Neste artigo, trata-se, por um lado, de compreender até que ponto a existência humana e o pensamento, naquilo que eles têm de inventivo, são feitos de sínteses disjuntivas. E qual tipo de repetição entre os elementos, ligados de maneira nãocasual, mas não sistemática, supõe esta síntese tão importante no pensamento de Gilles Deleuze. Por outro lado, trata-se de saber se esse conceito de repetição converge com aquele que reclama a psicanálise.

Of fundamental importance to literary critics and philosophers, Difference and Repetition develops two central concepts -- pure difference and complex ...

This brilliant exposition of the critique of identity is a classic in contemporary philosophy and one of Deleuze's most important works. Of fundamental importance to literary critics and philosophers,Difference and Repetition develops two central concepts—pure difference and complex repetition&mdasha;and shows how the two concepts are related. While difference implies divergence and decentering, repetition is associated with displacement and disguising. Central in initiating the shift in French thought away from Hegel and Marx toward Nietzsche and Freud, _Difference and Repetition_ moves deftly (...) to establish a fundamental critique of Western metaphysics. (shrink)

Deleuze's theory of time set out in Difference and Repetition is a complex structure of three different syntheses of time – the passive synthesis of the living present, the passive synthesis of the pure past and the static synthesis of the future. This article focuses on Deleuze's third synthesis of time, which seems to be the most obscure part of his tripartite theory, as Deleuze mixes different theoretical concepts drawn from philosophy, Greek drama theory and mathematics. Of central importance is (...) the notion of the cut, which is constitutive of the third synthesis of time defined as an a priori ordered temporal series separated unequally into a before and an after. This article argues that Deleuze develops his ordinal definition of time with recourse to Kant's definition of time as pure and empty form, Hölderlin's notion of ‘caesura’ drawn from his ‘Remarks on Oedipus’ (1803) and Dedekind's method of cuts as developed in his pioneering essay ‘Continuity and Irrational Numbers’ (1872). Deleuze then ties together the conceptions of the Kantian empty form of time and the Nietzschean eternal return, both of which are essentially related to a fractured I or dissolved self. This article aims to assemble the different heterogeneous elements that Deleuze picks up on and to show how the third synthesis of time emerges from this differential multiplicity. (shrink)

French journalist Claire Parnet's famous dialogues with Gilles Deleuze offer an intimate portrait of the philosopher's life and thought. Conversational in tone, their engaging discussions delve deeply into Deleuze's philosophical background and development, the major concepts that shaped his work, and the essence of some of his famous relationships, especially his long collaboration with the philosopher Félix Guattari. Deleuze reconsiders Spinoza, empiricism, and the stoics alongside literature, psychoanalysis, and politics. He returns to the notions of minor literature, deterritorialization, the (...) critical and clinical, and begins a nascent study of cinema. New to this edition is Deleuze's essay "Pericles and Verdi," which reflects on politics and historical materialism in the work of the influential French philosopher François Châtelet. An enduring record of Deleuze's unique personality and profound contributions to culture and philosophy, _Dialogues II_ is a highly personable account of the evolution of one of the greatest critics and theorists of the twentieth century. (shrink)

질 들뢰즈(Gilles Deleuze)의 대표적 저작 『차이와 반복』(1968)은 ‘차이’와 ‘반복’이라는 두 개념에 있어서의 잘못된 이해의 역사를 규탄하고, 두 개념의 올바른 정의를 바로 세운다는 목표 하에 쓰인 책이다. 즉 반복 개념에 주목해본다면, 책을 관통하는 것은 ‘재현의 반복’에 대한 비판과 이를 대신하는 ‘차이의 반복’의 개념화다. 본고는 책의 2장에 등장하는 세 가지 종합의 기술 안에서 이 두 형태의 반복 개념이 등장하는 양상을 다루고자 하며, 이러한 본고의 관심사가 주목하게 되는 것은 세 번째 종합 중 두 번째 종합이고, 그것의 이중적 구조다. 본고는 두 번째 종합을 특징짓는 (...) 이원성의 구조, 혹은 ‘애매성(ambiguïté)’을 근본적인 설명의 대상으로 삼으면서 그것의 상세한 해설을 제시하고, 그 가운데 두 번째 종합이 바로 이 두 가지 상반되는 반복 개념의 방향을 동시에 가리키고 있다는 점을 논설할 것이다. 또한 우리가 보기에 『차이와 반복』곳곳에서 두 번째 종합에 관해, 혹은 그것과 세 번째 종합의 관계에 관해 비일관적이고 양립 불가능한 진술들이 발견된다면, 이는 바로 이 애매성을 중심으로 두 번째 종합이 이원화되고 있다는 사실에 의해 합당하게 설명될 수 있다. (shrink)

A critical examination of the figure of Oedipus in psychoanalysis and Western culture as it relates to the history of society and capitalism.

