Dissertationen zum Thema „Gillen“
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1
Gillen, Philippe [Verfasser], Alexander [Gutachter] Rasch und Achim [Gutachter] Wambach. „Essays on the design of procurement mechanisms / Philippe Gillen ; Gutachter: Alexander Rasch, Achim Wambach“. Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2019. http://d-nb.info/1201547644/34.
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Röhrig, Laura Kristina [Verfasser], und Julia [Akademischer Betreuer] Gillen. „Lernpotenziale Scrum-basierter Projekte als agilitätsorientierte Lernform in der betrieblichen Ausbildung / Laura Kristina Röhrig ; Betreuer: Julia Gillen“. Hannover : Gottfried Wilhelm Leibniz Universität, 2021. http://d-nb.info/1231433043/34.
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Pfrang, David [Verfasser], Marcel [Akademischer Betreuer] Oliver, Marcel [Gutachter] Oliver, Sören [Gutachter] Petrat, Walter [Gutachter] Bergweiler und Lasse [Gutachter] Rempe-Gillen. „Homotopy Hubbard Trees for Post-Singularly Finite Transcendental Entire Maps / David Pfrang ; Gutachter: Marcel Oliver, Sören Petrat, Walter Bergweiler, Lasse Rempe-Gillen ; Betreuer: Marcel Oliver“. Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2020. http://d-nb.info/1205544992/34.
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Paul, Laura Isabelle [Verfasser], Sonja [Akademischer Betreuer] Gillen, Jörg H. [Akademischer Betreuer] Kleeff und Helmut [Akademischer Betreuer] Friess. „Analyse von Gen- und Proteinexpressionsprofilen an Zellen des Unterhautfettgewebes in Assoziation mit postoperativen Wundheilungsstörungen / Laura Isabelle Paul. Betreuer: Sonja Gillen. Gutachter: Jörg H. Kleeff ; Helmut Friess“. München : Universitätsbibliothek der TU München, 2015. http://d-nb.info/1077867344/34.
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Vankeerberghen, Véronique. „L'ontologie de Gilles Deleuze“. Paris 8, 2001. http://www.theses.fr/2001PA081904.
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L'objet du travail a pour visée d'interroger la politique de pensée de Deleuze, à savoir les réquisits et effets du choix de l'immanence, de l'univocité ontologique et d'une virtualisation de certains dispositifs philosophiques. Il s'agira de montrer que le choix politique de l'immannence véhicule des garanties (égalité ontologique) et des contraintes (différence asymétrique) et que, doublé du choix d'une concaténation de certains systèmes philosophiques (les Stoîciens, Hume, Leibniz, Spinoza, Kant, Nietzsche, Bergson), il oriente la saisie des problèmes de la différence pure et de la co-genèse de l'être et de la pensée. . .
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Goudeau, Emilie. „Gilles le Muisit, Registre“. Phd thesis, Clermont-Ferrand 2, 2009. https://tel.archives-ouvertes.fr/tel-00726027/document.
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Gilles Le Muisit, abbé au milieu du XIVème siècle du couvent de Saint-Martin de Tournai, a rassemblé entre 1349 et 1352, alors qu'il était aveugle, l'ensemble de son oeuvre en français dans un énorme volume réunissant des pièces en octosyllabes, quatrains d'alexandrins et prose. Le tout forme une oeuvre littéraire inclassable, mélange de chronique, d'entreprise didactique et de poésie, posant beaucoup de problèmes de compréhension littérale. Il existe une édition ancienne de ce texte (Joseph Kervyn de Lettenhove, Louvain, 1882) qui souffre de nombreuses erreurs de transcription et propose un texte brut, sans balisage interne ni structure, accompagné d'un glossaire lacunaire et fautif. Notre travail tente d'établir une seconde édition répondant aux exigences scientifiques actuelles et permettant l'accès à cette oeuvre d'un intérêt certain autant sur le plan littéraire que linguistique, en particulier lexicographique ; la langue de Gilles Le Muisit se signale par sa forte couleur régionale (picard, wallon) et une richesse de vocabulaire remarquable, le texte de son "Registre" présentant beaucoup de mots peu ou pas attestés avant 1350. L'édition se limite pour l'instant aux neuf premiers chapitres du texte ; la transcription s'accompagne d'une introduction (présentation de l'auteur et du manuscrit, étude linguistique, commentaire littéraire), d'un ensemble de notes critiques (tentatives d'élucidation des sources et références, remarques linguistiques et littéraires ponctuelles, leçons rejetées du manuscrit ou de l'édition ancienne), d'un important glossaire et d'un index des noms propres. Nous publions pour la première fois en annexes les pièces finales du "Registre"
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Anz, Christoph. „Gilden im mittelalterlichen Skandinavien“. Göttingen : Vandenhoeck & Ruprecht, 1998. http://catalogue.bnf.fr/ark:/12148/cb37026786p.
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Helmersson, Markus. „Filipstads Gille - VT 2018 : Hur föreningen Filipstads Gille hanterat sin arkivgenererande verksamhet“. Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-68604.
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Filipstads Gille är en historisk förening som värnar om Filipstads historia. Gillet har genom sin samling och dokumentation, arbetat för att presentera stadens historia. Vilket bland annat sker via den egna tidskriften Vår Stad som ges ut årligen. Gillet är en av många enskilda arkivbildare i Sverige som inte inkluderas i arkivlagen, som bland annat skrevs för att skydda och bevara handlingar av kulturell eller historisk betydelse för landet. Trots detta finns ett glapp som gynnar den offentliga, gentemot den privata sektorns arkiv, och ett viktigt perspektiv i historieskrivningen riskerar att förloras innan man insett dess betydelse. Filipstads Gille är en ideell och allmännyttig förening vilken faller under den privata sektorn istället för den offentliga (statliga och kommunala). Enligt arkivlagen är den privata sektorn reglerad, men har inte samma skydd som den offentliga när det gäller arkivverksamheten. Därmed kommer frågeställningen; vilka skillnader som finns i lagen, vad innebär dessa skillnader för offentliga respektive enskilda arkiv, och hur hanterar Filipstads Gille sin arkivgenererande verksamhet och handlingar? Syftet med denna uppsats är att studera Filipstads Gille för att se hur deras verksamhet förhåller sig till lagstiftningen, med fokus på arkivverksamheten.
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Karvelytė, Kristina. „Beprotybės interpretacija Gilles Deleuze'o filosofijoje“. Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050523_154141-66502.
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The interpretation of unreason in Gilles Deleuze‘s philosophy
Deleuze argues that all philosophy must originate itself from violence. The violence in thought is evoken by problems, which aren‘t given but constituted in mind. The fundamental problem of thought is incapacity to think itself, the malaise of mind, stupidity or madness. The dogmatical image of thought takes the common form of an 'Everybody knows . . .' , and in the following way disassociates itself from the problem - it merely dislodges madness from discourse of reason. Deleuze shows that the problem of madness should be included into image of thought, if transforming it simultaneously. The work points out, how Deleuze solves this properly transcendental qestion: how is unreason possibile? The thinker offers three perspectives, three points of view to reflect this problem. It can be seen from a point from highland or platonical tradicion, from a point of surface or virtual philosophy which Deleuze founds in the works of stoics, Leibniz, Nietzsche and Lewis Carrol and from a point of depths into which plunges Artaud. To each of these modes of mind thereby can be diagnosed distinct disease: maniac depresion or paranoia to idealism, active form of schizophrenia- to virtual philosophy and passive form of schizophrenia – to the thinking of depths. The research shows up how eventualy this triad turns to strict disjunction between traditional image of thought and the thought which is able to think of madness, becomings... [to full text]
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Vaillancourt, Eric. „L'atelier d'orfèvrerie de Gilles Beaugrand“. Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28399/28399.pdf.
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Salucci, Marco. „Gilles Deleuze, une inéfinition esthétique“. Paris 8, 2014. http://www.theses.fr/2014PA084150.
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La notion de ressemblance, l’inconscient œdipien, l’ordre de la grammaire, sont respectivement trois manières finalisées à définir la sensibilité, le désir, l’écriture. Cependant, la philosophie de Deleuze fait dysfonctionner la ressemblance, délirer le désir, met sous tension la grammaire. Dans cette thèse, nous proposons une approche opératoire de la pensée de Deleuze afin de montrer par quels mouvements et par quels concepts, la définition atteint ses limites et la pensée retrouve le véritable étonnement philosophique. Lorsque désir et objet, Dire et Faire, corps et sensation, se retrouvent dans une zone indéfinie, la philosophie ne concerne plus la pensée, elle fait sensation. Cette thèse décompose et explicite les mouvements et les milieux où les concepts deleuziens se forment en partant de la destitution d’un objet clair, pensé et défini. Les vitesses qui parcourent sa philosophie seront mises en contrepoint avec des œuvres d’art qui permettront d’activer une sensation au delà de tout objet défini et en-deçà de tout sujet constitué. Nous verrons comment les trajets indéfinis de leur destitution parcourent une surface dans laquelle la notion de création rencontre, chez Deleuze, la vieThe concepts of similarity, unconscious Oedipal tendencies, and grammatical order are, respectively, three basic ways of framing sensibility, desire, and writing. Deleuze’s philosophy, however, dismisses this understanding; he renders similarities dysfunctional, while enflaming desire and energizing grammar. In this thesis, we propose an operative approach to Deleuze’s thought, in order to show how it has reclaimed the power of shocking philosophical insight. When desire and its object, or the declaration and its accomplishment, as well as the body and its capacities of sensation, are left in an indefinite area, philosophy is no longer confined to realm of thought; it creates a sensation. This thesis deconstructs and makes explicit those areas where Deleuzian concepts take on this matter of the removal of the certain object. The quick thinking that runs through his philosophy will be placed in counterpoint to those works of art that activate a sharp feeling beyond all defined objects and subject matter. We will see how such undefined paths give rise to a surface where the notion of creation is, according to Deleuze, life itself
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Vaillancourt, Éric. „L'atelier d'orfèvrerie de Gilles Beaugrand“. Master's thesis, Université Laval, 2011. http://hdl.handle.net/20.500.11794/23728.
