Deleuze,cinema, Bergson

In the Cinema books, Deleuze integrated his ‘counter‐history’ of philosophy and arrived at a philosophy of art. For him, the artist is a ‘creator of truth’ because truth is not to be achieved, formed, or reproduced; it has to be created’ (Cinema 2 1985: 146). Stressing the pre‐eminent importance of the ‘creation of the New’, Deleuze calls on us to reread and rethink with him the works of Bergson, whom he views as indispensable to the ‘pure semiotics’ of cinema.     

The semiotic limbo of the pacific

Deleuze's study of his friend Michel Toumier's first novel Vendredi has widely been seen as a pivotal point in the development of his thought; Alphonso Lingis even sees it as the final articulation of the concept of the ‘elemental sign’. Contrary to this view, this paper argues that Deleuze's postface anticipates in important ways the semiotics of Mille Plateaux, but that Deleuze's reading has been so influential as to obscure Tournier's own? which may be shown to be much more concerned with the immediate politics of the French presence in the Pacific.     

Untimely ripped

In this essay, through an examination of its cultural situation, narrative style, and cinematic structure, I hope to explain the controversy that surrounded Roman Polanski's 1971 film version of Macbeth. With both complex cinematic semiology and poignant sociohistorical mediation, Macbeth brings to a critical juncture the philosophies of the 1960s’ peace‐love—revolution hippies, Vietnam war protestors and civil rights activists, the reified mainstream American populace, and the ruling conservatives, as well as society's preoccupation with aestheticisation. Specifically, I argue that Macbeth manifests what Gilles Deleuze calls the “crystal‐image,”; and, by extension, realises Antonin Artaud's “Theater of Cruelty,”; and, in effect, constitutes a terrorist intervention into a discursive cultural and ideological struggle. Ultimately, I argue that Macbeth itself, in totality, is a “crystalline narration”; that is shot through with various allusions to actual and virtual circumstances particular to the cultural environments from which it initially emerged in Renaissance England and then re‐emerged in the US of 1971. In the first of what is a three‐part analysis, I compare these cultural environments. The second section explicates Deleuze's theories on cinema and discusses them in conjunction with an analysis of the film's Theater of Cruelty. Finally, I contemplate the film ‘s sociopolitical implications.     

Animal body,inhuman face

In the present essay, I apply various concepts associated with the thought of Gilles Deleuze and Fe´lix Guattari to an inquiry concerning what I call the ‘ontology’ of musical creation and performance. Specifically, I utilize both the theory and approach of ‘schizoanalysis’, which so pervasively marks co-operative works such as Anti-Oedipus and A Thousand Plateaus. Deleuze and Guattari's schizoid becomes the model for my musician-performer. This ‘schizoid musician’ is the one who has the ability to apprehend that of a ‘musical space’, a central theme of the essay. Some additional clarification is needed as well. Although I surely offer this essay to the reader as a thoroughly honest, and hopefully provocative, attempt, it is also something of an indebted experiment. That is, the ‘after’ of my essay's title-as in ‘after Deleuze and Guattari’-has essentially two meanings. The first, and obvious meaning: I write after Deleuze and Guattari in that I inherit, to whatever extent, their thought. I grapple with their ideas. The second, and perhaps more unconventionally risky (because potentially easily misconstrued as representative of a kind of blind fidelity): I write after Deleuze and Guattari in the way that a painter paints ‘after’ another painter, in the way that a composer composes ‘after’ another composer, and so on. In one sense, the selective utilization of a sensibility associated with the schizophrenic condition provided the 'silent partner' and underlying guiding influence for Anti-Oedipus and A Thousand Plateaus. Thus, this essay is, in part, a modest attempt at yet another 'fold' (to use a term of Deleuze's) in a philosophical inquiry-some kind theoretical exemplar of ‘difference and repetition’ (or, difference in repetition). This indebtedness notwithstanding, the reader will notice the scholarly utilization of Deleuze and Guattari also in terms of a silent partner, a guiding influence, and less in terms of a source that is explicitly acknowledged or referenced. This was an intentional part of the experiment from the beginning. Of course, other thinkers, on the other hand, will come to occupy such a space in the essay.     