A fascinating anthology of texts and interviews written over 20 years by renowned French philosopher Gilles Deleuze. "One day, perhaps, this century will be Deleuzian," Michel Foucault once wrote. This book anthologizes 40 texts and interviews written over 20 years by renowned French philosopher Gilles Deleuze, who died in 1995. The early texts, from 1953-1966, belong to literary criticism and announce Deleuze's last book, Critique and Clinic. But philosophy clearly predominates in the rest of the book, with sharp appraisals of (...) the thinkers he always felt indebted to: Spinoza, Bergson. More surprising is his acknowledgement of Jean-Paul Sartre as his master. "The new themes, a certain new style, a new aggressive and polemical way of raising questions," he wrote, "come from Sartre." But the figure of Nietzsche remains by far the most seminal, and the presence throughout of his friends and close collaborators, Felix Guattari and Michel Foucault. The book stops shortly after the publication of Anti-Oedipus, and presents a kind of genealogy of Deleuze's thought as well as his attempt to leave philosophy and connect it to the outside—but, he cautions, as a philosopher. (shrink)

Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters. In considering Bacon, Deleuze (...) offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, _Francis Bacon_ has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art. In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.” Illuminating Bacon’s paintings, the nonrational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. _Francis Bacon_ is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole. Gilles Deleuze was professor of philosophy at the University of Paris, Vincennes–St. Denis. He coauthored _Anti-Oedipus_ and _A Thousand Plateaus_ with Félix Guattari. These works, as well as _Cinema 1, Cinema 2, The Fold, Proust and Signs_, and others, are published in English by Minnesota. Daniel W. Smith teaches in the Department of Philosophy at Purdue University. (shrink)

Looks at the philosophies of Deleuze, who lived from 1925-1995, on issues such as becoming, ethics and morality, individuation, desire, and politics.

Texts and interviews from the period that saw the publication of Deleuze's major works. People tend to confuse winning freedom with conversion to capitalism. It is doubtful that the joys of capitalism are enough to free peoples.... The American “revolution” failed long ago, long before the Soviet one. Revolutionary situations and attempts are born of capitalism itself and will not soon disappear, alas. Philosophy remains tied to a revolutionary becoming that is not to be confused with the history of revolutions.—from (...) Two Regimes of Madness Covering the last twenty years of Gilles Deleuze's life, the texts and interviews gathered in this volume complete those collected in Desert Islands and Other Texts. This period saw the publication of his major works: A Thousand Plateaus, Cinema I: Image-Movement, Cinema II: Image-Time, all leading through language, concept and art to What is Philosophy?. Two Regimes of Madness also documents Deleuze's increasing involvement with politics. Both volumes were conceived by the author himself and will be his last. Michel Foucault famously wrote: “One day, perhaps, this century will be Deleuzian.” This book provides a prodigious entry into the work of the most important philosopher of our time. Unlike Foucault, Deleuze never stopped digging further into the same furrow. Concepts for him came from life. He was a vitalist and remained one to the last. This volume restores the full text of the original French edition. (shrink)

New to this edition is Deleuze's essay "Pericles and Verdi," which reflects on politics and historical materialism in the work of the influential French ...

What does it mean to think? In the following article I will show Gilles Deleuze’s answer to this question. According to him ’to think is to create — there is no other creation — but to create is first of all to engender ' thinking ' in thought ’. To understand what this means, to grasp the radical nature of such an event, we need to see how for Deleuze to engender thinking in thought means a repetition of that genetic (...) process which has brought forth the thinking subject in the first place. In this event that which otherwise subsists beneath normal experience, as life- and consciousness sustaining forces, now become conscious experience. The implication of this is that true thinking means the creation of a new life and consciousness. Via a close-reading of chapter two of Difference and Repetition I show how this leads the thinker into a radical metamorphosis of consciousness, a process of Stirb und Werde. (shrink)

" Quoi de plus gai qu'un air du temps? (...) Il y a actuellement beaucoup d'études profondes sur ces concepts de différence et de répétition. Tant mieux si j'y participe, et si, après d'autres, je pose la question : comment faire en philosophie? Nous sommes à la recherche d'une " vitalité ". Même la psychanalyse a besoin de s'adresser à une " vitalité " chez le malade, que le malade a perdue, mais la psychanalyse aussi. La vitalité philosophique est très (...) proche de nous, la vitalité politique aussi. Nous sommes proches de beaucoup de choses et de beaucoup de répétitions décisives et de beaucoup de changements. " Gilles Deleuze, mars 1968. (shrink)

Ce n'est pas le moindre des mérites de la pensée de Gilles Deleuze que de penser l'individuation de l'art sous le signe d'une logique du sensible où esthétique et clinique sont en présuppositions réciproques. En explorant les coupes et les tensions névralgiques qui irriguent cette logique, les études ici réunies trouvent leur commune impulsion dans le souci de remettre en chantier la cartographie deleuzienne des arts, et d'interroger les écarts et les résonances internes qui l'animent. La spécificité de cet ouvrage (...) est de croiser non seulement des lectures d'éminents spécialistes de la philosophie de Gilles Deleuze, venant sonder à nouveaux frais son rapport singulier aux variations du sensible, mais aussi des contributions de théoriciens de la théorie littéraire, de la musique, du cinéma ou encore de l'histoire de l'art, réinterrogeant depuis leur point de vue une pensée de la création dont on ne mesure pas encore pleinement la puissance et la fécondité. (shrink)

