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| McQuillan_The Intelligence of Sense_ranciere's aesthetics | |||||
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작성자 관리자
 작성일 2014.01.12
AESTHETICS Colin McQuillan (University of Tennessee Knoxville) In this paper, I argue that Jacques Ranciere does not propose a purely sensible conception of the aesthetic in his recent writings on art. Unlike many contemporary philosophies of art, Ranciere’s aesthetics retains an important cognitive dimension. Here, I bring this aspect of Ranciere’s aesthetics into view by comparing the conception of intelligence found in his earlier works with his more recent writings on art, showing that intelligence and sense are distributed in the same ways. The distinction between them is, moreover, governed by the same politics. Ranciere’s analysis of the sensible and the intellectual breaks down the distinction between them and establishes their equality. 1. Introduction Georg Wilhelm Friedrich Hegel called his course on the philosophy of art “Lectures on Aesthetics” (Vorlesungen uber die Asthetik, 1820–29). Yet he began his lectures with an apology, explaining why he thought his title was inappropriate. “Aesthetics,” Hegel says, “means more precisely the science of sensation or feeling.”1 “Thus understood,” he continued, “it arose as a new science, or rather as something that was to become a branch of philosophy for the first time, in the school of Wolff, in an epoch when works of art were being considered in Germany in the light of the feelings which they were supposed to evoke—feelings of pleasure, admiration, fear, pity, etc.” (ILA, 3) It was this emphasis on sensation and feeling (Empfindungen), so characteristic of eighteenth-century reflections on art, that Hegel found so objectionable in aesthetics.... | |||||
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