DANIELA CUNHA BLANCO

This thesis aims to think about the construction of a specific method of thought in Jacques Rancière, geting as a narrative thread what we call an archaeological scene. Starting from the distancing in relation to the thought of Louis Althusser, passing through a critical approach in relation to the thought of Michel Foucault and Roland Barthes, we will finally draw a parallel in relation to the thought of Jacques Derrida. Our hypothesis is that the archaeological scene in Rancière enables a thought that refuses a gesture that refers every event to a causal line and to a totalizing instance that would determine it, pointing to the need to think philosophy and history from contingenciality and from another temporality. The author proposes a notion of equality – understood as a performative gesture – from which he outlines a critique of Marxist science proposed by Althusser. Rancière opposes, to the idea of totality that still persists in Althusserian science and to the division between two humanities that essentializes them in two different political and epistemological positions, another field of thought that distances itself from certain metaphysical categories. The approximation in relation to Foucault and Barthes takes place, therefore, as a gesture that mimics the refusal to metaphysical thought already operated by these authors. Based on the construction of some scenes around the Rancierian regimes of the arts, we seek to understand how the notions of subject and representation are deconstructed by the author, pointing to a dialogue, on the one hand, with the theme of the death of the author and the subject and on the other with an exhaustion or dissolution of representation. The ethical and representative regimes thus appear, respectively, as a set of archaeological scenes of the constitution of a notion of subject and a notion of representation that the aesthetic regime and literature would come to deconstruct. With this, the purpose of the research, by tracing an interlocution between Rancière and the authors of a previous generation, is to perceive the aesthetic and political possibilities and limits of his thought. It is about seeking, in the gestures of deconstruction or displacement of metaphysics and causal history, the opening of a field of possibilities, as well as pointing out the remnants of an essentializing thinking that prevents the expansion of the political and aesthetic fields.