This book explores an often neglected current in contemporary French political thought that challenges the limits of the concept of democracy. It situates the projects of Jacques Ranciere, Claude Lefort and Miguel Abensour in relation to each other, as well as to the larger philosophical question of the nature of democracy itself. In doing so, Bryan Nelson illuminates democracy's potential as a profound emancipatory and transformative project, offering an unprecedented challenge to modes of domination, strategies of inequality and hierarchies of (...) all kinds. Against prevailing interpretations, the author draws on the central concepts, problems and polemics in the works of Ranciere, Lefort and Abensour to develop a bold conception of democracy that allows us to rethink its character, power and broader social and political implications. (shrink)

This article locates Ernesto Laclau’s populist reason as a point of departure to understand the contemporary democratic logic and its so-called ‘excesses’. It argues that, even if resourceful, Laclau’s findings can be supplemented with a theory of the imaginary as developed by Cornelius Castoriadis, as well as with key remarks from a discussion of the theologico-political as this was characterized by Claude Lefort. The aim is to construct an understanding on the political as it is structured by language and the (...) symbolic, presenting thus democracy and populism as two opposing sides of a foundational political myth. (shrink)

Do psychological perspectives constitute the only way through which the role of musical creativity in education can be addressed, researched and theorised? This essay attempts to offer an alternative view of musical creativity as a deeply social and political form of human praxis, by proposing a perspective rooted in the thought of the political philosopher and activist Cornelius Castoriadis (1922–1997). This is done in two steps. First, an attempt is made to place the pursuit of the concept of musical creativity (...) within a larger educational and societal context of conflicting trajectories that run through (a) Modernity and (b) Education. Then, I revisit the issue of educational value of improvising and composing through creating conceptual links between the process of music-making through improvisation and composition and the project of political autonomy as conceived by Castoriadis. By foregrounding instituting imaginary over instituted imaginary, improvising and composing become active processes of positing new legitimacies, and of creating a music-making context that searches for its own foundations. It is in and through creative musical praxis that we can think about issues of hierarchies, musical values, social dimensions of different music-making processes, our relationship to past values and to historical dimensions of music. By arguing that improvisation and composition might be seen as ways of positing the issue of political autonomy in musical terms, this paper emphasises the role of improvisation and composition as a mode of potentially transformative educational practice that may foster the development of critical consciousness, linking music education to a larger project of re-discovering and at the same time re-defining democracy. (shrink)

This paper examines Honig’s use of Rancière in her book ‘Democracy and the Foreigner’. In seeking to clarify the benefits of ‘foreignness’ for democratic politics it raises the concern that Honig does not acknowledge the ways in which her own democratic cosmopolitanism may be more akin to Rancière’s police than politics. By challenging Honig’s assertion that democracy is usually read as a romance with the suggestion that it is more commonly read as a horror, I unpick the interstices of Honig’s (...) and Rancière’s work to separate foreignness from democratic cosmopolitanism. Instead, although I posit democratic cosmopolitanism’s potential as a police more conducive to politics I also suggest that the particular salience of Honig’s ‘foreigner’ figure is that it supplements Rancièrian politics, demonstrating a praxis of ‘looking anew’ at our ordinary social practices. By making these seem strange to us, we can discover a new critical perspective from which to question and subvert, thereby furthering the potential of Rancièrian democratic politics. (shrink)