This paper engages with radical democratic theory in light of the so-called ‘return of the people’ taking place in contemporary political discourse. I argue that the return of the people should not be seen only as a return of politics strictly speaking, but also as a process by which elements of the social that had previously been excluded from politics enter the political sphere. Framing the problem in this way calls for a view to how politics is circumscribed, distinguished from (...) the social but also, at various moments, broken open. At the same time, I call for paying increased attention to how the notion of the people takes shape beyond the political sphere, off the metaphorical political stage. By examining how the people is constructed in cultural and social movements, off the political stage, we can better understand the form taken by the people when it appears in politics. (shrink)

This article argues that an engagement with the powerful critical insights of Žižek’s theory of ideology and practice of cultural critique is a necessary step for any art historical methodology which aims to fully account for a work of art’s function within the society of its creation and reception, and to explain how it came to play such a role. However, any attempt to situate cultural artefacts within historically contingent networks of social relations requires an account of historical change incompatible (...) with any formalist or transcendentalist methodology. Moreover, if it is to be of any use as an academic discourse, art history must be able to account for the specifities of ‘art’ as a distinct—but not autonomous—sphere of human activity. It is precisely these two issues that a wholesale importation of Žižek’s writing into the domain of art history encounters. A solution must be found whereby the critical lessons of Žižek are not ‘lost in translation’. In this vein, the present article begins by outlining Žižek’s conception of ideology and elucidating the problematic consequences of any straightforward application of its parameters as an art historical methodology. It then reads the interventions of Jacques Rancière and Judith Butler as providing the necessary theoretical tools by which one can construct the possibility of a powerful Žižekian art historical methodology. (shrink)