Por Maria Clara
The author Jacques Rancière presented any art splendor in the book "Aisthesis: Scenes from the Aesthetic Regime of Art" that brought me a lot of inspiration and aroused emotions in my chest.
The postures of modernism I have presented in this book clearly and very didactic.
Jacques Rancière (born 1940) is a French philosopher Professor of Philosophy at European Graduate School in Saas-Fee and Emeritus Professor of Philosophy at the University of Paris (St. Denis) who came to prominence when he co-authored Reading Capital (1968), with the structuralist Marxist philosopher Louis Althusser.
Rancière contributed to the influential volume Reading Capital (though his contribution is not contained in the partial English translation) before publicly breaking with Althusser over his attitude toward the May 1968 student uprising in Paris; Rancière felt Althusser's theoretical stance didn't leave enough room for spontaneous popular uprising.
Since then, Rancière has departed from the path set by his teacher and published a series of works probing the concepts that make up our understanding of political discourse, such as ideology and proletariat. He sought to address whether the working class in fact exists, and how the masses of workers that thinkers like Althusser referred to continuously enter into a relationship with knowledge, particularly the limits of philosophers' knowledge with respect to the proletariat. An example of this line of thinking is Rancière's book entitled Le philosophe et ses pauvres (The Philosopher and His Poor, 1983), a book about the role of the poor in the intellectual lives of philosophers.
More recently Rancière has written on the topic of human rights and specifically the role of international human rights organizations in asserting the authority to determine which groups of people — again the problem of masses — justify human rights interventions, and even war.
Rancière's book, The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation (original title Le Maître ignorant: Cinq leçons sur l'émancipation intellectuelle, published in 1987) was written for educators and educators-to-be. Through the story of Joseph Jacotot, Rancière challenges his readers to consider equality as a starting point rather than a destination. In doing so, he asks educators to abandon the themes and rhetoric of cultural deficiency and salvation. Rather than requiring informed schoolmasters to guide students towards prescribed and alienating ends, Rancière argues that educators can channel the equal intelligence in all to facilitate their intellectual growth in virtually unlimited directions. The schoolmaster need not know anything (i.e., s/he may be ignorant). Rancière begins with the premises that all are of equal intelligence and that any collective educational exercise founded on this principle can provide the insights from which knowledge is constructed. He claims that the poor and disenfranchised should feel perfectly able to teach themselves whatever it is they want to know. Furthermore, anyone can lead, and the oppressed should not feel bound to experts or reliant on others for their intellectual emancipation.
Joseph Jacotot advocated the 'equality of intelligence' and claimed that an ignorant person could teach another ignorant person. Rancière developed this idea in The Ignorant Schoolmaster, saying that “there is stultification whenever one intelligence is subordinated to another ... whoever teaches without emancipating stultifies”.
Check out the summary of Aisthesis book – Rancière, Jacques – ISBN: 1781683085 and see where to buy in online store.
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.