Abstract

When they want to discredit the political relevance of Deleuze's thought, Hallward considers counter-effectuation as a ‘redemptive gesture’, and Rancière describes Deleuze's history of cinema as a ‘history of redemption’. Each time, redemption refers pejoratively to a break ‘out of this world’ and a form of apolitical passivity, in an attempt to reduce Deleuze to be a mere ‘spiritual’ thinker, simply renewing ‘that “Oriental intuition” which Hegel found at work in Spinoza's philosophy’. But is it all that simple? How should we envisage the relationship between creativity and redemption, politics and passivity in Deleuze's work? And in what way does that concern Deleuze's philosophy connection to the Non-West, and namely China?