This essay argues that important critical and political perspective can be gained on Deleuze's famous essay, ‘Bartleby; or, The Formula’ by viewing it as an attempt to move beyond the Sartrean framework of ‘bad faith’. The argument comprises four sections. In section one, I contextualise Deleuze's essay in terms of contrasting readings of Bartleby, from a prior account by Georges Perec, to contemporary accounts indebted to Deleuze, from Hardt and Negri's Empire to Gisèle Berkman's recent L'Effet Bartleby. The argument of (...) this section is that a problematically reductive image of Bartleby has emerged in the wake of Deleuze's essay, but that this can be challenged in favour of a more nuanced and politically significant reading by contextualising the essay as an attempt to overcome bad faith. In section two, I develop this by drawing out the nature and relevance of the threat posed by bad faith through a focus on Sartrean, Deleuzian and Badioucan critiques of Bartleby, before arguing, in section three, that attention to the concept of a ‘logic of presuppositions’ developed in Deleuze's essay shows how bad faith can be overcome. These sections all build towards the fourth and longest section, which draws out the wider political significance of what it means to overcome bad faith. To do so, I pay attention to how logics of presupposition function in Bartleby's story, and consider Deleuze's essay in relation to his work on ‘control societies’ and ‘collective assemblages of enunciation’. (shrink)

Gilles Deleuze (January 18, 1925–November 4, 1995) was one of the most influential and prolific French philosophers of the second half of the twentieth century. Deleuze conceived of philosophy as the production of concepts, and he characterized himself as a “pure metaphysician.” In his magnum opus Difference and Repetition , he tries to develop a metaphysics adequate to contemporary mathematics and science—a metaphysics in which the concept of multiplicity replaces that of substance, event replaces essence and virtuality replaces possibility. Deleuze (...) was also well-known for a number of important monographs he published in the history of philosophy (on Hume, Nietzsche, Kant, Bergson, Spinoza, Foucault, and Leibniz), as well as for his writings on the various arts, which include a two- volume study of the cinema, books on Proust and Sacher-Masoch, a monograph on the painter Francis Bacon, and a collection of essays on literature. Deleuze considered these latter works as pure philosophy, and not criticism, since he sought to create the concepts that correspond to the artistic practices of painters, filmmakers, and writers. In 1968, he met Félix Guattari, a political activist and radical psychoanalyst, with whom he wrote several works, among them the two-volume Capitalism and Schizophrenia , comprised of Anti-Oedipus (1972) and A Thousand Plateaus (1980). Their final collaboration was What is Philosophy? (1991). (shrink)