정신분석은 증상, 꿈, 실수 등에서 무의식을 발견하고 이를 연구한 학문이다. 분열분석은 정신분석에 대한 비판으로부터 비롯되었고, 기존 무의식에 새로운 지평을 연 학문이다. 그러나 정신분석에 대한 비판 위에서 분열분석이 출현한 까닭인지, 두 학문의 대립은 여전히 첨예하다. 본 연구는 정신분석과 분열분석 각 학문의 정초 지점과 주요 문제를 살펴보며, 각각의 학문이 지향하고자 하는 방향과 그 의의를 밝히고, 그를 위해 다르게 개념화된 무의식의 특성과 그차이를 보여준다. 정신분석은 심인적인 증상과 아픔을 겪는 사람의 치유와 회복을 위해 시작되었다. 이를 위해 세팅된 임상 장면에서 무의식의 장을 발견하였고, 이에 접근하기 (...) 위하여 최초로 무의식의 이론들을 고안하고 연구해왔다. 분열분석은 정신분석이 주체의 자율성에 대한 지점으로 나아가지 못한다는 문제로부터 비롯되었으며, 무의식과 광기에 대한 긍정성을 재조명하며 분열증적 과정을 통한 생성과 실천을 향한다. 이에 작동과 생산을 강조하는 분자적 무의식·기계적무의식 등 무의식의 새로운 개념을 제시한다. 본 연구는 정신분석과 분열분석의 비판 혹은 대립 지점들에 주목하기보다, 각 학문의 근본적 차이와 개념의 차이에 대한 이해를 구하는 데에 그 목적이 있다. (shrink)

"Deleuze plonge la critique kantienne transcendantale dans le bain dissolvant d'un empirisme renouvelé. Ce livre se propose de restituer cette entreprise, et d'analyser l'étonnante création de ce concept, que Deleuze mène depuis ses premières monographies jusqu'à Différence et Répétition dans un dialogue fécond avec l'histoire de la philosophie. Par quelles opérations de distorsion et de collage, Deleuze compose-t-il l'empirisme de Hume, la théorie du signe comme force de Nietzsche, le virtuel et les multiplicités de Bergson, les modes de Spinoza, les (...) individualisations impersonnelles de Simondon pour renouveler la théorie kantienne du transcendantal? C'est tout l'objet de cette enquête, qui permet d'entrer dans le laboratoire du penseur, pour saisir la philosophie se faisant, mais qui permet également d'expliquer l'insistance du transcendantal dans toute son oeuvre"--P. [4] of cover. (shrink)

The paper traces some of Gilles Deleuze’s reflections on the subject of thought and philosophical activity, focusing especially on the third chapter of one of his main works, Difference and repetition (1968). Following the general structure of the chapter, the paper first analyses the concept of “Image of thought”, which describes the tendency of thought itself to represent its own functioning, and the risks that the Image imply, since it chains the activity of thought to old sedentary habits and its (...) ordinary functioning. Secondly, the paper examines Deleuze’s original proposal of a “thought without image”, a thought whose conditions are not predetermined and that therefore must recreate itself each time. Deleuze arrives at this conception through questioning the classical notion of truth and revisiting Kant’s theory of transcendental knowledge. (shrink)

We contemplate Deleuze and Guattari's discussion of in/compossibility through engagement with practices of spatial planning and development at the urban fringe in Australia. In such sites of ecosystem transformation, the presence of wildlife, such as mosquitoes, is often deemed incompossible with felicitous human habitation. We suggest that regarding worlds like those of mosquitoes and humans as divergent, rather than incompossible, opens up opportunities for inclusive disjunctive syntheses which affirm the disjoined terms without excluding one from the other. Relating inclusive (...) disjunction to intensive milieu, we call for development of a more milieu-based approach to planning to facilitate more-than-human coexistence differently. (shrink)

Badiou claims Deleuze’s thinking is pre-critical metaphysics that cannot be understood in relation to Kant. I argue that Deleuze is indeed a metaphysical thinker, but precisely because he is a kind of Kantian. Badiou is right that Deleuze rejects the overwhelmingly epistemic problematics of critical thought in its classical sense, but he is wrong to claim that Deleuze completely rejects Kant. Instead, Deleuze is interested in developing a metaphysics that prolongs Kant’s conception of a productive synthesis irreducible to empirical causation. (...) Where Badiou’s criticism might tell however is in the risk that Deleuze’s strategy runs of contaminating his new metaphysics with a new kind of transcendental idealism. This reading has recently been developed by Ray Brassier and I explore and evaluate it, concluding that in Difference and Repetition this accusation may be correct, but that by the time of Anti-Œdipus, Deleuze (now with Guattari) has the intellectual resources to resist it. (shrink)

