| 英文摘要 |
This article revisits Jacques Rancière's politics of aesthetics by broaching his conceptions of medium and, further, broaches his concepts of medium by reexamining his writings on literature. On the face of it, Rancière does not think highly of medium: for him, medium is nothing other than the material support or technicalities of an art practice and is never the primary engine in an artistic revolution. This article argues that Rancière has in fact developed illuminating propositions on mediation and intermediality. The former is instantiated in the figure of inner rupture in his account of what he calls the aesthetic regime of art, namely, the order of art practices veering away from the hierarchy-driven representative (or representational) order. The latter, his thesis on intermediality, takes hold in his claim that all arts in the aesthetic regime look to or borrow from one another as they all gesture toward breaking free from the representative regime. This article hopes to show that the true insight of these propositions can be best elucidated in his writings on literature, not least because Rancière posits the realist novel and the work of Gustave Flaubert in particular as the epitome of the aesthetic order in demonstrating an art practice of no hierarchy. On the other hand, the article will revise the superficial sense of intermediality and suggest that the arts' referring to one another in Rancière's politics of aesthetic in effect materializes as a departing from oneself, or what we may call extra-mediality-that is to say, the very ontology of medium lies in its taking leave of itself. |
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