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Gilles Beaugrand-Champagne (1906-2005) a été connu dans toute l'Amérique du Nord pour ses vases sacrés et autres objets de culte, à une époque où le monde de l'art religieux a connu un profond renouveau. Beaugrand, par ses études à l'École des beaux-arts de Montréal, puis sa formation en ferronnerie d'art à Paris, connaissait les courants d'avant-garde du monde des arts décoratifs. À partir de 1935-1936, en s'appuyant sur les compétences d'orfèvres expérimentés, il met sur pied un atelier qui se fait rapidement remarquer par sa production d'objets de culte au langage art déco, et par sa capacité à réaliser une grande diversité d'objets métalliques de toutes catégories. Le fonctionnement de l'atelier de Gilles Beaugrand correspond à un modèle fidèle à sa formation académique où le maître d'atelier utilise son personnel pour réaliser de nombreuses oeuvres, tout en étant le seul créateur des objets produits.
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Petitjean, Vincent. „Vies de Gilles de Rais“. Lille 3, 2011. http://www.theses.fr/2011LIL30045.
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Cette thèse vise à rendre compte de la postérité littéraire de Gilles de Rais, personnage historique qui vécut dans la France du XVe siècle. Compagnon de Jeanne d'Arc, il fut assimilé à Barbe-Bleue. Il s'agit ici de suivre le devenir littéraire de cette figure du XVe siècle à nos jours afin de déterminer le statut littéraire du maréchal de Charles VII. Ce faisant, cette étude envisage le problème du rapport entre Histoire et littérature ainsi que les conditions d'élaboration d'une figure héroïque, voire d'un mythe littéraireThis work tries to understand the literary becoming of Gilles de Rais, historical character who lived in France during the Fifteenth Century. Comrade-in-arms to Joan of Arc, he was assimilated to Bluebeard. It is about to following Gilles's progress in literature from the Fifteenth Century until these days to determinate what kind of character he really was. That's why the link between History and literature is considered as well as the process, which enables of a hero, or even a literary myth
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Raby, John. „Gilles Deleuze : musique, philosophie et devenir“. Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20011/document.
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D’après Deleuze, écrire sur la musique constituerait un « sommet » de la pensée, l’idée d’une « supériorité » du musical sur les autres formes d’art étant, par là même, affirmée. La relation entre musique et philosophie n’est pas, dans sa pensée, de l’ordre du commentaire mais du devenir. Autrement dit, la musique n’est pas un simple objet d’analyse puisqu’elle influence en retour le style de conceptualisation du philosophe. C’est pourquoi ce problème s’articule selon deux perspectives qui s’échangent sans se concilier tout à fait : un devenir-musical de la philosophie, un devenirconceptuelde la musique. On pense par exemple au concept décisif de ritournelle qui désigne à la fois une « petite musique » etl’éternel retour.Le devenir-musical de la philosophie correspond à une dimension « artiste » de la pensée, le style d’écriture devenant un enjeu majeur. Deleuze partage avec les romanciers la création d’une langue étrangère dans la langue courante – création qui tend vers une « musicalisation » du langage. Si l’écrivain invente une « petite musique » par une mise en variation continue de la langue, le devenir musical de la philosophie implique une variation continue du concept, notamment parl’usage de la métaphore. Le texte philosophique refuse alors toute approche interprétative pour intensifer la part affective du texte. Un tel devenir n’est pas sans produire une forme d’ambiguïté puisqu’il finit par rendre indiscernable poésie et philosophie. Comment assumer la part musicale de la pensée deleuzienne dans le champ de la philosophie ? Le devenir-conceptuel de la musique correspond à un aspect plus traditionnel de la pensée deleuzienne puisque la musique y est soumise à l’appareillage ontologique du philosophe. En toute logique, l’idéal esthétique vers lequel tend tout agencement musical s’avère être la variation continue. Reprenant à son compte les dualités bergsoniennes, Deleuze assimile lemusical au domaine de l’intensif et du différentiel contre ce qui touche à la représentation. Sur la question fondalementaledu temps musical, Deleuze s’inspire de Wagner Proust, Bergson et Boulez pour développer une métaphysique de la musique autour de deux notions : le passé pur comme Mémoire cosmique et la réminiscence comme moyen esthétique d’y accéder. Du fait de la nature idéaliste de cette conception, Deleuze s’oppose à l’esthétique nietzschéenne pour renouer avec le romantismeAccording to Gilles Deleuze, writing about music would be a summit of thought, the idea of superiority of the music is even asserted. Deleuze doesn’t think the relationship between music and philosophy as a comment but as a becoming. Music is not just a subject of analysis since in turn influences the style of conceptualization of the philosopher. The musical question thus revolves around two perspectives : a becoming-music of philosophy, a becoming-conceptual of music. For example,the concept of refrain refers to both a "little song" and the eternal return of Nietzsche.Becoming-music of philosophy is an artistic dimension of thought, so the writing style became a major issue. Deleuze shares with writers the creation of a foreign language in everyday language - which tends to create a « musicalisation » of words. As the writer invents a word music with a continuously variable setting of the language, the music of philosophy implies a continuous variation of the concept, including the use of metaphor. The philosophical text then refuses any interpretative approach to concentrate the affective part of the text. Such becoming is not without producing a form of ambiguity since it ultimately makes indistinguishable poetry and philosophy. How to take music fot the deleuzian concept in the field of philosophy?The same continuous variation is seen under high aesthetic ideal within the becomingconceptual of music. This second perspective corresponds to a more traditional aspect of Deleuze's thought since music is subjected to the ontological apparatus of the philosopher. Inspired by Wagner, Proust, Bergson and Boulez, Deleuze develops a metaphysic ofmusic based on two notions : the pure past and reminiscence. Because of such an idealistic conception of music aspect, Deleuze opposes Nietzsche's aesthetics to revive the romantism
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Uhlig, Ingo. „Poetologien des Ereignisses bei Gilles Deleuze“. Würzburg Königshausen und Neumann, 2005. http://d-nb.info/987933922/04.
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Rutigliano, Francisca Tania Soares. „Gilles Deleuze : o drama da diferença“. [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278830.
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Orientador: Luiz Benedicto Lacerda OrlandiDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado
Abstract: Not informed.
Mestrado
Mestre em Filosofia
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Cavalcanti, Adriane da Silva. „Filosofia e pintura em Gilles Deleuze“. [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281532.
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Orientador: Luiz Benedicto Lacerda OrlandiDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este trabalho se pretende como uma investigação filosófica enfeixando questões conceituais a respeito de estética, arte e a potencialidade dos conceitos filosóficos ao abordarem este domínio, segundo a óptica do pensador francês Gilles Deleuze (1925-1995). O estudo centra-se no discurso desse autor acerca da arte pictórica, tomada como eixo para a compreensão de como se ergue o encontro entre a filosofia e a arte. Dois aspectos são delimitados para desenvolver a investigação: o primeiro indaga pelas relações entre a filosofia e a arte, explicitando as articulações entre conceitos filosóficos e elementos artísticos segundo um ponto de vista teórico. O segundo aspecto refere-se ao momento prático dessa articulação, presente na pintura. Esse segundo aspecto se desenvolve segundo a análise da operatoriedade de um conjunto de conceitos deleuzianos mobilizados ao apreciar a singular configuração estética da pintura de Francis Bacon em relação à aparição destes mesmos conceitos em outras obras do filósofo, visando com isso verificar as variações e apropriações às quais eles são submetidos e, conseqüentemente, dar a dimensão de como se constitui o discurso deleuziano acerca de uma arte
Abstract: This work intends to be a philosophical investigation assembling conceptual questions related to aesthetics, art, and the potentiality of philosophic concepts to concern this domain, according to Gilles Deleuze¿s point of view. Our study is based on that philosopher¿s discourse about pictorial art, as the axis to understand how proceeds the meet interface between philosophy and art. Two points are circumscribed to develop our investigation: the first asks for the relations hip between philosophy and art, making clear the articulations between philosophicae concepts and artistic elements according to a theoretical point of view. The second point is related to the practical moment of this articulation, as it occurs on painting. This second point evolves according to the analysis of the functionality of an ensemble of deleuzian concepts, mobilized during the appreciation of the singular aesthetic configuration of Francis Bacon¿s paintings, and how these concepts appear in other writings of that same philosopher, intending, to investigate the variations and appropriations to which they are conditioned, and, consequently, to explicit the dimension of the deleuzian discourse constitution about a fine art (painting)
Mestrado
Mestre em Filosofia
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Gallina, Simone Freitas da Silva. „Invenção e aprendizagem em Gilles Deleuze“. [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252031.