Dorothea Olkowski's exploration of the philosophy of Gilles Deleuze clarifies the gifted French thinker's writings for specialists and nonspecialists alike. Deleuze, she says, accomplished the "ruin of representation," the complete overthrow of hierarchic, organic thought in philosophy, politics, aesthetics, and ethics, as well as in society at large. In Deleuze's philosophy of difference, she discovers the source of a new ontology of change, which in turn opens up the creation of new modes of life and thought, not only in philosophy (...) and feminism but wherever creation is at stake. The work of contemporary artist Mary Kelly has been central to Olkowski's thinking. In Kelly she finds an artist at work whose creative acts are in themselves the ruin of representation as a whole, and the text is illustrated with Kelly's art. This original and provocative account of Deleuze contributes significantly to a critical feminist politics and philosophy, as well as to an understanding of feminist art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Klossowski, Deleuze, and OrthodoxyEleanor Kaufman (bio)Among the many strange and wonderful things to be found there, Pierre Klossowski's oeuvre is a preeminent illustration of what divides univocity and equivocity and therefore serves as one of the twentieth century's most instructive models for thinking the complexity of the dialectic. Univocity and equivocity are significant both in their roots in Scholastic philosophy, as the idea that Being is expressed in either (...) one or several senses, and as belonging to a longstanding framework that helps demarcate the differences, nuanced yet significant, among members of the extraordinary generation of French intellectuals of which Klossowski was a part. Thus, these terms, apart from their theological and philosophical import, will serve as a heuristic for renarrating points of filiation and divergence among a series of prominent French thinkers, primarily Bataille, Klossowski, and Deleuze, but also extending backward to Sartre and forward to Badiou to frame the series. I will approach this in segmented fashion, first opposing Bataille's dialectic of transgression to Klossowski's more univocal method of disjunctive synthesis. When juxtaposed with Deleuze's Spinozist affirmation of univocity, however, Klossowski would seem to be more on the side of the equivocal. Whereas Deleuze criticizes the realm between the univocal and the equivocal as the lukewarm space of the analogical, my contention is that this middle realm allows for a space of movement and reversal that escapes the pitfalls Deleuze locates in the dialectic, and does so without a strict adherence to Spinozist univocity. Whereas Bataille and Deleuze remain closer to Klossowski in the tenor of their thought, I will nonetheless suggest in conclusion that Sartre and Badiou are actually closer to Klossowski on a formal level, in that each poses a similarly analogical challenge to the thought of the dialectic.For many reasons Bataille and Klossowski can be paired together. They were contemporaries, both born around the turn of the century, both writing in a variety of literary and philosophical genres, including pornographic or semi-pornographic fiction, and working outside the academy. Both wrote studies of Nietzsche, of Sade, and radical economic treatises. They were friends and fellow members in the late 1930s of the College of Sociology, which was modeled after a secret society, the members taking great interest in such topics as sacrifice and headlessness. Bataille and Klossowski wrote about each other. Both were at different points obsessed with Roman Catholicism, both at different points prepared to enter monastic orders, both in different fashions fell away. As might easily be imagined, their fiction is an outrageous mixture of the sacred and the profane, including sexual encounters and other desecrations staged at church alters and the like. Both work in that realm where pornography and theology come together. Yet while the more familiar Bataille uses pornography toward transgressive aims, the lesser-known Klossowski uses a more nuanced and interesting mechanism of boredom to elaborate an intrinsically disjunctive structure.Even boredom, for Bataille, partakes of the transgressive. In his novella The Story of the Eye, the narrator describes offhandedly how he and his companion Simone have just found their friend Marcelle's body. She has hung herself. The narrator and Simone [End Page 47] take the body down and have sex for the first time next to it. Then the narrator describes the boredom that ensues even in the face of death: "We were perfectly calm, all three of us, and that was the most hopeless part of it. Any boredom in the world is linked, for me, to that moment and, above all, to an obstacle as ridiculous as death. But that won't prevent me from thinking back to that time with no revulsion and even with a sense of complicity. Basically, the lack of excitement made everything far more absurd, and thus Marcelle was closer to me dead than in her lifetime, inasmuch as absurd existence, so I imagine, has all the prerogatives" [59–60]. This is actually an unusually meditative moment in Bataille's story of murder, priests, bullfights, and constant sex.1 Here his narrator links boredom to death, and to a reflection on the absurd boundary between life and death. But by commenting on boredom... (shrink)

In the chapter of Difference and Repetition entitled ‘Ideas and the synthesis of difference,’ Deleuze mobilizes mathematics to develop a ‘calculus of problems’ that is based on the mathematical philosophy of Albert Lautman. Deleuze explicates this process by referring to the operation of certain conceptual couples in the field of contemporary mathematics: most notably the continuous and the discontinuous, the infinite and the finite, and the global and the local. The two mathematical theories that Deleuze draws upon for this purpose (...) are the differential calculus and the theory of dynamical systems, and Galois’ theory of polynomial equations. For the purposes of this paper I will only treat the first of these, which is based on the idea that the singularities of vector fields determine the local trajectories of solution curves, or their ‘topological behaviour’. These singularities can be described in terms of the given mathematical problematic, that is for example, how to solve two divergent series in the same field, and in terms of the solutions, as the trajectories of the solution curves to the problem. What actually counts as a solution to a problem is determined by the specific characteristics of the problem itself, typically by the singularities of this problem and the way in which they are distributed in a system. Deleuze understands the differential calculus essentially as a ‘calculus of problems’, and the theory of dynamical systems as the qualitative and topological theory of problems, which, when connected together, are determinative of the complex logic of different/ciation. (DR 209). Deleuze develops the concept of a problematic idea from the differential calculus, and following Lautman considers the concept of genesis in mathematics to ‘play the role of model ... with respect to all other domains of incarnation’. While Lautman explicated the philosophical logic of the actualization of ideas within the framework of mathematics, Deleuze (along with Guattari) follows Lautman’s suggestion and explicates the operation of this logic within the framework of a multiplicity of domains, including for example philosophy, science and art in What is Philosophy?, and the variety of domains which characterise the plateaus in A Thousand Plateaus. While for Lautman, a mathematical problem is resolved by the development of a new mathematical theory, for Deleuze, it is the construction of a concept that offers a solution to a philosophical problem; even if this newly constructed concept is characteristic of, or modelled on the new mathematical theory. (shrink)

