The thesis adresses the problem encountered when attempting to think of artistic forms as constitutive parts of a unified field, i.e., equally represented within contemporary aesthetic discourse. More specifically, it examines the relationship between literature and those artistic forms that are, for the sake of arguments in contemporary art, more frequently interpreted. Jacques Rancière draws attention to this problem, which is why his philosophy provides the theoretical framework for the present work. Rancière's philosophy is contrasted with Boris Groys' theory, which emphasizes the self-referential structure of art, in an attempt to discover in it the »blind spot« of Rancière's theory. Our attempt fails.
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