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Orientador: Silvio Donizetti Oliveira GalloTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A presente tese tem como proposta apresentar a contribuição de Gilles Deleuze sobre a aprendizagem abordada a partir da invenção de problemas e da criação de conceitos. Com isso pretendemos mostrar que a aprendizagem não se constitui meramente numa passagem ou transição natural e um estado de não saber para um estado de saber. Antes, a aprendizagem se dá num contexto de experimentação, em que o aprender equivale ao pensar e este somente surge por uma coação exercida pelos acontecimentos portadores de signos. Para essa tarefa foi preciso percorrer as linhas que constituíram e constituem o traçado do pensamento, as quais partem da interpretação de Deleuze da imagem tradicional do pensamento como recognição. Também foi preciso percorrer os deslocamentos da sua elaboração de uma imagem original do pensamento, a imagem de um traçado de linhas de forças no qual o passado, enquanto duração, sempre atual, emerge como futuro. Esse movimento que dá origem ao pensar e, portanto, ao aprender, tem como seus elementos os signos, os acontecimentos, a experiência enquanto elaboração de problemas e de invenção das suas soluções
Abstract: The present thesis has as proposal to present the contribution of Gilles Deleuze about the learning approached from the invention of problems and the creation of concepts. With this we intend to show that learning does not merely constitute a passage or natural transition from the state of knowledge. Before, learning occurs in the context of experimentation, in which learning equals thinking, and it only appears by coercion exercised by events carried with signs. For this task it was necessary to go through the lines that constituted and constitute the trace of thought, which part from Deleuze¿s interpretation of the traditional image of thought as recognition. It was also necessary to cover the displacements of its elaboration of an original image of thought, an image of a stroke of power lines in which the past, as duration, always current, emerges as future. This movement gives origin to thought, and therefore, as learning, has as its elements the signs, the happenings, the experience while elaboration of problems and the inventions of its solutions
Doutorado
Filosofia e História da Educação
Doutor em Educação
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León, Alejandro. „Gilles Deleuze: el pensamiento como pasión“. Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/119548.
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El artículo aborda el estatuto del pensar según el filósofo francés Gilles Deleuze, buscando hallar una respuesta a la pregunta ¿qué significa pensar? La tesis central del artículo es que, según Deleuze, el ser humano no piensa cuando reconoce el mundo a través de sus representaciones. Por el contrario, el hombre alcanza a pensar solo cuando se enfrenta a una experiencia radical que no puede representar. Solo ahí, ante la absoluta necesidad, se activael pensador que habita en nosotros. Lo que nos conduciría a pensar no sería entonces una identidad representada, sino una diferencia experimentada.
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Michalet, Judith. „Vie et création chez Gilles Deleuze“. Paris 1, 2009. http://www.theses.fr/2009PA010561.
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Le vitalisme de Gilles Deleuze est indissociablement ontologique, éthique et esthétique. Notre étude mettra en évidence le lien de ses recherches relatives à une intensification de l'existence et sa pensée de la création immanente des êtres vivants au sein de l'univers. Si la genèse des formes vivantes a été moins thématisée que la « vie inorganique» coextensive au plan d'immanence, elle a pourtant fait l'objet d'une conceptualisation rigoureuse dans ses écrits personnels. Il s'agira donc de considérer les aspects de sa pensée du vivant biologique, négligés jusqu'à présent, et de les resituer à leurs différents stades d'élaboration pour faire apparaître toute la fécondité de concepts qui esquissent une métaphysique de la vie. Les trois synthèses du temps dégagées dans Différence et répétition constitueront les trois fils directeurs de notre étude: l'apparition de l'organisme vivant, la formation de la mémoire du vivant et les potentialités créatrices des êtres vivants constitués.
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Ao, Long. „La critique littéraire de Gilles Deleuze“. Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL185.
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Cette thèse se propose de contribuer à la critique littéraire de Deleuze, en examinant parallèlement les ouvrages philosophiques de Deleuze, en vue de démontrer l’autonomie de sa critique littéraire entre la philosophie et la littérature. Cela permet de démontrer la double ambition de sa critique littéraire : la lecture des œuvres littéraires comme exploration philosophique, la réflexion métaphysique incorporée dans l’étude du texte. Pour montrer en même temps l’évolution de sa critique littéraire et les dialogues que Deleuze a engagés avec des critiques littéraires et des philosophes, cette thèse adopte le point de vue de Deleuze dans ses critiques, c’est-à-dire de trouver un projet de sa critique littéraire. L’analyse de ce projet est orientée par la conceptualisation deleuzienne qui ne cesse de se renouveler, allant de la question de la genèse jusqu’à celle de finalité et d’autonomie. Dans l’argumentation de chaque partie, cette thèse adopte des méthodes comparatives : une comparaison à l’intérieur des ouvrages de Deleuze pour démontrer le déplacement de son horizon critique, une comparaison avec d’autres critiques littéraires pour valoriser les particularités de ses approches critiques, et un dialogue synchronique avec d’autres philosophes pour contextualiser ses conceptualisations. La critique littéraire de Deleuze, étudiée dans sa généalogie thématique, constitue un milieu où le rapport entre la littérature et la philosophie ne reste plus au niveau conceptuel ou interprétatif, mais dans une exploration réciproque, toujours problématisée par la critique littéraire de DeleuzeThis dissertation proposes to contribute to the study of literary criticism of Deleuze, by examining at the same time Deleuze’s philosophical works, in order to demonstrate the autonomy of his literary criticism between philosophy and literature. This shows the double ambition of his literary criticism: the reading of literary works as philosophical exploration, and the metaphysical reflection incorporated in the study of the text. To show at the same time the evolution of his literary criticism and the dialogues that Deleuze engaged with literary critics and philosophers, this dissertation adopts the point of view of Deleuze in his criticisms, that is to say, to find a project of his literary criticism. The analysis of this project is guided by the Deleuzian conceptualization that has continued to be renewed, ranging from the question of genesis to that of finality and autonomy. In the argumentation of each part, this dissertation adopts comparative methods: a comparison within Deleuze’s works to demonstrate the shift of his critical horizon, a comparison with other literary critics to value his critical approaches, and a synchronic dialogue with other philosophers to contextualize its conceptualizations. Deleuze’s literary criticism, studied in his thematic genealogy, gives a place in which the relationship between literature and philosophy remains no longer at the conceptual or interpretative level, but in a reciprocal exploration, always problematised by his literary criticism
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Lléres, Stéphane. „La philosophie transcendantale de Gilles Deleuze“. Amiens, 2010. http://www.theses.fr/2010AMIE0006.
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Lenne, Francine. „Louis Gillet écrivain d'art, 1876-1943“. Lille 3 : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb375939457.
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Antunes, Miguel Ângelo Olival de Sande Lemos Correia. „O desejo maquínico em Gilles Deleuze“. Doctoral thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/12329.
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Esta dissertação procura desenhar um percurso para a compreensão da construção do conceito de desejo em Gilles Deleuze. O trabalho parte da pergunta pela sua filiação epistemológica, pergunta essa que conduz à compreensão de um projecto filosófico perspectivista e termina numa filosofia política, na qual o desejo tem o papel de potência geradora de novas possibilidades de pensamento e de vida; ### ABSTRACT: This dissertation tries to draw a path to understanding the construction of the concept of desire in Gilles Deleuze. We start by searching for his epistemological filiation, discovering its perspectivist project that ends in a political philosophy, in which desire has the role of a power to generate new possibilities of thought and life.
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Rock, Gilles [Verfasser]. „Thermal Infrared Imaging Spectroscopy / Gilles Rock“. Trier : Universität Trier, 2019. http://d-nb.info/1203837658/34.
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Domingos, Joao Gabriel Alves. „Diferença e sensibilidade em Gilles Deleuze“. Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/BUOS-8PKPMG.
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We approached the problem of the art in the Deleuze philosophy by a contextualization of sensibility inside a project of thinking the difference. In the introduction, we approached the procedure utilized by Deleuze to make his history of philosophy. After this first moment, we show how, by his lecture of the method of division from the Platonic dialogues (Statesman, Sophist, Phaedrus), Deleuze developed a critique of analogy, because the critique is a way to correspond the thought with the representation, leaving the difference unthinkable. In the second part, we read Kant, showing how his doctrine of the faculties 2 also realize an image of thought as representation. But, in both cases, the Deleuze's interpretations are ambiguous. He found, in these representational systems, the moments in which the difference is thought. In Plato, when he proposes the adventure of thinking the not-being in the Sophist (indicating himself what's mean the Niezschean expression to reverse Platonism). In Kant, (1) in the Critique of Pure Reason when he puts a third element (the pure form of time) into the logic of two terms of Cartesian cogito and, (2) in Critique of Judgment, where the sublime is capable of carrying the faculties to their respective limits, producing contingent harmonies (that is, not presupposed) among them. According to Deleuze, the theory of conditions is left to the assumption of the perspective of genesis; the conditions of possibilities is left to assume of the conditions of real experience. The notion of repetition found in the Nietzsche's eternal return as intensive repetition of difference is crucial for this genetic perspective, because this concept expresses a logic in which there's no appeal to any transcendence.Abordamos o problema da arte na filosofia de Deleuze através de uma contextualização da sensibilidade em um projeto de pensar a diferença nela mesma. Na introdução, abordamos o procedimento utilizado por Deleuze para fazer sua história da filosofia. Logo após, mostramos como Deleuze desenvolveu uma crítica da analogia através de sua leitura do método da divisão presente nos diálogos platônicos (Político, Sofista, Fedro). Na segunda parte, lemos Kant, mostrando como sua doutrina das faculdades 1 também realiza uma imagem do pensamento como representação. Mas, em ambos os casos, a interpretação de Deleuze é ambígua. Ele encontra, nesses sistemas representacionais, um momento no qual a diferença é pensada. Em Platão, quando no Sofista o filósofo grego propõe a aventura de pensar o não-ser (indicando ele mesmo o que significa a expressão nietzschiana reverter o platonismo) e em dois momentos da obra kantiana: (1) na Crítica da Razão Pura, quando um terceiro elemento (a forma pura do tempo) é inserido na lógica de dois termos do cogito cartesiano e (2), na Crítica da Faculdade do Juízo, quando o sublime é capaz de levar as faculdades até os seus respectivos limites, produzindo acordos contingentes (isto é, não pressupostos) entre elas. Segundo Deleuze, a teoria das condições é abandonada para a assunção da perspectiva genética; as condições de possibilidade são abandonadas para a assunção das condições da experiência real. A noção de repetição encontrada no conceito nietzschiano de eterno retorno, como repetição intensiva da diferença, é crucial para a perspectiva genética porque este conceito expressa uma lógica que não faz apelo a nenhuma forma de transcendência.
