The article presents an introduction to the Special Issue on the French philosopher Jacques Rancière who raises a provocative voice in the current public debate on democracy, equality and education. Instead of merely criticizing current practices and discourses, the attractiveness of Rancière's work is that he does try to formulate in a positive way what democracy is about, how equality can be a pedagogic or educational (instead of policy) concern, and what the public and democratic role of education is. His (...) work opens up a space to rethink and to study, as well as to ‘re-practice’, what democracy and equality in education are about. He questions the current neutralisation of politics that is motivated by a hatred of democracy. This questioning is for Rancière also a struggle over words. Against the old philosophical dream of defining the meaning of words, Rancière underlines the need for the struggle over their meaning. The aim of the article is to clarify how and why education, equality, and democracy are a major concern throughout his work and to offer an introduction to the articles collected in the Special Issue. (shrink)

Through the many reinterpretations of Freud’s essay Das Unheimliche (1919) within French Postmodernism, in recent decades, the uncanny has become a vague synonym for the methodology of deconstruction. The article aims to disambiguate the uncanny by reestablishing its characterizing nucleus and relocating it within the aesthetics through the philosophy of Stanley Cavell. The American philosopher claims that this feeling can be generated by drawing attention to the ordinary, which is so close and familiar to fade out of focus. Cavell and (...) the German Philosopher Juliane Rebentisch following him show that artistic practices can reinforce this experience, as through displacements and dislocations, they deprive objects of daily use and ordinary matters of their familiarity and force us to look more closely at their material, sensorial, and phenomenological dimensions. In this way, Cavell and Rebentisch offer a path to reconstitute a stable conceptual framework for defining the uncanny, linking it to Freud’s definition of something familiar appearing in an unfamiliar light. At the same time, they also propose a novelty by interpreting the uncanny not as inherently frightening and disturbing but as a compelling affective state that encourages a willingness to reappropriate and rediscover the ordinary. (shrink)

This article aims at theorizing a creative and processual theory of non-heterosexual identity. It will be argued that, so far, scholars have tended to theorize non-heterosexual identity from a monologic perspective, which establishes one-sidedly a casual and/or unproblematic relation between the emergence of forms of psychological suffering and the development of a non-heterosexual identity. Although it must be recognized that such a claim is important at a political level, at a subjective level, it leaves non-heterosexual people destined to be flooded (...) by distressing and painful emotional states. To counter monologism within theorisations of non-heterosexual identity development, without ignoring the negative impacts of heteronormativity, it will be argued that non-heterosexual identity needs to be theorized 1) as part of a creative process situated in a specific sociohistorical context marked by heteronormativity, 2) as part of a situated process that produces and never ceases to produce multiple effects (self-states), which are unified to create an identity, and 3) as part of a situated process of creation that can be artificially transformed through art. These are the three claims that will move forward the argument of this article. (shrink)

The article is dedicated to the revelation of heuristic potential of hermeneutic image conception within discussions on contemporary visual culture. H. G. Gadamer has analysed the image as the visual, spatial and social phenomenon expanding and thereby transforming the accustomed notion of iconic experience. The image is not primarily an object of research for aesthetics and art criticism, but a social phenomenon which has to be considered in its real and imagined character as well as in its interrelations with the (...) lived world structures. By blurring boundaries between art and life in his image theory Gadamer opens up an array of opportunities for the analysis of iconic practices in all their variety: from science to theater. (shrink)