Abstract

Like all discourses on the ‘other’, Bataille’s heterology is faced with the problem of conceptualizing the heterogeneous, while preserving its alterity, its fundamental resistance to conceptual thought. This paper interrogates the potential parallels between this aspect of Bataille’s notion and some of the prevalent concerns of contemporary and traditional aesthetics. The argument is based on the idea that theories of the aesthetic, akin to Bataille’s heterology, are always inevitably confronted with the paradoxical task of conceptually framing an experience that, per definition, resists philosophical or political appropriation. In relation to this my paper traces a development in Bataille’s thinking from an initial rejection of art and the aesthetic to their later reconfiguration as manifestations of sovereignty. Here I show how Bataille’s notion of sovereign art presents an implicit attempt to overcome some of the aporias to have surfaced in his earlier account of heterology. This development in Bataille’s thought is analysed in the context of his changing relationship with Surrealism.