Abstract

In The Disavowed Community, Jean-Luc Nancy presents a critique of his seminal 1983 essay “The Inoperative Community.” According to Nancy, his error in attempting to derive a politics from Maurice Blanchot’s concept of unworking lay in conflating politics and ontology. This paper suggests that Nancy’s self-critique is only partially correct. The problem ultimately resides in the theory of unworking itself, I argue, not its misapplication. In pursuing this contention, I trace out the tacit response to the exchange between Nancy and Blanchot developed in Jacques Rancière’s early writings on aesthetics. Rancière’s turn to aesthetics is best understood, I propose, as an intended corrective to Blanchot’s influence on post-Marxist theory. Focusing on Rancière’s critiques of Blanchot in Mallarmé: Politics of the Siren and Mute Speech, I show how Rancière’s rival account of modern art answers the question of non-identitarian left politics that Nancy posed in “The Inoperative Community.”