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Colombo, Andrea. „Filosofia e Matematica in Gilles Deleuze“. Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3423323.
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È possibile ricostruire la storia dei concetti e dei termini matematici frequenti nei testi di Gilles Deleuze nell’ambito della crisi dei fondamenti scientifici del Novecento, chiarendo il loro valore all’interno della scuola intuizionista francese: cosa finora non considerata sufficientemente dalla bibliografia secondaria sull’argomento. L’intuizionismo, a differenza delle altre due scuole più importanti, ovverosia il logicismo di Russell ed il formalismo di Hilbert, difende una concezione della matematica come assoluta opera creativa da parte del soggetto che, quasi letteralmente, la dispiega. Se in Inghilterra, America e Germania furono il formalismo ed il logicismo – con quote differenti e, spesso, miste – ad avere la meglio sulle Università e nei progetti di ricerca, in Francia ed in Italia l’intuizionismo ebbe invece una voce sufficientemente forte da influenzare intere generazioni di matematici e, in particolare, di non specialisti del settore: i filosofi. A partire da Poincaré, infatti, ovverosia da uno dei più importanti matematici dello scorso secolo, considerato dagli intuisti forti (Brouwer, etc.) come un loro fondamentale precursore nonché padre della topologia contemporanea, in Francia si diffusero un generale anti-logicismo ed anti-formalismo che hanno influenzato i più grandi epistemologi e, conseguentemente, i filosofi che a questi poi si rifecero; esattamente come Deleuze. Le tesi fondamentali dell’intuizionismo sono principalmente due: la matematica come costruzione e l’essenza psicologica temporale al fondo di questa scienza.
I testi di Poincaré vennero usati e studiati da Brunschvicg, maestro diretto di Gaston Bachelard, Cavaillès e di Albert Lautman. Brunschvicg fu il primo a trarre un significato filosofico dall’intuizionismo matematico di Poincaré, rafforzando ed estremizzando l’idea di una matematica intesa come pensiero matematico e non solo come scienza, e radicalizzandone la proprietà costruttiva, legata al volere del matematico stesso. Tuttavia, secondo Brunschvicg la matematica mancherebbe a se stessa se non si proiettasse nel mondo fisico, divenendo una fisica-matematica. L’aspetto costruttivo del neo-razionalismo, dunque, si carica di una forte componente modellistico-spaziale. Cavaillès e Lautman (fondamentali autori di riferimento per Deleuze) proseguirono sull’onda del loro maestro, ragionando sui concetti – non a caso – di struttura e di problema. Bachelard, infine, parlò apertamente di una topologia del pensiero e di una epistemologia polifonica, decentrata, costruttiva, che riguardasse più il pensare in quanto tale che non una scienza nello specifico: in altre parole, portò a compimento ed in maniera radicale l’idea latente nell’intero intuizionismo matematico di un pensiero creatore, radicalizzando però al tempo stesso anche il pensiero di Brunschvicg, suo maestro, installando la sostanza spinoziana proprio nel processo creativo in quanto tale.
Brunschvicg infatti scrisse anche un importante testo su Spinoza, ed è noto come Cavaillès stesso – morto fucilato dai nazisti nel 1944 – si considerasse uno spinozista, e pensasse la resistenza politica una “necessità della ragione”. Bachelard, in una non molto nota ma importante conferenza proprio su Spinoza che prenderemo in esame, legò esplicitamente il pensiero matematico alla Sostanza del filosofo olandese, pensandole entrambe come pensiero-creativo e dotandole di una certa importanza ontologica, capace di descrivere il farsi reale del mondo.
La prima tesi del mio lavoro è dunque la seguente: sostengo che i concetti matematici ereditati da Deleuze gli giungessero già filtrati da autori che installarono sul loro background intuizionista una forte matrice spinoziana-spaziale, con il risultato di crearvi all’interno una peculiare polarità concettuale. Da un lato la matematica è un atto intuitivo e creativo nel tempo calibrato sul soggetto (intuizionismo), dall’altro il dispiegarsi di strutture razionali che sottostanno al funzionamento del mondo (neo-razionalismo). Dimostrato questo, lo scopo del mio lavoro è ripercorrere la produzione di Deleuze seguendo l’oscillazione tra questi due poli, che permette di rispondere a molte domande sul cambio di registro dell’autore e, soprattutto, di fare chiarezza sul suo uso della matematica.
La mia tesi è che tutta la produzione deleuziana possa venire divisa in tre fasi a partire proprio dall’uso che l’autore fa della matematica:
- Abbiamo gli anni sessanta e settanta che, come abbiamo visto, sono vicini allo strutturalismo e hanno un preciso bersaglio politico: il calcolo differenziale fa da padrone, ovverosia la distribuzione della soggettività, la creatività assoluta e impossibile da determinare delle funzioni matematiche (leggibili anche come sperimentazioni politiche): in questo momento, è l’intuizionismo temporale bergsoniano il polo a cui Deleuze si rivolge.
- Abbiamo poi gli anni settanta e ottanta, dove il Fuori, il non dicibile, il non visibile, prendono piede. Il linguaggio smette la propria funzione assoluta, com’era invece nel primo momento: qui è la creazione di spazi (basti pensare a Mille Piani, dove il concetto di territorio e di rizoma, e non più di simulacro e di struttura, fungono da cuore del testo) ciò che sembra più premere a Deleuze, al punto da nominare una delle sue opere più importanti, ovvero La piega, con il nome di uno dei concetti chiave della topologia: ovverosia come uno dei sette modelli catastrofici possibili della teoria di Rene Thom. Dall’intuizione temporale, Deleuze scivola verso la costruzione spaziale, concretizzando maggiormente il polo spinoziano.
- Nel terzo periodo, quello degli anni ’90, Deleuze fa un ulteriore e straordinario passo in avanti, separando definitivamente la filosofia (che per la prima volta diventa apertamente creazione di concetti riferentesi al piano di immanenza) dalla matematica, che viene inclusa per la prima volta sotto la macrocategoria concettuale delle “scienze”. Questo, a mio parere, mostra come la matematica non sia mai stata sufficiente a Deleuze, che si trova – alla fine della propria vita – a volerla ridurre e a volerla superare, insieme alla filosofia stessa, nell’ottica di una creazione perpetua ed assoluta. Analizzando la terza fase propongo la terza tesi del mio lavoro: la proposta, secondo me, deleuziana di parlare di creazione senza soggetto e senza nemmeno concetto; ovverosia del “cervello” (ultima parte di Che cos’è la filosofia?).
Riassumendo, le tesi che sostengo sono principalmente tre:
- Mostrare la saldatura storico-concettuale finora lasciata quasi completamente in ombra dalla bibliografia secondaria tra la matematica intuizionista e lo spinozismo;
- Mostrare come, in questo concetto “doppio” di una matematica intuizionista-spinozista, Deleuze oscilli lentamente dall’aspetto più temporale (anni 50-60) all’aspetto più spaziale (anni 80-90): dai ruoli della soggettività, alla creazione di spazi, fino alla definizione dello Spazio Assoluto, ovverosia del piano di immanenza, dichiarato apertamente sono nell’ultimo Deleuze.
- Proporre un’analisi dell’ultimo Deleuze innovativa: il pensare una creazione che non sia né soggettiva né concettuale: oltre la filosofia, cioè, e oltre il soggetto.
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De, Michele Girolamo. „GILLES DELEUZE: "SUR FOUCAULT -- 1985-1986"“. Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3424336.
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Upon Foucault’s death in 1984, Deleuze began reading the whole corpus of Foucault's textes, in order to write a book. The seminar that Deleuze gave at the University of Paris-VIII functioned as a kind of laboratory in which Deleuze experimented with the ideas and concepts he was developing. As it turned out, the book he wrote at the end of the seminar compressed in a few pages the reflections he had widely developed throughout the seminar, was hard to understand, or else it was so personal to be defined "a metaphysical fiction".
The online publication (2011) of the course lectures made a better comprehension of Deleuze's interpretation of Foucault: it is amazing to see how accurate Deleuze was in his interpretation of Foucault’s thinking, despite the fact that he could not have had any knowledge of the Lectures of the Collège de France.
My critical edition of the course at lectures – published on line between the spring of 2013 and the summer of 2015 – started from the hypothesis that Deleuze's interpretation was supported by the knowledge of Foucault's works collected as Dits et écrits, and that Foucault's interview and conferences were strictly related to the courses at Collège de France. At the end of this work, I can confirm my starting hypothesis.
