Os regimes de identificação das artes e o cinema no contexto da política-estética de Jacques Rancière

Abstract

Jacques Rancière argues that the attempts of philosophy to understand the aesthetic and political revolutions throughout history were insufficient or erroneous and presents a new way to bring together aesthetics and politics in order to understand the movements of the structure he calls the distribution of the sensible. This work presents, first, an analysis of the three regimes of arts, namely: ethical, representative and aesthetic; relating them to their respective powers to maintain the distribution of the sensible (police) or cause disruptions (policy) that change that distributions. The first two regimes are analysed in the first chapter, exposing the problems encountered by Rancière in each of them, especially with regard to the second regime, which, according to the author, still very present in contemporary times, and is the system in which are part of many authors who think contemporary aesthetics. The second chapter, dedicated to the aesthetic regime, aims to demonstrate the origins of the aesthetic revolution from a review of the spectator's role, thought whose origin Rancière extracts from Schiller and whose revolution is found in the literature since Flaubert, on the power of the mute speech. It intends to use the latter concept, the muteness of things that speak, to examine how the aesthetic regime scheme redefine our relationship with the images, which will be demonstrated through the analysis that Rancière makes of the thwart of the film images, of the thwarted fable. Finally, the role of these specific images (images of arts) will be shown in the context of politics, which for Rancière is inseparable from the aesthetic.