Concept and Politics in Derrida and Deleuze

Abstract

This paper points to significant similarities between the political orientations of Deleuze and Derrida. Derrida's appeal to a pure form of existing concepts (absolute hospitality, pure forgiveness, and so on) parallels Deleuze and Guattari's distinction between relative and absolute ‘deterritorialisation’. In each case, the absolute form of the concept is a condition of the possibility of change.     

Political Planomenon and the Secret Thereof

Abstract

Taking Derrida's notion of the ‘secret’ and Deleuze's immanence' as its starting point, this essay proposes a reading of Marx's living labour' that critiques Hardt and Negri's understanding of political subjectivity. In doing so, the essay examines the possibilities of rethinking political agency in terms of a ‘powerless power’.     

Deleuze and the liberal tradition: normativity,freedom and judgement

This paper is a critical review article of Paul Patton's book, Deleuze and the Political , and analyzes the relationship between Deleuze and the 'liberal' tradition of political philosophy. It focuses on three concepts drawn from the liberal tradition - normativity, freedom and judgment - and in each case shows how these concepts are capable of being transformed in light of Deleuze's philosophy. For Deleuze, a truly 'normative' principle must be a principle of creation as well as critique: it must not only provide norms for condemning abuses of power, but also a means for transforming norms that have themselves become abuses of power. From a Deleuzian perspective, the normative is thus seen as the condition for the production of the new. The liberal notion of 'negative freedom' in turn finds itself transformed into the stronger notion of 'critical freedom' (Tully), which entails the freedom to critique and create, to transform (and not merely pursue) one's own interest and desires. This entails, finally, an exercise of a kind of judgement outside pre-existing rules or norms that would be truly creative of the new (e.g. the production of new rights). A concluding section of the concept of the 'social imaginary’ shows how Deleuze's work might contribute to a transformation and rejuvenation of the liberal tradition itself.     

Deleuze and Guattari's Historiophilosophy: Philosophical Thought and its Historical Milieu

Abstract

This 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.     

Problems and opportunities in Polanyian analysis today

Abstract

The three books under review in this article all demonstrate the beginnings of a shift in the tone of literature on or derived from the work of Karl Polanyi. On one hand, the authors all show a willingness to admit a variety of problems and weaknesses in his work. But on the other hand, it is precisely this degree of critical introspection that enables the authors under review to identify some of the most important and contemporarily relevant aspects of Polanyi's thought. In the two main sections of this article – on Polanyi's concepts of ‘embeddedness’ and ‘double movement’ – I define the problems highlighted in previous iterations of Polanyian literature, moving on to examine how the texts under review address those problems, laying particular emphasis on the ideational components of Polanyi's thought. I conclude by suggesting future directions for Polanyian scholarship, mooting the possibility of a distinctively ‘post-Polanyian’ perspective in which ideas, discourse and framing are placed centre stage.     

Making the difference: Deleuze's difference and Derrida's différance

This paper seeks to explore the differences between Derrida's différance and Deleuze's difference. Derrida ‘s différance can be seen as based on a phenomenological theory of time, whereby the future is ‘prior’ to the past, and on a Hegelian theory of negation (but without final term or synthesis). Deleuze's, by contrast, relies on a Bergsonian theory of time as the actualization of virtualities, along with a positive and qualitative notion of difference derived from Nietzsche, Leibniz and Spinoza. The paper suggests some implications of these differences for Derrida's and Deleuze's approaches to criticism.     

