ABSTRACT
Based on Rancière’s most recent reflections, carried out mainly between 2017 and 2020, the article systematizes the main axes of the construction of his method, which consists of articulating heterogeneous singularities in scenes originated in the confluence of his writing with the dissenting appearance of political subjects. We argue that Rancière elaborates, through anti-hierarchical writing, a work of disturbing the “explanatory machine” (2016, p.68) that sustains specialized speeches and their different translations into languages that insist on maintaining an order that controls who can appear on the scene, updating the separations between spatialities, temporalities and corporeality. His writing and his methodological gesture can help understand how research based on the montage of controversial scenes takes the risk of producing egalitarian topographies in which the researcher’s words slide between the words of various subjects, of various texts and of various experiences.
Keywords:
Jacques Rancière; Scene; Writing; Appearance; Method