interpretative possibilities. We understand these modifications as an aesthetic problem. From this, we make movies about the war of 1914-1918, object of our analysis. To this, approach the thought of Jacques Rancière, the concept of aesthetic regime of art and the visibilities brought by Paul Virilio, with the concept of dromologia . / A Grande Guerra (1914-1918) provocou alterações importantes no espaço e no aparelho sensório-motor do homem. Os avanços tecnológicos e as experiências de transformação da percepção somadas ao espaço da guerra e do cinema articulam possibilidades interpretativas extremamente ricas. Entendemos essas modificações como um problema estético. A partir disso, fazemos dos filmes sobre a guerra de 1914-1918, objeto de nossa análise. Para tal, nos aproximamos do pensamento de Jacques Rancière, no conceito de regime estético das artes e das visibilidades interpostas por Paul Virilio, com o conceito de dromologia . / Mestre em História

Rédigé sous la direction de Michèle Garneau, le mémoire porte sur l’intégration du bruit en musique, de la révolution romantique au noise rock, pensée à travers la notion de « régime esthétique » théorisée par Jacques Rancière : mode d’expérience particulier selon lequel la pensée occidentale identifierait, depuis environ deux siècles, ce qui fait ou non oeuvre d’art. En opposition avec la poétique aristotélicienne et ses solides hiérarchies, qui façonnent le goût dominant de l’Antiquité aux Lumières, le nouveau paradigme reposerait sur la réconciliation des contraires : le noble et le vulgaire, l’actif et le passif, le conscient et l’inconscient etc. Ce processus d’indifférenciation est au coeur de notre réflexion. Seulement, là où Rancière privilégie la littérature, le cinéma et les beaux-arts, nous proposons de nous intéresser à la musique : aux pratiques et aux discours qui, depuis le romantisme, brouillent ses définitions et la font glisser vers le bruit. Un projet qui nous conduira du « tout parle » de Novalis au « tout ce que nous faisons est de la musique » de John Cage, de l’« harmonie des contraires » de Victor Hugo à la « totalité » rock de Richard Meltzer, de la « négation de l’idéal » de Gustave Courbet au refus radical de la no wave. / Written under the supervision of Michèle Garneau, this master’s thesis discusses the integration of noise in music, from the Romantic revolution up to the advent of post-punk, seen through the notion of "aesthetic regime" theorised by Jacques Rancière : a particular mode of experience according to which the Western thought would identify, since about two centuries, what makes or doesn’t make art. In opposition with the Aristotelian poetics and its solid hierarchies, which shape the dominant taste from the Ancient Greece up to the Enlightenment, the new paradigm is said to be based on the reconciliation of the contraries : the noble and the vulgar, the active and the passive, the conscious and the unconscious, etc. This process of indifferentiation is at the core of our work. Only, where Rancière favours literature, cinema and the fine arts, we propose to concentrate on music : on the practices and the discourses that, since the Romantic era, blur his definitions and make it slip into noise. A project that will take us from Novalis’ "everything speaks" to John Cage’s "everything we do is music", from Victor Hugo’s "harmony of the contraries" to Richard Meltzer’s rock "totality", from Gustave Courbet’s "negation of the ideal" to no wave’s radical refusal

The past two decades of political and social disintegration in Bosnia and Herzegovina have given birth to literary counterreactions against hegemonic ways of imagining social life in the country. This thesis deals with a particular practice in BosnianHerzegovinian war and post-war literature, which uses infantile perspectives to critically address issues related to the socialist history of Bosnia as part of Yugoslavia, the war in the 1990s, and the socalled transitional post-war period. Drawing on an old Western literary tradition of using the child character to estrange conventional experiences of the world, the texts (by authors such as Miljenko Jergović, Nenad Veličković, Alma Lazarevska, Aleksandar Hemon, and Saša Stanišić) use the skewing and dislocating outlook associated with the infantile subject to expose and undermine perceivably problematic mechanisms in socialist, ethnonationalist, and Western liberal hegemonic discourses. In contrast to previous research on the topic, which has primarily focussed upon the narratological conditions for the infantile perspective, the focus here is on the subversive infantilisation of hegemonic discourse—that is, the very discursive act of representing and contesting dominant concepts, narratives, and representations. The texts are seen as transitional areas through which input from the social world passes and, in this process, is restructured and ultimately transformed into a configuration slightly or radically different from the original input. Theoretically inspired by discourse theory and ideas from New Historicism, the study isolates and investigates a set of techniques through which this reconfiguration occurs. Apart from discussing the use of the basic infantile perspective as such a technique, the study also considers how the notion of the infantile influences techniques of dichotomisation (the production of positional counterpoints), appropriation (the critical subsuming of dominant discourse), and blending (the mixing of dominant and childish imagery). The thesis also addresses the possible political implications of the strategy of subversive infantilisation. Here the approach is influenced by the political philosophy of Jacques Rancière, which enables an understanding of the aesthetic reconfiguration of how Bosnian social life is imagined as a way of constituting a new form of subjectivity that evades the excluding and oppressive framework of hegemonic discourse.