Umbilical cord blood banking and its interruptions: notes from Chennai,India

Abstract

What is the relationship between globalization and the body? In both scholarly discourse and everyday practice, the relationship between globalization and the body has been understood through the idea of accumulation – the intensified and interlinked pursuit of health and wealth. Through an examination of private umbilical cord blood banking in south India, this paper investigates the interplay of accumulation and its interruption in Indians' uptake of this practice. Although Chennai-based bankers, doctors and parents explain the recent surge in popularity for cord blood banking in the city in terms of interlinked financial and familial accumulation, investment and security, Indians' cultural and religious conceptions of the latent power of the placenta and cord often work against cord blood banking marketers' neat account of twinned economic and familial accumulation. Analytic attention to interruption highlights the tensions within and precariousness of the accumulation at the heart of the relationship between globalization and the body.     

Ideology and Post-structuralism after Bernard Stiegler

What is the objective of ideology critique today? A unique answer to this question can be found in the work of Bernard Stiegler: the object of ideology critique is stupidity. Stiegler’s work will be situated with regard to the study of ideology and post-structuralism, reframed as respective versions of a dichotomy between critical and neutral theories, to show how Stiegler’s conception of ideology encompasses both. How he thinks ideology ‘after’ post-structuralism will be explored through his reading of Deleuze and Guattari. First, by seeing how Stiegler capitalizes upon the theoretical developments of Deleuze and Guattari to rethink the notion of ideology. Second, by seeing how this understanding of ideology is folded back on their work in order to discern how post-structuralism can be critiqued by a theory of ideology that utilizes its views. From the perspective of his reading of desire in Deleuze, Guattari and Freud, Stiegler shows how ideology destroys the desire to rethink ideas, and enforces stupidity. Third, after Stiegler’s theoretical labour, we arrive at a notion of ideology dichotomized between the critical and the stupid, tasking critique with the invention of new forms of desire, and the struggle against stupidity.     

Unexpected narratives in conservation: Discourses of identity and place in Šumava National Park,Czech Republic

Abstract

In ?umava National Park, dominant actors dispute appropriate conservation strategies habitually overlooking ?umava's residents and their socioeconomic concerns. Routinely disregarded, ?umava's residents invoke narratives of identity and place that undermine the conservation paradigm by constructing the local population ‘quality’ as insufficient to make conservation a success. This paper examines the circumstances in which such a discourse emerges, how it responds to the asperity of conservation in a post-socialist setting and gains credence for implausible conclusions by appealing to broadly recognised Czech and European narratives of identity and place. What emerges is a discursive fragmentation of the subject simultaneously lends the discourse credibility and frustrates the redistribution of power in the area.     

Habermas and the Holy Grail of reason: The Philosophical Discourse of Modernity between theatre and theory

A critical discourse analysis of The Philosophical Discourse of Modernity demonstrates that Habermas's discourse on modernity is theoretische Fiktion (a term Freud used to describe a given theory for which no evidence can be found and no arguments validated). Theatrical narrative strategies from drama are identified that not only organise the logic of the text, but also position readers. The choice of mise en scene—the Oedipal cross‐roads where older and younger protagonists meet in conflict—is seen to position readers as mere spectators. The choice of the narrative trope of the romance of lost opportunity (the road open but not taken) is not merely illustrative, but necessary for the claim that Habermas has redeemed the enlightenment project.

The paper critiques Habermas's theorising on discourse ethics because it distinguishes categories of discourse into scientific/analytical, moral/interpretive and aesthetic/expressive, which operate in three different spheres of value. In particular, it challenges the notion of an “inner logics” for what, in Habermas's stable of discourses, he labels the scientific/analytical. Readers of The Philosophical Discourse of Modernity, the paper demonstrates, are not so much pulled along by the force of the better argument, but seduced by that unbridled beast: the aesthetic/expressive.     

Hume Reads Freud: Empiricism as Rhetorical Event

Abstract

The 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.     