In his lessons, Deleuze read the entire system of thinking of Foucault’s dividing it into tree axes: knowledge, power and finally subjectivation. The first and second ones develop and enhance some known interpretations, which Foucault himself was aware of. The third axe is the more relevant one, because during the lessons Deleuze renounces his interpretations on the bases of the basic concepts of "desire"; he understands exactly the dynamics of the processes of subjectivation that Foucault studied in the Christian confession and in the "courage of the truth" and the concept of parrhesia amongst stoics and cynics.
Next to the subjectivation, other concepts deserve to be mentioned.
Deleuze shows the close relationship between Foucault and Blanchot, and Foucault and Bichat, a contrast between Foucault and Heidegger that is confirmed by some notes from the last of Foucault’s courses. Secondly, in order to interpret the concept of subjectivation, Deleuze produces a new concept, the "folding" one, which he will use in the ensuing book about Leibnitz. Finally, the concept of "control society", which seemed to be a gratuitous interpretation of Deleuze, emerges from the lessons as the consequence of an original, but coherent with foucaultian biopolitics theory, thought.
Ultimately, his whole seminar seem to be an original, but accurate, interpretation of the friend's thinking.Alla morte di Michel Foucault nel 1984, Gilles Deleuze intraprese un'attività di lettura dell'intero corpus dei suoi scritti, allo scopo di scrivere un libro. Il corso che Deleuze tenne nel 1985-1986 all'Università di Paris-VIII rappresenta una sorta di laboratorio nel quale Deleuze ha messo alla prova i propri concetti in via di sviluppo. Il libro che Deleuze scrisse al termine del corso, tuttavia, compresse in poche pagine le riflessioni sviluppate durante il corso, e risultò di difficile comprensione, o talmente personale da essere definito "una fiction metafisica". La pubblicazione delle registrazioni del corso (2011) permise una maggiore comprensione dell'interpretazione deleuzeana del pensiero di Foucault: è sorprendente vedere come Deleuze, che non poteva conoscere i corsi al Collège de France, avesse maturato un'intepretazione molto accurata del pensiero di Foucault. L'ipotesi di lavoro di questa edizione critica del testo del corso di Deleuze del 1985-1985, pubblicato on line fra la primavera del 2013 e l'estate 2015, era che l'accurata interpretazione di Deleuze fosse motivata dalla conoscenza di alcuni testi in seguito raccolti nei Dits et écrits, e che i discorsi e le conferenze di Foucault avessero un'intima coerenza con i contenuti dei corsi al Collège, e costituissero una sorta di cannocchiale attraverso il quale leggere gli stessi Corsi. La conclusione del lavoro di tesi ha confermato questa ipotesi. Deleuze, nel corso delle sue lezioni, interpreta l'intero sistema di pensiero di Foucault suddividendolo in tre assi: quello del sapere, quello del potere, e quello della soggettivazione. I primi due assi sviluppano e approfondiscono interpretazioni già note, che lo stesso Foucault conosceva. Il terzo asse è quello più rilevante, perché nel corso delle lezioni Deleuze rinuncia ad interpretarlo in base alla centrale nozione di desiderio, e coglie con esattezza le dinamiche dei processi di soggettivazione che Foucault aveva studiato attraverso la confessione cristiana, e poi attraverso il "coraggio della verità" e la nozione di parrhesia negli stoici e nei cinici. Accanto al concetto di soggettivazione, altri concetti meritano di essere segnalati. Mostrando la stretta relazione fra Foucault e Blanchot, e fra Foucault e Bichat, Deleuze mostra un'opposizione fra Foucault ed Heidegger che è confermata da alcuni appunti dell'ultimo corso di Foucault. In secondo luogo, per interpretare il concetto di soggettivazione Deleuze produce un nuovo concetto, quello di "piega", che utilizzerà in seguito per il libro su Leibnitz. Infine, il concetto di "società del controllo", che sembrava un'interpretazione arbitraria di Deleuze, appare dalle lezioni il prodotto di un pensiero originale, ma coerente con la teoria foucaultiana della biopolitica. In definitiva, l'intero seminario di Deleuze appare essere un'originale, ma fedele, interpretazione del pensiero dell'amico.
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Regis, Filho Gilsee Ivan. „Sindrome de maladaptacao ao trabalho em turnos: uma abordagem ergonomica“. Florianopolis : [s.n.], 1998. http://www.eps.ufsc.br/disserta98/gilsee/index.htm.
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Klug, Birgit. „Familienuntersuchung zum Gilles-de-la-Tourette-Syndrom“. [S.l.] : [s.n.], 2003. http://archiv.ub.uni-marburg.de/diss/z2003/0418/.
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Ramey, Joshua Alan. „Gilles Deleuze and the powers of art“. Click here for download, 2006. http://proquest.umi.com/pqdweb?did=1176539841&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Martínez, Mellado Asunción. „Gilles Deleuze y la inversión del platonismo“. Doctoral thesis, Universidad de Murcia, 1987. http://hdl.handle.net/10803/10833.
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With this study we analyse and expound the leitmotif that underlies G. Deleuze's philosophy. M. Foucault stated: "The XXI century will be Deleuzian". We will centre on G. Deleuze's first period works, above all on Différence y répétition, Logique du sens, L'Anti-Oedipe and Mille plateaux. In this works Deleuze establishes the foundations of all his further thought. It is a question of showing the way Deleuze carries out the Nietzschean proposal of reversing Platonism. Reversing Platonism is for Deleuze Thinking about the future. This Deleuzian attempt to make a real and positive philosophy of what is to become will be the subject of the first part of "The adventure of difference".The Adventure of Difference has two main moments: a) the construction of a transcendental empiricism, underlain by an aesthetics or ontology of intensity and b) the drawing up of a metaphysics of eventuation and ghost.In the second part, we tackle the reducing to practice of that philosophy in "the sqizoanalysis: a theoretical proposal, a war machine".Deleuze and F. Guattari state that squizoanalysis aims at: the capitalist machinery, its rational pathology and the irrational ground it builds upon. As well as the revolutionary mechanisms or war machine used to fight against repression powers that sap and undermine from the inside desire and the social.This task, that is by no means outside the reversal of Platonism, gets updated in two phases, the one named "Adventures and misfortunes of desire" (true history is the history of desire, Deleuze said); and the one called "The machine-like unconscious: a thousand plains do not make a mountain".In the first part, Deleuze y Guattari suggest a machine-like conception of the unconscious and of desire. L'Antioedipe develops this conception. In the second part Deleuze carries out what we might call the building, the own creation of the said unconscious, worked out in Mille Plateaux. Several approaches, several plateaux, make up the new system: rhizomatic, process of stratification, pragmatics, micropolitics, nomadology, will become now the figures of squizoanalisys. In Mille plateaux, squizoanalysis is presented as a map, a network, a diagram of lines of power that cross reality. Finally it should not be forgotten that squizoanalysis has a political and revolutionary side, or even better, it intends to be a revolutionary practice of political-wishing liberation and of free experimenting. "Thinking is experimenting, creating!" ¡What better reversal of Platonism!Terms: abstract machine, agencyment, body without organs, consistency plane, countenancing, war machine, reversal of Platonism, squizoanalysis, difference, repetition, micropolitics, nomadology..El objetivo de este estudio es analizar y exponer el motivo que recorre toda la filosofía de G. Deleuze.Su amigo M. Foucault, anunció: "El siglo XXI será deleuziano". Nos centraremos en las obras de la primera etapa, sobre todo en "Différence y répétition", "Logique du sens", "L'Anti-Oedipe " y "Mille plateaux" En ellos Deleuze sienta los fundamentos de todo su pensamiento posterior. Se trata de exponer cómo Deleuze realiza en la práctica la propuesta nietzscheana de llevar a cabo la inversión del platonismo. Invertir el platonismo es para Deleuze pensar el devenir.La tentativa deleuziana de hacer una verdadera y positiva filosofía del devenir será el tema de la primera parte "La aventura de la diferencia".La aventura de la diferencia consta de dos momentos principales: a) la construcción de un empirismo trascendental al que subyace una estética u ontología de las intensidades y b) la elaboración de una metafísica del acontecimiento y del fantasma. En la segunda parte, abordamos el momento de la puesta en práctica de dicha filosofía en "El esquizonálisis: una propuesta teórico práctica, una máquina de guerra".Deleuze y F. Guattari afirmar que el esquizoanálisis tiene por objetivo: la máquina capitalista, su patología racional y la irracionalidad sobre la que se levanta; así como los mecanismos revolucionarios o máquina de guerra con la que luchar contra los poderes de la represión que socavan y minan desde dentro el deseo y lo social. Esta tarea, que en absoluto es ajena a la inversión del platonismo, se actualiza en dos etapas, la titulada "Las aventuras y desventuras del deseo" (La verdadera historia es la historia del deseo, dirá Deleuze); y la titulada "El inconsciente maquínico: Mil planicies no hacen una montaña"En la primera parte, Deleuze y Guattari proponen una concepción maquínica del inconsciente y del deseo. Ésta es desarrollada en L'Antioedipe. En la segunda Deleuze lleva a cabo lo que podríamos llamar la construcción, la creación misma de dicho inconsciente, elaborada en Mille Plateaux. Diversas aproximaciones, diversos plateaux, forman el nuevo sistema: rizomática, estratoanálisis, pragmática, micropolítica y nomadología, serán ahora las figuras del esquizoanálisis. En Mille plateaux, el esquizoanálisis se nos presenta como una cartografía, diagrama o mapa de las líneas de fuerza que atraviesan lo real. Finalmente no hay que olvidar que el esquizoanális tiene una vertiente política y revolucionaria, o mejor, pretende ser un ejercicio revolucionario de liberación político-deseante y de libre experimentación. ¡Pensar es experimentar, crear! ¡Qué mayor inversión del platonismo!
