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1.
Alexandre Lefebvre 《Law and Critique》2006,17(3):389-414
This article stages an encounter between Habermas and Deleuze on law, rights, and adjudication. Most of the article is spent
developing Habermas’s concept of adjudication as the application of communicatively generated norms. This application, I argue,
involves a complex temporality that is at once retrospective and non-creative. Deleuze is used to critique this concept of
adjudication in favor of one based on concrete situations and the creation of new problems. In so doing, I will develop Deleuze’s
notorious, and notoriously hostile, remarks on human rights and philosophies of communication by relating them to discourse
ethics and to the positive conception of law and judgment that can be drawn from his work.
相似文献
Alexandre LefebvreEmail: |
2.
This essay is concerned to trace a materialist current within the work of Peter Goodrich, with the aim of evaluating it in
the light of the work of Deleuze and Guattari. The are two reasons for this: firstly, it serves to encourage the development
of Deleuzean perspectives within critical legal studies, and secondly, it presents the potential of a re-invigoration of a
branch of criticism based not only upon the problems raised by issues of meaning and representation, but one which is also
sensitive to the conditions of the relations of production of both meaning and desire.
This revised version was published online in July 2006 with corrections to the Cover Date. 相似文献
3.
Marty Slaughter 《Law and Critique》2007,18(2):143-169
This article traces the repression of a signifying elements like color in the art of the late medieval period and coordinates
it with the rise of text, sovereignty and legal order in the 16th century. It uses Deleuze’s notions of life and the virtual
as a springboard for an analysis of the power of color in Giotto, Fra Angelico, Grunewald, Cranach and Holbein. It traces
a trajectory from an art in the late Middle Ages that decodes and escapes judgment through a joyful use of color to a privileging
of text (be it biblical or legal), repression of color and its reterritorialization in classical representation, a despotic
regime of signs – seen quite literally in the portrait of the imperial and despotic monarch, Henry VIII. This trajectory in
art is linked to an analogous movement: the imposition and extension of sovereignty and the legal system as well as the colonization
of social life by law in the formative period of the nation state. The challenge is to create a world of technicolor, to actualize
the color of living and the living of color. Without it, there is only law, in black and white.
相似文献
Marty SlaughterEmail: |
4.
《Critical Horizons》2013,14(3):231-248
AbstractA major problem threatens Deleuze’s project in The Logic of Sense. He makes an ontological distinction between events and substances, but he then collapses a crucial distinction between two kinds of events, namely, actions and mere occurrences. Indeed, whereas actions are commonly differentiated from mere occurrences with reference to their causal dependence on the intentions of their agents, Deleuze asserts a strict ontological distinction between the realm of causes (including psychological causes) and the realm of events, and holds that events of all types are incorporeal happenings which are inseparable from expressed sense. For Deleuze, what counts as one’s action thus does not depend on one’s intention, but rather on a process of “making sense” of that action. Nevertheless, Deleuze continues to speak of the need to “will” the event. In order to resolve this apparent contradiction, I will read a conception of “expressive agency” into The Logic of Sense. 相似文献
5.
《Critical Horizons》2013,14(2):115-135
AbstractThis paper will examine the relation between philosophical thought and the various milieus in which such thought takes place using the late work of Gilles Deleuze and Félix Guattari. It will argue that Deleuze and Guattari's assessment of this relation involves a rearticulation of philosophy as an historiophilosophy. To claim that Deleuze and Guattari promote such a form of philosophy is contentious, as their work is often noted for implementing an ontological distinction between becoming and history, whereby the former is associated with the act of creation and the latter with retrospective representations of this creative process. Furthermore, when elaborating on the creative nature of philosophical thought, Deleuze and Guattari explicitly refer to philosophy as a geophilosophy that is in contrast to history. Nevertheless, this paper will demonstrate that far from abandoning the category of history, Deleuze and Guattari's analysis of the relations between philosophical thought and relative milieus suggests to us an historical ontology and methodology that is a critical part of philosophy's nature. 相似文献
6.
Nicholas Thoburn 《Economy and Society》2013,42(3):434-460
This article considers the place of difference in Marx's politics through an exploration of his categories of the lumpenproletariat and the proletariat. Far from a simple set of class subjects or empirical peoples, these two categories are argued to describe particular modes of political composition . Despite the frisson of difference and excess which is usually associated with Marx's lumpenproletariat, it is argued to describe a mode of composition - and, in relation to anarchism, a politics - oriented not towards difference and becoming, but towards present identity . The proletariat, on the other hand, is shown to be not a People, historical Subject or identity, but a 'minor' political mode of composition immanent to the manifolds of capitalism, and premised on the condition that, as Deleuze puts it, 'the people are missing'. 相似文献
7.