‘Everybody else just living their lives’: 9/11, race and the new postglobal literature

ABSTRACT

López's essay focuses on three questions or concerns: globalization, its aftermath and how those on the bottom survive it. During globalization's rise through the 1990s even the most virulent critics treated its eventual hegemony over the planet as a fait accompli; the only relevant questions were how it would change us, and whether those changes were desirable. Today the question is how to live now that globalization has failed us. As the aftermath of each of the global cataclysms of the last decade have amply demonstrated, it is the poor, the disenfranchised and marginalized who bear the brunt of the suffering and anxiety set in motion by the economic, political and cultural changes unleashed by globalization at the level of neighbourhoods and communities. What López calls the ‘postglobal’ emerges precisely at those moments when globalization as a hegemonic discourse stumbles, when it experiences a crisis or setback. The first section of his essay consists of a detailed exposition of the term ‘postglobal’ and its efficacy for the study of contemporary literature and culture. The rest focuses on Monica Ali's novel Brick Lane as an exemplar of what he calls the new postglobal literature.     

The Political Significance of the Face: Deleuze's Critique of Levinas

While Levinas famously claims that ethics precedes ontology and emanates from the concrete experience of the other's face, it is often forgotten that Deleuze also discusses the face in numerous writings. The purpose of this paper is to briefly outline Levinas's arguments regarding the constitution of the face to chart its ethical importance, before engaging with Deleuze's critique of Levinas's position. I show that, by distinguishing between two systems of signification – the head-body system and the face system – Deleuze agrees with Levinas that the face is an important signifier delineating the other, but destructs the notion of face to show that it: (1) is more complex and multi-dimensional than Levinas realizes; (2) emanates from a specific semiotic relationship; and (3) emanates from specific socio-historical circumstances. Showing the face is a semiotic construct based in and emanating from a specific socio-historical configuration allows Deleuze not only to conclude that the face is related to politics not ethics as Levinas claims, but also to claim that it entails the inhuman in the human. This clarifies the nature of the face in Deleuze, offers a critique of Levinas's influential thinking on ethics, brings us to a discussion of the relationship between ethics and politics and reveals what Deleuze takes the political to entail.     

Modernist art in the service of Nazi culture: Baldur von Schirach and the Junge Kunst im Deutschen Reich exhibition

ABSTRACT

Maertz's essay offers a history of a modernist art exhibition that opened in Vienna's Künstlerhaus under the patronage of Baldur von Schirach, the Führer's personal representative in that city, the second largest in Nazi Germany. The significance of the 1943 Junge Kunst im Deutschen Reich (New Art in the German Reich) exhibition lies in its assertion of a modernist variant of ‘official’ National Socialist art that clashes with the orthodox aesthetic system typically associated with the Third Reich.     

The politics of desire

This paper examines the relevance of the ‘particularity of the place where discourse is produced’ in two literary histories to discover if de Certeau's distinction, in Heterologies, between historiography and psychoanalysis, helps to determine if and how a work written by a white writer who writes about Aboriginal literature differs from the work of a black writer who does the same thing. It concludes that the status of the author is not a matter of indifference, neither is it simply a matter of personal experience. It ushers in the need to differentiate subject positions in relation to incremental moments of the past and in relation to constructs of the ‘other’.     

Mutant Enunciations: Feminist Practices and the Anoedipal

Feminist theory and practice, and in particular Julia Kristeva's theory of the semiotic in language and Bracha Lichtenberg Ettinger's explication of the matrixial, provide a basis from which to extend the ideas of Deleuze and Guattari concerning domains of signification that operate beyond the Oedipal structure. In the first part of this paper, I will discuss some relationships that may be traced between the ideas of these theorists and processes in creative practice that have the potential to constitute an alternative stratum of subjectivity not wholly dependent on Oedipalisation. This will be followed by a brief analysis of two paintings by West Australian artist Linda Banazis incorporating what I have termed the ‘X Function', an additional and transversal system to those outlined in Michael O'Toole's (1994) model of semiotic analysis of visual texts. The X Function provides a means of mapping nomadic or non-Oedipal currents, those ‘non-discursive' or resistant dimensions of texts which deny fixity or closure of interpretation.