Deleuze’s two Cinema books explore film through the creation of a series of philosophical concepts. Not only bewildering in number, Deleuze’s writing procedures mean his exegesis is both complex and elusive. -/- Three questions emerge: What are the underlying principles of the taxonomy? How many concepts are there, and what do they describe? How might each be used in engaging with a film? -/- This book is the first to fully respond to these three questions, unearthing the philosophies inspiring Deleuze’s (...) classifications, exploring every concept and reading a film for each. -/- Clearly and concisely mapping the Cinema books for newcomers to Deleuzian film studies, as well as opening up new areas of enquiry for expert readers. -/- > An interpretation of Bergson’s Matter and Memory through Deleuze’s Bergsonism describing the ground of Deleuze’s film-philosophy > A reading of Peirce’s semiosis from Pragmatism and Pragmaticism explicating the genesis and components of the movement-image > An examination of Deleuze’s syntheses of time, space, and consciousness from Difference and Repetition illuminating the genesis and components of the time-image > Concise engagements with each of the cinematic signs to assist reading Deleuze’s Cinema books, as well as commentaries and monographs that draw upon them > 44 film readings – one for each cinematic sign – to clarify their application. (shrink)

This essay examines Deleuze's account of time and the wound in The Logic of Sense and, to a lesser extent, in Difference and Repetition. As such, it will also explicate his understanding of the event, as well as the notoriously opaque ethics of counter-actualisation that are bound up with it, before raising certain problems that are associated with the transcendental and ethical priority that he accords to the event and what he calls the time of Aion. I will conclude by (...) proposing a dialectic between the two aspects of time that he counterposes (Aion and Chronos, roughly the disjunctive and the conjunctive) that does not instantiate any kind of a priori privilege of the one over the other. (shrink)

Du sommaire: I -- Clinique et philosophie: Le probleme -- La polemique. II -- Eloge du masochisme, critique de la notion de plaisir. III -- Philosophie de la repetition: Les trois repetitions -- Comment une philosophie du temps revient a Masoch et a Sade -- L'inconscient et les problemes. IV -- Le corps sans organes, critique ou abandon de la psychanalyse?: Artaud et Van Gogh -- La distance prise par rapport a l'organisme -- Les devenirs et leur fin immanente. V (...) -- Les devenirs et les syntheses disjonctives: Les syntheses disjonctives et l'invention de la vie et de la pensee -- Repeter et inventer selon Deleuze et selon Freud -- Ambiguite de la repetition en psychanalyse. VI -- Philosophie de l'infini, creer des concepts est-ce circuler a vitesse infinie sur le chaos?: L'affinite de la philosophie avec l'infini -- L'infini et la raison contingente -- Sur la lecture de Deleuze par Alain Badiou -- Une invention conceptuelle met-elle en jeu l'infini?". (shrink)

What is called “time travel” cinema is but one aspect in a tripartite series of interweaving modes of disjunctive narration which is also – simultaneously – a cinema of “many worlds” and “altered states”. Exploiting Gilles Deleuze's three syntheses of time, space, and consciousness from Difference and Repetition (1968) allows a conceptual development of these cinematic series through three popular Hollywood film cycles beginning with Planet of the Apes (Franklin J. Schaffner, 1968), The Terminator (James Cameron, 1984), and Back (...) to the Future (Robert Zemeckis, 1985). In so doing, film and philosophy are deployed as two series which together create inexhaustible atemporal, aspatial, and ahuman disjunctions, ungrounding everyday spatio-temporal identities, and affirming productive images of cinematic thought. (shrink)

The purpose of this essay is to discuss Deleuze and Guattari's concept of the Third World. For Deleuze and Guattari, however, the Third World is not only a geographical term, but also one that denotes the linguistic zones, another term of the minority. The essay argues that the concept of the Third World is related to minor literature, the minor or intense use of language. This ‘transcendental exercise’ of writing is an opposition to the initial purpose of language, namely representation. (...) Language must escape from its normative usage, and then be liberated to a new spatio-temporality, in other words, the linguistic Third World zones. My conclusion is that the creation of Third World linguistic zones is the repetition of differences against the generalisation of representation, such as becoming non-human and non-European, not in imitation of the molar form of the animal or a non-continent extending terrestrial power into the ocean, but as the right way to invent the people missing in the Third World. Inventing the people of the Third World is the right condition in which alternative political subjects can be produced through desubjectification, not domestication, by capitalist axiomatics. In this way, Deleuze's political philosophy aims to use the virtual politics of the Third World to radicalise the actual representation of the existing Left. (shrink)