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Klein, Gilles [Verfasser]. „Narkolepsie : eine Fall-Kontroll-Studie / Gilles Klein“. Köln : Deutsche Zentralbibliothek für Medizin, 2012. http://d-nb.info/1025641582/34.
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Rocha, Jorge Alberto da Costa. „A ideia de conceito segundo Gilles Deleuze“. [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278827.
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Orientador: Luiz Benedicto Lacerda OrlandiDissertação (Mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O presente estudo é uma tentativa de compreender, segundo a concepção do filósofo francês Gilles Deleuze, o que seria para ele um conceito filosófico. Para trabalhar este tema tomou-se como fio condutor um texto de sua autoria, escrito juntamente com Félix Guattari ¿ O que é a Filosofia? - e a partir disso duas metas precisas foram demarcadas: 1) uma investigação acerca das características básicas do conceito 2) e um último confronto, sugerido pelo próprio Deleuze, entre filosofia, ciência e arte, tentando reservar ao conceito um lugar distinto do functivo científico e do afecto e percepto na arte. Fez-se ainda um adendo após os dois capítulos desenvolvidos, no qual se tentou mostrar uma série de críticas do autor endereçadas à conjuntura da contemporaneidade, fundamentalmente corroída pelas más influências dos meios de comunicação. Assim, essa situação seria um entrave geral à livre criação de conceitos que, como o disse Deleuze, só seria peculiar ao labor filosófico. A conclusão do trabalho, que quis em seu conjunto ser apenas uma introdução ao tema, enfatizou dois pontos capitais: em primeiro lugar criar é situar o conceito num plano de imanência, plano este independente de qualquer espécie de Modelo transcendente ou de referência a estado de coisas (o conceito diz o "acontecimento"); segundo, restaurar devidamente a idéia de conceito filosófico é identificar nele todo um conjunto de traços expressivos, tal como a relação a uma imagem de pensamento, plano "pré-filosófico", e a uma "estrutura problemática", élan vital do conceito
Abstract: Not informed.
Mestrado
Mestre em Filosofia
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Craia, Eladio Constantino Pablo. „Gilles Deleuze e a questão da tecnica“. [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279862.
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Resumo: O presente trabalho tem como objetivo central interrogar o problema do estatuto ontológico da técnica a partir da ontologia de Gilles Deleuze. Em um primeiro momento é elaborada uma cartografia geral da filosofia da técnica, desde a ¿filosofia engenheril¿, passando pela ¿filosofia da técnica das humanidades¿, até o pensamento de Martim Heidegger, indicando suas características e as diferenças entre elas. Seguidamente é caracterizada a ontologia deleuziana segundo os eixos especulativos da univocidade, imanência, expressionismo ontológico e complexo questão-problema. Em um terceiro momento, a ontologia de Deleuze é singularizada entorno do conceito de virtual; assim, esta noção é abordada e pensada dentro da obra de Deleuze visando definir a ontologia deleuziana como especificamente virtual. Finalmente, o horizonte ontológico deleuziano é aplicado como categoria de análise para pensar a técnica de uma perspectiva distinta da apresentada no primeiro momento. Assim, com esta ferramenta conceitual, a própria técnica é caracterizada como virtual e produtiva
Abstract: The present work has as its central objective to question the problem of the Technique ontological statute since the ontology by Gilles Deleuze. Firstly, a general cartography on the Technique Philosophy is performed, beginning with the "engineering Philosophy, moving on to the "humanities' Technique Philosophy", until the thought of Martim Heidegger, indicating the characteristics of each, end the differences between them. Secondly, the deleuzian ontology is characterized according to the univocality, immanence, ontological expressionism, and the question-problem complex speculative axes. Thirdly, the ontology by Deleuze is sigularized around the concept of virtual; thus, such notion is approached and thought within Deleuze's opus aiming at defining the deleuzian ontology as specifically virtual. Finally, the deleuzian ontological horizon is applied as analysis category to think the Technique from a distinct perspective than the one presented in the first moment. So, armed with such conceptual tools, the Technique itself is characterized as virtual and productive
Doutorado
Doutor em Filosofia
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Yang, Kailin. „Le problématique du virtuel chez Gilles Deleuze“. Paris 8, 2002. https://octaviana.fr/document/18140205X#?c=0&m=0&s=0&cv=0.
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Deleuze a dénommé "constructivisme" sa propre philosophie, qui consiste plus à construire qu'à critiquer, plus à créer qu'à interpréter. Ce qui est construit, au coeur de cette pensée radicale, implique finalement une virtualité ou la composition d'une virtualité. L'actuel et le virtuel (distingué rigoureusement du possible) composent la réalité comme ses deux moitiés asymétriques, dans la mesure où il s'agit d'un processus non-représentatif, involontaire, a-subjectif, impersonnel, inorganique et pré-individuel, qui ne cesse de se renouveler ou de se créer selon les différentes problématiques posées. Comment Deleuze peut-il composer une pensée virtuelle et virtualisée - non seulement une théorie du virtuel, mais une théorie elle-même virtuelle -, c'est sur cette question que se porte l'enjeu de nos recherches présentes. . .
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Conway, Jay Turner. „Gilles Deleuze and the affirmation of philosophy“. Diss., UC access only, 2009. http://proquest.umi.com/pqdweb?index=75&did=1790064871&SrchMode=1&sid=1&Fmt=7&retrieveGroup=0&VType=PQD&VInst=PROD&RQT=309&VName=PQD&TS=1270231351&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2009.Includes abstract. Includes bibliographical references (leaves 436-447). Issued in print and online. Available via ProQuest Digital Dissertations.
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Saran, Lucas Antônio. „A questão do perspectivismo em Gilles Deleuze“. Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Filosofia, 2014. http://www.bibliotecadigital.uel.br/document/?code=vtls000190578.
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Visando fornecer alguma contribuição para a historiografia da filosofia contemporânea, o presente trabalho tem, como seu objetivo central, refletir sobre as relações entre um conceito originalmente nietzscheano e o pensamento de Gilles Deleuze: trata-se de estudar a possibilidade de se pensar o modo como, no pensamento de Deleuze, existe um perspectivismo no sentido nietzscheano. Nesse sentido, partiremos da concepção proposta por Machado (2009) de que a principal influência do teórico das multiplicidades constitui-se em Nietzsche. Acreditamos que esse pressuposto nos permitirá resumir o objetivo de nossa pesquisa na busca pela resposta a uma questão central: como a partir de uma inspiração nietzscheana, podemos encontrar, em Deleuze, a existência de um perspectivismo? A nosso ver, empreender a pesquisa que visa responder essa questão é importante, pois, dando uma precisão às ligações entre Deleuze e a noção de perspectivismo, permitirá que se esclareça a procedência (ou improcedência) de críticas que associam Deleuze a noções como relativista, obscuro e cético.By trying to provide some contribution to the History of contemporary philosophy, the present paper aims to reflect about the relations between an originally concept of Nietzsche and the Gilles Deleuzes thought that studies the possibility of thinking like Deleuze, exists a perspectives through Nietzsche senses. In this way, from this conception proposed by Machado (2009), the main influence of the multiplicity theories constitutes in Nietzsche. It is believed that this statement will allow us to summarize the objective of our research in the pursuit of an answer to a central question: how can we start from a Nietzsche inspiration and find in Deleuze, the existence of the perspectives? In our opinion, to research something in order to respond this question is really important because, by analyzing precisely the links between Deleuze and the notions of perspectives, it will allow us to clarify the provenance (or non-provenance) of criticism that associate Deleuze to some notions like relativist and obscure and skeptical.
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Casimir, Jan. „Gilded City“. Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111539.
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Thesis: S.M. in Architecture Studies, Massachusetts Institute of Technology, Department of Architecture, 2017.Cataloged from PDF version of thesis. "June 2017."
Gilded City appropriates seven copperplate etchings produced by Alexander Brodsky and Ilya Utkin between 1982 and 1990 in the pursuit of their preservation through reinterpretation and recontextualisation. Gilded City reacts to the political events in the United States of the past six months. Gilded City explores the potential of architectural animation as a tool for both design and representation as well as a powerful tool for (anti) propaganda while making use of traditional cel animation, 2D Vector based animation, 3D computer animation as well as motion graphics. In 1978, disenchanted with the bleak prospect of the faceless, unadorned, utilitarian architectural doctrine of the Brezhnev and Khrushchev years, Brodsky and Utkin began to produce fantastical landscapes and structures in exquisite and detailed drawings. Imaginative, light-hearted, subversive, their body of work freely referenced historical precedents ranging from Greek Mythology to 18th Century architects. Brodsky and Utkin utilized paper architecture to subvert the requirements of soviet ideology by inventing a form antithetical to existing power structures. In a similar act of subversion, Gilded City reinterprets this paper architecture in the form of architectural animation, a form that often seems to lack a critical dimension seeking to actively comment on current state of affairs in the North American context. It develops five distinct archetypes each constituting one chapter of the "Gilded City": Tower, Golf Course, Wall, Casino, and Prison. This thesis stakes a claim for the timely relevance of Utkin and Brodsky's body of work to contemporary architectural and socio-political discourse while also arguing for the legitimacy of animation in architectural design. Furthermore, Gilded City also speculates that architectural animation will soon occupy a more significant role both in architectural practice as well as in architectural pedagogy.
by Jan Casimir.
