Contemporary philosopher Jacques Rancière has been criticized for a conception of “politics” that is insensitive to the diminished agency of the corporeally oppressed. In a recent article, Dana Mills locates a solution to this alleged problem in Rancière most recent book translated into English, Aisthesis, in its chapter on Mallarmé’s writings on modern dancer Loïe Fuller. My first section argues that Mills’ reading exacerbates an “homonymy” (Rancière’s term) in Rancière’s use of the word “inscription,” which means for him either (...) a vicious literal carving on living bodies, or else a virtuous figurative carving on nonliving bodies. The former, I call “bodily carving,” while the latter is the “corporeal writing” that I take Mallarmé to affirm in Fuller. My second section observes that Rancière himself misses a homonymy in Mallarmé on Fuller, namely “dance,” meaning either “ballet” or dance in general (including Fuller’s). My third section concludes that Rancière’s chapter on Fuller includes another “dance” homonymy, meaning either “concert dance” or what I term a new “art of meta-movement” in Fuller. The latter art, I conclude, is equivalent to Mallarmé’s “corporeal writing,” and can be understood as a new form of dance education, in pursuit of a new utopia of worker-dancers. (shrink)

Quentin Meillassoux es un joven filósofo al que ya algunos consideran una estrella en el firmamento del pensamiento contemporáneo. Es el cabeza de fila de una nueva concepción filosófica, el “Realismo Especulativo”, que se pretende una revolución respecto de toda o prácticamente toda la filosofía habida desde Kant. Su obra principal, hasta ahora, es el libro Après la finitude, lo que podríamos traducir por “Después de la finitud”, y que lleva por subtítulo “Ensayo acerca de la necesidad de la contingencia”. (...) Ha escrito, también, varios artículos, un libro sobre Mallarmé, en el que sostiene haber hallado la codificación numérica de un poema del críptico poeta francés, y un libro aún no publicado, pero que circula por ahí, titulado L’inexistence divine. Se le augura una obra futura de gran relevancia. Meillassoux tiene un estilo bastante sobrio, contundente, “cartesiano”, pero con pasajes, también, de gran belleza concentrada. Se respira en sus escritos una calurosa frialdad, un apasionado antidramatismo, una muy racionalizada prédica de la falta de razón de todas las cosas, una profunda intuición de la superficie. (shrink)

A paradox, it is claimed, is a radical form of contradiction, one that produces gaps in meaning. In order to approach this idea, two senses of “separation” are distinguished: separation by something and separation by nothing. The latter does not refer to nothing in an ordinary sense, however, since in that sense what’s intended is actually less than nothing. Numerous ordinary nothings in philosophy as well as in other fields are surveyed so as to clarify the contrast. Then follows the (...) suggestion that philosophies which one would expect to have room for paradoxes actually tend either to exclude them altogether, or to dull them. There is a clear alternative, however, one that fully recognizes paradoxes and yet also strives to overcome them. (shrink)

The article examines the conjunction of writing and the Hegelian theory of recognition as it appears in Jean-Paul Sartre's text "Why Write?" The author argues that Sartre's theory of literature is not only a theory of literature as conversation and communication, but also a theory about the relation to a certain silence, and since literature and recognition go together in Sartre's text, the presence of silence has consequences for his theory of recognition.