This article explores the concept of Habit proposed by Deleuze in his early work. When reading is projected from the empiricist tradition and that is why Hume is mainly the author from which Deleuze develops this concept, although he also traverses the thought of Bergson, Ravaisson or Samuel Butler. Our objective is to point out to what extent habit constitutes an essential principle of its metaphysics, by posing it as a peculiar synthesis of time and subjectivity. Therefore, we have tried (...) to link the analyzes described in both Empirisme et subjectivité and Différence et répétition to realize that the problem of temporal syntheses is fundamental to what Deleuze postulates as “transcendental empiricism” in that last book. (shrink)

This paper aims to show that Deleuze’s ideas on space and extension are heavily in debt to Leibniz. The focus is on chapter five, ‘the Asymmetrical Synthesis of the Sensible’, of Difference and Repetition. Concepts such as ‘intensive magnitude’, ‘distance’, ‘order’ and most importantly ‘spatium’ are shown to have their origin in Leibniz’s philosophy. In order to do so, the article starts with Leibniz’s critique on Cartesian mechanics and how this leads Leibniz to a conception of space that goes beyond (...) the Cartesian concept of extension. The latter lacks difference, potentiality and individuality. Leibniz argues that the Cartesian homogeneous plenum should therefore be grounded in a deeper more substantial space: the spatium. Understood as such, space is not an absolute substance but a structure of relations between substances. Although Leibniz’s texts offer enough to understand this spatium, they do not explain how the genesis of extension out of space should be understood. It is on this point that Deleuze offers a fruitful interpretation of Leibniz by conceptualizing such a genesis in terms of difference. Extension is understood as a homogenization and externalization of the internal and pure differences in space. In the end, Leibniz helps us to understand Deleuze’s theory, while Deleuze offers us an enriching interpretation of Leibniz that succeeds where authors such as Yvon Belaval and Martial Gueroult have failed. (shrink)

Stemming from a general study of rhythm in the work of Gilles Deleuze, we propose a distribution of this concept throughout three levels: a topic level, in which we place rhythm between chaos and measure; a dynamic level, in which we analyse the formation of rhythm towards its stabilisation as a spatio-temporal dynamism; and an unfolding, in which these dynamisms take on the form of rhythmic machines applied in music (refrain), in painting (sensation) and in cinema (montage and time crystals). (...) In this last phase, the rhythmic devices of various arts lead to a genesis of time. We are thus driven to think and elaborate on the link between these two concepts, rhythm and time, in the writings of Deleuze. Bearing this purpose in mind, we turn to the schema of the three syntheses of time in Difference and Repetition. These syntheses show how time emerges from different ways of understanding repetition, in the place of which rhythm will then appear. We will compare this schema with the argument articulated by Deleuze in Logic of Sensation regarding rhythm in its pictorial form. This comparison will enable us to deduce that both concepts follow a parallel path arising from the same series of processes: vibration, coupling, resonance and forced movement. We will conclude that the schema proposed in Difference and Repetition and its aesthetic purpose delineate the ways in which rhythms unfold creatively. These three syntheses of rhythm are implicated in artistic processes. (shrink)

This chapter looks at the function of phobia in the work of Gilles Deleuze. It looks particularly at how Deleuze’s concepts of the ‘line of flight’ and ‘becoming’ find definition in a creative rethinking of Lacan’s understanding of phobia, transforming his own symptoms into a sinthome that links a fear of milk to the figure of the schizophrenic thereby offering a ‘nonsensical’ yet effective way of understanding the dynamic genesis and development of his philosophy, particularly the logic of sense.

Part of a series on the question of what is the good life, the essay is structured as a montage. Part 1 contests the received notion that death is exterior to the work of Deleuze. To this end, it gathers together a telegraphic collection of examples – ‘corpses’ in his corpus – that invariably show up whenever the question is raised. Part 2 attempts a Deleuzian move: it puts death to work. If death is not nothing, it argues, it must (...) be productive of something absolutely new. Drawing upon Blanchot's seminal essay, ‘The Two Versions of the Imaginary’, it makes the case that this creation is the cadaver: the first time-image. (shrink)

The Hegel-Deleuze relation has usually been considered as one of opposition, because of Deleuze’s explicit anti-Hegelian statements. This article refutes the main conceptual grounds to this opposition: the critique of the negative and of the circle of return. It aims to present the possibilities offered by considering the Hegel-Deleuze relation as a problematic, productive one. “Hegel-Deleuze” would be a relation prior to the supposed terms. To achieve this, we bind them through the concept of Idea. This traditional concept of philosophy, (...) which crowns the Hegelian system (also known as absolute idealism), appears in a key position in Deleuze’s Difference and Repetition. It allows Deleuze to consider thought not as an image of the external reality or the condition of possible experience, but as the genetic principle of real experience. Even if Deleuze accuses Hegel of positing his Idea as the ground for the eternal repetition of the same, this article proposes to interpret it as the source of creation of a reality always different from itself. (shrink)