S.M. in Architecture Studies
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Prada, Michel. „Jean Gilles : 1668-1705 : l'homme et l'œuvre : un maître de musique en Provence et en Languedoc /“. Béziers (BP 4049, 34325, cedex) : Société de musicologie de Languedoc, 1986. http://catalogue.bnf.fr/ark:/12148/cb34877887j.
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Ščeponavičius, Žygimantas. „Kontempliacija ir kūryba Gilles Deleuze‘o ir Šliogerio filosofijoje“. Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080924_181503-65596.
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Šiame darbe nagrinėjamos Gilles‘io Deleuze‘o ir Arvydo Šliogerio mąstymo koncepcijos. Prancūziškojo postmodernizmo atstovai Deleuze‘as/Guattari savo revoliuciniame filosofijos manifeste Kas yra filosofija? ieško filosofijos atsinaujinimo galimybių. Jame teigiama, kad filosofija nėra kontempliacija, refleksija ar komunikacija. Pagrindinė filosofijos užduotis yra sąvokų ir konceptualių personažų kūrybą. Veikale Kas yra filosofija? Deleuze‘as/Guattari iš esmės tesia jau anksčiau savo filosofijoje pradėta „platonizmo nuvertimo“ programą. Platonizmu yra įvardijama visa klasikinė bei modernioji filosofija, nuo Platono iki Hegelio, kuri remiasi mąstymo ir tikrovės tapatumo prielaida. Deleuze‘as nagrinėdamas tapatybės mąstymą parodo, kad tapatybės slypi skirties ir kartotės žaismas. Oponuodamas klasikiniam mąstymui, Deleuze‘as pasiūlo nomadinio mąstymo koncepciją. Nomadinio mąstymo įkvėpimo šaltiniu Deleuze‘o filosofijoje tampa Nietzsche‘s bei Prousto kūryba. Nietzshce interpretuojamas kaip genialus sąvokų kūrėjas. Veikale Proustas ir ženklai, Deleuze‘as pristato Proustą kaip ženklų kūrimo mašinos išradėją. Deleuze‘as/ Guattari meną, mokslą ir filosofiją laiko trim savarankiškom minties formom, kurios priešinasi chaosui. Jos yra lyg trys savarankiškos melodijų linijos, kurios nors ir susikerta tarpusavyje, tačiau išlaiko savo unikalų turinį.
Šliogeris teigia, kad filosofija tai bekalbės tikrovės įkalbinimas. Pagrindinė problema, kuri gvildenama fundamentaliame veikale Niekis ir... [toliau žr. visą tekstą]The thesis analyzes conceptions of Gilles Deleuze and Arvydas Šliogeris’s thinking. In the revolutionary philosophical work What is Philosophy?, representatives of the French postmodernism Deleuze and Guattari quest for possibilities for renewal of philosophy. They state that philosophy is not contemplation, reflection or communication. The main task of philosophy is creation of concepts and conceptual roles. In general, in What is Philosophy? Deleuze/Guattari continue implementing their program of “subversion of Platonism”. Platonism is considered to be all classical and modern philosophy starting from Plato and ending with Hegel which is based on presumption of identicalness of thinking and reality. Deleuze shows that play of difference and repeating stands behind the identity. Opposing the classical thinking, Deleuze presents the concept of nomadic thinking. Works of Nietzsche and Proust inspired the nomadic thinking in Deleuze‘s philosophy. Nietzsche is interpreted as a genial inventor of concepts. In his study Proust and Signs Deleuze presents Proust as an inventor of sign creation machine. Deleuze/Guattari consider the art, science and philosophy as three independent forms of thought opposing the chaos. They are like three independent melody lines crossing each other and maintaining their own unique contents at the same time. A. Šliogeris states that philosophy is providing the reality that has no language with language. The main problem that is tackled in... [to full text]
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Bouillon, Anne. „Gilles Deleuze et Antonin Artaud : L'impossibilité de penser“. Thesis, Poitiers, 2013. http://www.theses.fr/2013POIT5005.
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Au sein de la pensée de Deleuze, la poésie d'Antonin Artaud apparaît comme la ligne de fuite par excellence à partir de laquelle tout le foisonnement conceptuel deleuzien s'articule. Artaud est en effet celui qui brise l'image de la pensée – ou ce que nous voulons dire habituellement par " penser " en philosophie – en refusant son innéité et son universalité, c'est-à-dire la cogitatio natura universalis. Car pour Artaud comme pour Deleuze, le plus souvent, la pensée s'affronte à son problème véritable, qui est son impouvoir ou son impossibilité. Ainsi, la première partie de la thèse s'attaque à la compréhension de la destitution de l'image de la pensée dans Différence et répétition de Deleuze, à partir de l'idée de " génital inné " d'Artaud dans la Correspondance avec Jacques Rivière. Si l'image de la pensée ne dit rien du processus de penser, de quelle logique sommes-nous capables ? Au travers de la découverte de la logique paradoxale déployée dans les paradoxes de Logique du sens de Deleuze, il s'agira de penser le rapprochement entre Artaud et Nietzsche. L'axe principal de cette partie est la critique du jugement menée par Artaud. Enfin, jeté dans les paradoxes de la vie, la troisième partie envisage le grand impensé de la philosophie qu'est le corps : en effet, de quel corps sommes-nous capables ? L'enjeu, de l'impossibilité de penser à la question du corps - rapprochant L'Ethique de Spinoza du corps sans organes d'Artaud - est bien de renouer la pensée avec la vie, selon le projet du Gai savoir de Nietzsche et qu'Artaud ne cesse de reformuler dès ses premiers écrits. L'impossibilité de penser dit non seulement la séparation d'avec la vie, mais aussi l'impensable qu'est le corps : en effet, que dire de notre propre corps, tel que nous le vivons ? Dans quelle mesure la création de concepts en rhizome dans Mille Plateaux de Deleuze et Guattari explore-t-elle le corps sans organes d'Artaud, ce corps vécu qui reste encore mystérieux pour la pensée ? Artaud souhaitait qu'on l'aime non pas pour son œuvre mais pour sa vie, témoignant d'une grande santé contre un monde malade : l'horizon de l'impossibilité de penser est alors la pensée blessée et profonde assumant la vie elle-même dans toute son opacitéIn the thought of Deleuze, the poetry of Antonin Artaud seems like the line of convergence par excellence from which all the Deleuzian proliferation of concepts are developed. Indeed, Artaud is the person who shatters the image of thought – or what we usually mean by " thinking " in philosophy – rejecting its innateness and universality, in other words, the cogitatio natura universalis. Because, for both Artaud and Deleuze, thought is most often confronted by its real problem – its powerlessness or its impossibility. So the first part of the thesis deals with understanding the dismissal of the image of thought in Deleuze's Difference and Repetition, from Artaud's notion of " génital inné " [innate sexuality] in the Correspondence with Jacques Rivière. If the image of thought says nothing about the process of thinking, of what logic are we capable ? Through the discovery of the paradoxical logic deployed in the paradoxes in Deleuze's Logic of Sense, it is a matter of thinking about the connection between Artaud and Nietzsche. The main thrust of this section is a critique of the judgement made by Artaud. Lastly, thrown into the paradoxes of life, the third part considers the great non thought of philosophy, that is the body : indeed, of what body are we capable ? The challenge, the impossibility of thinking about the question of the body - comparing Spinoza's Ethics and Artaud's body without organs - is to reconnect thought with life, in accordance with the intention of Neitzsche's Gai saber [The Gay Science] and that Artaud did not cease to revise from his earliest writings. The impossibility of thought implies not only a separation from life, but also the unthinkable that is the body: indeed, does this mean talk of our own body as we experience it ? To what extent does the creation of a rhizome of concepts in A Thousand Plateaux by Deleuze and Guattari explore Artaud's body without organs, the body experienced that still remains mysterious for thought ? Artaud hoped that he would be loved not for his work, but for his life, testifying to a great health against a sick world: the prospect of the impossibility of thinking is then thought wounded and profound, taking on a life of its own in all its opacity
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Dahllöv, Mats. „Jordens sång : Naturfilosofi och musik hos Gilles Deleuze“. Thesis, Uppsala universitet, Avdelningen för estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-293476.
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This essay provides a thorough reading of Gilles Deleuze’s (1925–95) philosophy of nature and the way music relates to this philosophy. It does so with regards to changes in the view of nature in 20th century science, especially in the theories of self-organisation as developed by, among others, Ilya Prigogine. Deleuze’s metaphysics is viewed in relation to these theories, and is also compared to the philosophy of Immanuel Kant, which is related to classical science. The essay then investigates certain key issues in Deleuze’s philosophy concerning difference and univocity (or immanence), developed in his doctoral thesis Différence et répétition (1968). Also, certain aspects of the further evolution of this philosophy of immanence in Mille plateaux (1980), co-written with Félix Guattari, are examined. The essay then studies the role of aesthetics in Deleuze’s philosophy, and the way he transforms the aesthetics of Kant. The following chapter deals with Deleuze & Guattari’s primary text concerning music, ”De la ritournelle” in Mille plateaux. In this text, they develop a highly abstract concept of music, which, in their philosophy, is: 1) granted a cosmological reach regarding rhythms and motives; 2) made an essential aspect of the emergence of art, which they find in animals creating a territory (especially in the songbird); 3) used to discuss Baroque/Classicist, Romantic and 20th century musical styles. Apart from analysing these aspects, this chapter focuses on 20th century music, with a thorough examination of Gustav Mahler and of spectral music, demonstrating that Deleuze’s philosophy can deepen the understanding of this music. The chapter also discusses problematic tendencies in Deleuzian research on contemporary music, which does not take the entirety of Deleuze’s philosophy of nature into account. This essay argues that such knowledge is necessary to correctly examine the implications of Deleuze & Guattari’s philosophy of music. The lack of awareness of Deleuze’s philosophy of nature is also significant in the critique that Deleuze’s aesthetics has received by Jacques Rancière, which is analysed in the final chapter. This chapter also discusses Michael Gallope’s reading of Deleuze & Guattari, in which he makes a distinction between a metaphysical and an ethical-aesthetic philosophy of music. Although the relation between metaphysics, ethics, and aesthetics, is key to understanding their philosophy of music, this essay argues that Gallope’s idea of what sort of music they advocate is incorrect.