Thomas Osborne 《Economy and Society》2013,42(4):507-525
The aspiration to be creative seems today to be more or less compulsory in an increasing number of areas of life. In psychological vocabularies, in economic life, in education and beyond, the values of creativity have taken on the force of a moral agenda. Yet creativity is a value which, though we may believe we choose it ourselves, may in fact make us complicit with what today might be seen as the most conservative of norms: compulsory individualism, compulsory ‘innovation’, compulsory performativity and productiveness, the compulsory valorization of the putatively new. This article suggests that, in order to escape the moralizing injunction to be creative, we need to cultivate a kind of ethical philistinism, albeit disaggregating such philistinism from the negativism of outright cynicism or fatuity. However, there is not much use in outlining an abstract model of philistinism. Instead, we take some ‘exemplars’ of a philistine attitude to creativity – Gilles Deleuze, F. R. Leavis, and Paul Cézanne – in order to show how such an ethos can be accomplished, on the one hand, with or without philosophy, and, on the other, with or without even the very idea of creativity itself, invoking instead the notions of ‘inventiveness’ and an ‘ethics of inertia’ as against creativity as such. The message should be that, rather than this or that theory, only exemplars – the bit-by-bit assembly of reminders – can help liberate us from the potentially moronic consequences of the doctrine of creativity. 相似文献
8.
Lyotard and Deleuze made extensive use of modern art to mount a critique of representation as part of their attack on the enlightenment subject. Art breaks out of received rules, conventions, forms, and cliches and is an instance of ethical if not revolutionary activity. Lyotard first developed these ideas through the concept of the Figure, which Deleuze later adopted. Figure is the desire or force that transgresses and deforms the good form of mimetic representation. Using Cezanne and Francis Bacon as paradigmatic examples, they argue that art creates new feelings and desires (Lyotard) or intensities and sensations (Deleuze). For Deleuze this is the model of ethical behavior -- the creation of new, productive forms of life free from the negativity of judgment. While Lyotard and Deleuze started from a common point, Lyotard changed his position in his later work on the sublime. Rather than positing a subject of purely affirmative desire and ideally free of the limitations of judgment, he posited a subject seized by and limited by the law. The subject is by nature divided: always already seized by and hostage to an Other, an unrepresentable excess or remainder. He is under an obligation to recollect and respond to the Other by bearing witness to it. The sublime experience of seizure by the law is exemplified in the paintings of Barnett Newman. While Deleuze would have done with judgment, Lyotard can never have done with it. 相似文献
9.
《Critical Horizons》2013,14(2):265-280
AbstractThe two competitive currents in French philosophy initiated by Jacques Derrida and Gilles Deleuze tackle the difference between empiricism and idealism in contrary motion. In Derrida, the move is toward a critique of representation. In Deleuze, it is toward recovery of the real. Nevertheless, this paper nominates their meeting in a kind of ‘radical empiricism’. Both Derrida and Deleuze engage with empiricism at certain points in their work, although many who go by that label would be surprised to hear it. 相似文献
10.
Anne Bottomley 《Feminist Legal Studies》2004,12(1):29-65
This paper takes a recently published text and, in examining it closely, argues that it exemplifies trends within feminist
scholarship in law, which might be characterised asestablishing a form of orthodoxy. The paper explores some of the ways in
which thiso rthodoxy is constructed and presented, and argues that it is characterised by a commitment both to `grand theory'
and Hegelian dialectics. The adoption of this model of work seems to offer a chance to hold together the triangular figure
of women/theory/law reform. The paper will argue that, whilst this model is clearly a valid choice, and attractive to feminist
scholars in the promise it seems to hold, the model is not to be presumed but rather should be examined and considered in
terms of its potential for feminist scholarship. Both within its own terms, and as part of the construction of an orthodoxy,
the paper will argue that it is in fact problematic and that feminist scholarship would be better served by seeking an alternative
theoretical model. An alternative is suggested, using the work of Deleuze, but it is acknowledged that this will require the
acceptance of a very different theoretical configuration from that suggested by the triangular model of women/theory/lawreform. 相似文献