La quatrième de couverture indique : Deleuze et Guattari étaient des lecteurs sans pareils. C'est la raison pour laquelle Alain Jugnon les lit dans ce livre ; plus précisément, il lit avec eux Artaud et Kafka, Lacan et Klossowski, Büchner et Nietzsche. N'ont-ils pas assez lu Lautréamont ; il les lit pour eux, comme eux l'auraient lu, l'ajoutant à leurs lectures, avec les outils qu'ils ont créés pour lire. Nul mieux qu'Alain Jugnon n'articule les lectures nécessaires à la défaite de (...) ce monde-ci et au surgissement d'un monde transformé : "Deleuze et Guattari ont commencé à dire dans leur livre premier, L'Anti-Oedipe : il n'y a plus de dialectique à penser ou bien d'histoires à raconter, mais il y aura des machines capitalistes et des machines désirantes, des guerres des sexes et des guerres des races, des combats de rue et des révolutions de palais, il y aura tout ça et plus encore, qui fera une bible humaine à revendre ou bien une philosophie populaire à inventer pour demain." (A.J.). (shrink)

Machine generated contents note: Introduction Henry Somers-Hall; 1. Deleuze and the history of philosophy Daniel W. Smith; 2. Difference and repetition James Williams; 3. The Deleuzian reversal of Platonism Miguel Beistegui; 4. Deleuze and Kant Beth Lord; 5. Phenomenology and metaphysics, and chaos: on the fragility of the event in Deleuze Leonard Lawlor; 6. Deleuze and structuralism François Dosse; 7. Deleuze and Guattari: Guattareuze and Co. Gary Genosko; 8. Nomadic ethics Rosi Braidotti; 9. Deleuze's political philosophy Paul Patton; 10. Deleuze, (...) mathematics, and realist ontology Manuel Delanda; 11. Deleuze and life John Protevi; 12. Gilles Deleuze's aesthetics of sensation Dorothea Olkowski; 13. Deleuze and literature Ronald Bogue; 14. Deleuze and psychoanalysis Eugene Holland; 15. Deleuze's philosophical heritage: unity, difference, and onto-theology Henry Somers-Hall. (shrink)

Critical responses to Wide Sargasso Sea have seized upon Rhys's novel as an exemplary model of writing back. Looking beyond the actual repetitions which recall Brontë’s text, I explore Rhys's novel as an expression of virtual difference and becomings that exemplify Deleuze's three syntheses of time. Elaborating the processes of becoming that Deleuze's third synthesis depicts, Antoinette's fate emerges not as a violence against an original identity. Rather, what the reader witnesses is a series of becomings or masks, some of (...) which are validated, some of which are not, and it is in the rejection of certain masks, forcing Antoinette to become-Bertha, that the greatest violence lies. (shrink)

This essay aims to answer the question: how does Žižek reconcile Hegel’s immanence of gap with Deleuze’s immanence of flux? The contrast between the Deleuzian flux and the Hegelian gap is positivity versus negativity, externality versus internality, and virtuality versus actuality. Via Lacanian not-all, Žižek inserts Hegelian negativity into the absolute positivity of the Deleuzian univocity. In keeping up with Hegelian immanence without externality, Žižek encloses Deleuzian externality by regarding anti-Oedipus as the inner transgression of desire via the shift of (...) perspective. Ending up with the subject supposed to know via retroactivities, the Deleuzian subject as desire finds an affinity with the Hegelian subject of letting-it-be. The reconciliation is mutual. Though Žižek tries to reconcile Deleuzian pure difference with self-identity, and pure repetition with self-sublation and negativity, Hegelian negativity is interpreted as the repetitive death drive, and a Hegelian coherent narration of Hegel-Kierkegaard-Freud-Deleuze is developed. What we get in the end is a Hegelian Deleuze, and Hegel as the Platonist of the virtual. (shrink)

The French philosopher, Gilles Deleuze, is emerging as one of the most important and influential philosophers of the 20th century, having published widely on philosophy, literature, language, psychoanalysis, art, politics, and cinema. However, because of the ‘experimental’ nature of certain works, combined with the manner in which he draws upon a variety of sources from various disciplines, his work can seem difficult, obscure, and even ‘willfully obstructive’. In an attempt to resist such impressions, this paper will seek to provide (...) an accessible introduction to Deleuze's work, and to begin to discuss how it can be employed to provide a significant critique and reconceptualization of the theoretical foundations and therapeutic practices of psychiatry, psychotherapy, and mental health nursing. In order to do this, the paper will focus upon Deleuze's masterwork, and the cornerstone to his philosophy as a whole, Difference and Repetition; in particular, it will discuss how his innovative and challenging account of time can be employed to provide a conception of human life as a ‘continuity’, rather than as a series of distinct ‘moments’ or ‘events’. As well as discussing the manner in which his work can provide us with an understanding of how life is different and significant for each human being, this paper will also highlight the potential importance of Deleuze's work for logotherapy, for the recent ‘turn’ to ‘narrative’ as a psychotherapeutic approach and for contemporary mental health care's growing interest in ‘social constructionism’. As such, this paper also seeks to stimulate further discussion and research into the importance and the relevance of Deleuze's work for the theory and practice of psychiatry, psychotherapy, and mental health nursing. (shrink)

