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The politics of aesthetics argued by Ranci？e has been one of the most important issues in the recent discourses on the relationship between literature and politics. He argues that literature should involve the politics of aesthetics guaranteeing the autonomy of the sensible. Ranci？e offers a new und...

The politics of aesthetics argued by Ranci？e has been one of the most important issues in the recent discourses on the relationship between literature and politics. He argues that literature should involve the politics of aesthetics guaranteeing the autonomy of the sensible. Ranci？e offers a new understanding on the moral of the aesthetic avant-garde, contrasting it with the conventional ethos insisting on the existing distribution of the sensible. According to him, the aesthetic avant-garde poet should not only conduct literary experiments. Literature should be produced within the restrictions imposed by life and others, whether it is experimental literature or participative. It thereby intrudes on existing distribution, going beyond the intrinsic bounds of literature(‘aesthetic autonomy’), and intrudes on life, becoming a new form of life(‘aesthetic heteronomy’). Therefore the moral of the poet is that of the intruder that doesn"t refuse art’s becoming-life unlike ‘the aesthetic of the sublime’ advocating only aesthetic autonomy. To understand fully the significance of the moral of the intruder, we should realize that there is a double beginning in the process of writing poems. First, there is a beginning ‘‘set free of any scribe"s apparatus’’ in Mallarm窈？ words that Badiou quotes. The beginning generates a literary event responding to time and space in which we read literary works. Poetry can not be reduced to poet’s experiences. However there is the other beginning in that poetry has already begun to be in all experiences of the poet’s life before it is written with any scribe’s apparatus. This double beginning is the key to understanding the politics of aesthetics. The moral of the avant-garde poet for the politics of aesthetics can not be reduced to the poet’s participation in reality, but even so, it is not unrelated to the participation, and neither prohibit the participation. The participation in social-political events, bringing about the ruptures and inventions in the distribution of the sensible, can be a moment of writing poetry realizing the politics of aesthetics, and the participation activities performed literarily as such has a possibility to realize it.

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