This chapter address the value of Deleuzian ideas for performance. It attempts to establish the connection of Gilles Deleuze's works with various practitioners including Bertolt Brecht, the Living Theatre, and the KRAKEN Group. It analyses Deleuze and Félix Guattari's Anti-Oedipus and suggests that Deleuze considers performance as the autoerotic on automatic in runaway machines, given over to pure expenditure in the libidinal economy.

In this short discussion of the Irish modernist writer, the author establishes a link between the mind of James Joyce and medieval theology. He shows how Joyce's fiction was suffused by his reading of St. Thomas Aquinas, Giordano Bruno and Nicola da Cusa and the book creates a dialogue between the saint, the novelist and the critic.

The essay aims to illuminate the current crisis, as it has been diagnosed by important currents of contemporary European thought, from the baroque remarkably the Hispanic perspective. The author argues that one of the fundamental figures of the Baroque is what he calls an infinite aporethic difference. According to this, Baroque understands the world as a set of differences that bind aporethically tending to infinity. This figure is, at the same time, shown as a critical operator with regard to reality, (...) which has lost its pre-modern configuration as Cosmos. The author also holds that in its present projection, the figure of the infinite aporethic difference takes the form of a new normativity, namely, that of the Chaosmos, which is particularly visible in post-structuralism and in the Ibero-American Neo-baroque. By its virtue, it is possible to distinguish two ways of coping with the current crisis. The chaosmotic one would be characteristic of a compromised strong trans-modernity, which contrasts with the evasive weak postmodernity. This problem is finally investigated from the point of view of the subtle baroque heroism and its shadow in the present. (shrink)

이 논문의 목적은 화이트헤드의 철학을 윤리 이론의 관점에서 탐색하는 것이다. 화이트헤드의 철학은 일반적으로 느낌의 철학이라고도 부르며, 그 느낌이란 대상과 주체, 주체적 형식이 상호 작용하는 긍정적 파악으로 구성되어 있다. 그 느낌을 윤리이론에 적용한다면 어떤 내용으로 전개될 수 있는지를 살펴보는 것이 이 논문의 핵심적인 주제이다. 그 내용을 세부적으로 나누면, 우선 능력 심리학을 중심으로 전개된 근대 윤리학을 비판적으로 조망하는 것이며, 다음으로 화이트헤드의 느낌 이론의 주된 내용을 세 가지 관점에서 고려할 것이다. 그것은 각각 카오스모스, 강도, 생생함으로 나눌 수 있다. 이와 같은 요소들은 모두 과정 (...) 속에서 존속을 통해 어떤 것을 지속시키는 것이 윤리적 함의를 갖는지를 볼 수 있는 것들이다. 따라서 이 논문은 실체철학에 근거를 둔 근대 윤리이론을 비판적으로 조망하고, 화이트헤드의 사건철학에서 윤리이론을 숙고하는 길잡이의 역할을 할 수 있을 것이다. (shrink)

Introduction: How newness enters the world -- Surrealism and the Caribbean: a curious line of resemblance -- Writing back to the colonial event: Derek Walcott and Wilson Harris -- Édouard Glissant's poetics of the chaosmos -- Postcolonial literature as health: Robert Antoni and Nalo Hopkinson.

In his essay on Herman Melville, Gilles Deleuze writes about an affirmation of the world as process and as archipelago. What does this mode of affirmation mean not only for the philosophy of Deleuze, but also for us all who live in this world today? This is the principal issue which I try to take up in my paper. Already in his text on David Hume, the young Deleuze was obliged to confront the problematics of the becoming-system of collection, which (...) would accompany him throughout his life. This essay discusses the ways in which Deleuze's central concepts including ‘transcendental empiricism', ‘difference/repetition', ‘schizophrenia’, ‘chaosmos', ‘thousand plateaus', ‘and’ and ‘line of flight’ are interconnected within his notion of archipelagic system. (shrink)

The article examines the role and place of the Mystery within the structure of Mamleev’s metaphysics. The author of the article implicates the concept of “chaosmos’’, introduced by James Joyce in the experimental novel “Finnegans Wake”, to the Mamleev’s Universe. This leads to the transformation of the formula “chaos – osmosis – cosmos”, actualized by postmodern discourse, into the formula “Chaos – Osmosis – Cosmos”. Chaos here is Sacred Chaos, being one of the metaphysical manifestations of Eternal Russia. Osmosis (...) appears to be an antinomic Russian life, which combines the incompatible, and sets itself fundamentally impossible tasks. The Сosmos brings us to the tradition of Russian cosmism with its problem of microcosm and macrocosm conformity. The author of the article points out that the all-pervading and unifying element of Mamleev’s chaos is the Mystery. It is one of the five key metathemes of Mamleev’s oeuvre. The particularity of the Mystery is that it provides a link between other metathemes: utrism “I”, Death, the Abyss and Russia. In the plane of utrism “I” the Mystery is seen as the mystery of man. The Mystery is related to Death by the person’s interest of his own destiny and finiteness. The problem of overcoming death and the passion for eternal life are the central themes that concern almost all the heroes of Mamleev’s novels and short stories. For Mamleev they are the source of values aimed at the human need to achieve a higher “I”. The connection between the Mystery and the Abyss, as well as the connection between the Mystery and Russia are the strongest and the most important for Mamleev. Consideration of these connections prompts the author to conclude that Yuri Mamleev describes such dimensions of the Mystery, which go beyond the categories “unfathomable-to-us” and “unfathomable-in-itself”, introduced by S. Frank. This requires the introduction of new concepts that would bring out the essence of Mamleev’s innovations. The author of the article proposes to consider the Abyss as a “Last Mystery” by the fact it is transcendent to the transcendents themselves, that is it goes beyond the Absolute, as well as to consider Eternal Russia as a Russia-Mystery on the grounds that Mamleev gives it the status of the third metaphysical Beginning, along with the Absolute and the Abyss. (shrink)

This essay presents some points of dialogue between process thinking and post-structuralism, particularly in light of the metaphysical cosmology of Alfred North Whitehead and the post-structuralist philosophies of Gilles Deleuze and Jacques Derrida. This dialogue facilitates the emergence of a cosmological postmodernism. Through the creation of concepts that situate the human within the networks, processes, and mutually constitutive restions of the cosmos, cosmo logical postmodernism re-envisions the worldview of modernity and overcomes its reification and dichotomization of the human and the (...) world. Four concepts that Whitehead, Deleuze, and Derrida contribute to a cosmological postmodernism include "event," "creativity," "rhizome," and "chaosmos.". (shrink)