ABSTRACT“: We cannot say psychoanalysts are very jolly people; see the dead look they have, their stiff necks.” In 1972, the tone Gilles Deleuze and Félix Guattari used in Anti-Oedipus caused an immediate public reaction: it was regarded as the mark of a fatal critique of psychoanalysis. However, critique, in philosophy, is used in certain technical and precise senses. We will try to demonstrate that, technically, Anti-Oedipus is a delimitation of a Kantian sort, an evaluation of a Nietzschean kind, (...) and, finally, a divergence in terms of Deleuze himself. Thanks to this precision, we will find that the target of Anti-Oedipus is not psychoanalysis in general but what Deleuze and Guattari call, respectively, “the illegitimate use of the synthesis of the unconscious,” a conception of life presupposed by psychoanalysis, and a configuration of desire that explains both psychoanalysis and the system in which it functions. (shrink)

Deleuze's theory of difference revolves around the idea that fusion and fission--the extreme external limits of functioning systems--represent the death of these systems. In order to maintain their duree, qualitative difference and change, systems internalize the external limits in conditions of repeated contraction and dilatation which constitute the inclusive disjunctive law of their function. This basic idea permits Deleuze to articulate an ontology of difference and repetition, a minoritarian theory of language and a version of materialist politics which support (...) each other and strengthen the cause of radical pluralism. Deleuze's ontology substitutes Difference for Being, introduces the intensive media of space and time, takes intensity to be the sentiendum of quality and extension, holds the synthesizing Ideas to be problematic and problem-setting multiplicities of differentiated elements, and argues that the repetition of the eternal return guarantees different/ciation by dissolving the identity of the "unity of apperception". The minoritarian theory of language is similarly constituted. The external limit of language, represented by self-referential and self-predicative elements, would be the death of language. On the other hand, watchwords and poetic utterances through their self-referentiality and self-predication makes language possible. The former attempt to fuse language and to overcode sign-regimes, whereas the latter highlight the interval, the "estrangement-effects" and the rhizomatic proliferation of lines of escape. Finally, the emancipatory interest which animates Deleuze's theory of difference is grounded on the notion "body without organs". The ontological, schizoanalytic and political appropriation of this immanent-transcendent referance, together with Deleuze's claim that it is the body without organs which renders possible "energetic" desire--both in paranoid and schizophrenic "arrangements"--crown this theory of difference with critical aspirations. (shrink)

Postmodernism and poststructuralism challenge fundamental positions in social theory. This book sets out some of the components of a postmodern social theory of health and healing, deriving from theorists including Derrida, Deleuze and Guattari, Foucault, Cixous and Kristeva. Nicholas J. Fox observes that the knowledge of the medical profession about the body, illness and health supplies the basis for medical dominance. The body of the patient is inscribed by discourses of professional `care,' an interaction which subjectifies the patient. Fox explores (...) the character of this power - and how it may be, and is, resisted. The book illustrates with detailed examples how the organization of health care and the caring relationship itself are sites for this contestation of power. Elements of feminist theory, and Derridean concepts of diffrance and intertextuality, supply the framework for the politics and ethics of the postmodern position on health. Deleuze and Guattari's radical challenge to psychoanalysis and familial repetitions within the healer/patient contact allows a re-reading of central ideas in medical sociology. While focusing upon the possibilities of postmodern social theory, the book demands a reappraisal of issues of structure, identity and knowledge in modernist medical sociology. Modernist sociology, Fox suggests, has been complicit in the creation of `the patient,' and of 'health' and 'illness.' Written with an emphasis on accessibility, this book explores the practical consequences of postmodern theory as well as familiarizing the reader with the concepts of postmodernism. (shrink)

Deleuze and Guattari's work opens theoretical and political possibilities for us by demonstrating that the boundary between ‘the West’ and the ‘non-West’ is itself a historically unstable epistemological inscription on the surface of the earth, but one that nevertheless retraces itself over and over again. They show us that our political possibilities exist precisely in the ‘non-West’, so long as we understand this term not in the sense of an existing supposedly ‘non-Western’ territory or ‘substance’, but rather as a ‘line (...) of flight’ beyond the nation-state, the form in which the ‘original division’ and creation of the social relation called ‘the West’ continues to produce itself. They thus demonstrate that the way out of the Eurocentric epistemological order lies precisely in clarifying how ‘the West’ was created as an effect of the capitalist axiomatic and maintained by the repetition of this paradoxical ‘commencement’ in the form of the ‘anthropological difference’, congealed into the modern nation-state. In the pursuit of this moment, we will investigate the question of how the social surface is territorialised and enclosed for capitalist accumulation, how the purely heterogeneous topology of the social comes to be inscribed with the traces of the apparatus of capture. (shrink)