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Cardoso, Junior Hélio Rebello. „Teoria das multiplicidades no pensamento de Gilles Deleuze“. [s.n.], 1996. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280552.
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Orientador: Luiz Benedicto Lacerda OrlandiTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado
Abstract: Not informed.
Doutorado
Doutor em Filosofia
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Nascimento, Roberto Duarte Santana 1980. „Teoria dos signos no pensamento de Gilles Deleuze“. [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280549.
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Orientador: Luiz Benedicto Lacerda OrlandiTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O conceito de signo em Deleuze aparece ao longo de toda a sua obra, ligando-se em cada um de seus livros e artigos ao desenvolvimento de diferentes problemas em pauta. Tais variações por que passa este conceito não comprometem sua consistência no pensamento deleuziano; ao contrário, elas afirmam a complexidade de uma teoria dos signos que insiste virtualmente em seus livros e artigos. Pode-se dizer mesmo que as diferentes problemáticas às quais se dedica Deleuze se enriquecem quando apreendidas tendo em consideração a experiência do signo. Nesta teoria, o signo é afecto, ou seja, é um sentir diferentemente nos encontros, e corresponde à variação de nossa potência de existir. Isto ocorre porque o signo envolve uma diferença de nível constitutiva, uma heterogeneidade irredutível aos dispositivos que seguram a diferença pela analogia no juízo, pela semelhança no objeto, pela identidade no conceito e pela oposição no predicado. Um dos aspectos mais inovadores desta teoria é que, nela, o signo deixa de ser definido pelo imperialismo do significante. Este passa a caracterizar apenas um dos regimes de signos, que não é nem o mais aberto nem o mais importante. Além disso, nesta teoria o pensamento deixa de ser um ato de boa vontade de uma consciência soberana, como ocorre nas imagens tradicionais do pensamento, pois, para Deleuze, pensar implica um pathos, ou seja, é uma atividade disparada involuntariamente pela força de um signo, pela violência de tal encontro
Abstract: The concept of sign in Deleuze appears in all of his works, being linked in every one of his books and articles to the development of different problems. Such variations undergone by this concept do not compromise its consistency in the Deleuzian thought: on the contrary, they affirm the complexity of a theory of signs that virtually persists throughout his books and articles. It could even be said that the different problems to which Deleuze dedicates himself enrich when understood with regards to the experience of the sign. In this theory, signs are affects, i.e. are a variation of feelings in encounters, and correspond to a variation of our power of existence. This occurs as the sign involves a constitutive difference of level, a heterogeneity which cannot be reduced to the devices that secure the difference through the analogy in judgment, through the resemblance in the object, through the identity in the concept and through the opposition in the predicate. One of the most innovative aspects of this theory is that the sign is no longer defined by the imperialism of the signifier, which now characterizes only one of the regimes of signs (neither the most open, nor the most important). More than that, in this theory, thinking is no longer the act of will of a sovereign consciousness, as it was the case in the traditional image of thought, for, according to Deleuze, thinking implies a pathos, i.e., is the unvoluntary activity triggered by the force of a sign, by the violence of such an encounter
Doutorado
Filosofia
Doutor em Filosofia
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Remes, Sirkka. „Métamorphoses des genres : l'oeuvre littéraire de Gilles Zenou“. Paris 3, 2008. http://www.theses.fr/2008PA030157.
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Écrivain et philosophe d’origine juif marocain, émigré en France, Gilles Zenou (1957-1989) traitait dans ses textes la problématique de l’identité et de l’altérité. L’étude concerne son oeuvre littéraire qui comprend trois romans et deux recueils de contes. Les textes philosophiques de l’auteur, notamment ses deux thèses, sont cependant utilisés dans l’interprétation des textes fictifs. Le terme genre est employé dans le travail dans son sens le plus large ; la méthode d’analyse associe l’étude sur l’interaction entre la philosophie et la littérature et entre différents genres littéraires à l’étude sur les genres féminin et masculin. Quand un récit réaliste se transforme en un conte, que deviennent des hommes et des femmes ? Comment l’auteur ré-écrit-il des mythes anciens ? Dans l’oeuvre de Zenou, la recherche de beauté est inséparable d’une recherche spirituelle et éthique. L’analyse des métamorphoses des genres dans ses textes met en avant une résistance de l’écriture qui contourne les rapports de pouvoir en se transformant sans cesseThe author and philosopher Gilles Zenou (1957-1989), born in a Jewish Moroccan family and emigrated in France, treats in his texts the problematic of identity and otherness. In this study, the focus is in his literary production that includes three novels and two tale collections. However, the philosophical texts of the author, especially his two doctor’s theses, are used as a support in analysing his fictional texts. The term “genre” is used assuming its polysemy in the French language; the method of analysis associates the study of the interaction between different literary genres to the gender studies. In the work of Zenou, the research of beauty goes together with a spiritual and ethical research. The analysis of the metamorphoses of genre and gender shows how the writing resists and contours the power relationships by transforming itself
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Zapata, Mónica. „Essai d'interpretation du mythe de gilles de rais“. Paris 7, 1986. http://www.theses.fr/1986PA070102.
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Le mythe de gilles de rais, interprete d'un point de vue psychanalytique et compte tenu des diverses theories sur la perversion, apparait comme une tentative de lutte effrenee contre la mort, par la transgression de toutes les limites, selon la version de georges bataille; et comme une quete d'un "plus-etre" qui suppose le passage initiatique par la transgression, selon la version de michel tournierThe myth of gilles de rais, interpreted from a psychoanalytical viewpoint, and taking into account the various theories on perversion, appears as an attempted frantic struggle against death through the transgression of all limits, according to the version of georges bataille; and as a quest for a higher level of existence which supposes initiation through transgression, according to michel tournier's version
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Sauvagnargues, Anne. „Esthétique et philosophie dans l'oeuvre de Gilles Deleuze“. École normale supérieure-Lettres et sciences humaines (Lyon ; 2000-2009), 2003. http://www.theses.fr/2003ENSF0094.
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Brito, Vanessa. „Les arts dans la philosophie de Gilles Deleuze“. Paris 8, 2007. http://www.theses.fr/2007PA082850.
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Ce qui se présente toujours à l'étonnement de qui se saisit de l'œuvre de Deleuze, c'est l'abondance de ses références artistiques et la profusion des rencontres entre art et philosophie. En identifiant un programme à résonances éthiques et politiques que Deleuze accorde à la littérature, à la peinture ou au cinéma, ce travail se propose d'éclairer comment s'organisent les rencontres entre le visible et le lisible. Il cherche notamment à préciser quel est le rôle et le statut des arts dans la philosophie de Deleuze. En analysant la notion d'une "philosophie pratique", la conception deleuzienne du sublime, le thème de la "voyance" et de la "fabulation", et l'allégorisme de Deleuze, cette étude révèle enfin comment se construit un plan d'immanence entre les inventions de l'art et les puissances de la vieWhat is always astonishing for the reader of Deleuze is the abundance of his artistic references and the multiplication of encounters between art and philosophy. By identifying a program with ethical and political resonances at work, for Deleuze, in literature, painting and cinema, this thesis sets out to clarify how these encounters between the readable and the visible are organized. What is ultimately at stake in the enquiry is the exact status and role of the arts in Deleuze's philosophy. By examining the themes of "voyance" and "fabulation", Deleuze's conception of the sublime, his use of allegory and the notion of a "practical philosophy", the enquiry finally reveals the construction of plane of immanence between the inventions of art and the powers of life
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Krtolica, Igor. „Le système philosophique de Gilles Deleuze (1953-1970)“. Thesis, Lyon, École normale supérieure, 2013. http://www.theses.fr/2013ENSL0866.
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Le projet le plus général de Deleuze consiste en ceci : penser les conditions de l’expérience réelle, expérimenter les conditions de la pensée pure. Ce projet ne sera pleinement accompli qu’au début des années 1990, hors du cadre chronologique de notre étude (1953-1970). Nous soutenons la thèse que ce projet général non seulement repose sur un système philosophique précis, mais aussi qu’il se confond avec lui. Ce système se présente chez Deleuze sous différents noms : empirisme transcendantal, philosophie de l’expression, philosophie de la différence et de la répétition, logique du sens ou encore philosophie critique. Sous ces noms, nous croyons que c’est la philosophie comme système de l’expérience qui est en jeu. Deleuze n’oppose pas le système et l’expérience. Si la philosophie de Spinoza a longtemps été lue comme un système sans empirie, celle de Deleuze a surtout été interprétée comme un empirisme sans système. Certaines de ses déclarations nous invitent pourtant à penser autrement : le système n’est pas plus une construction logique abstraite que l’expérience n’est une réalité irréductible au système. La philosophie ne s’oppose donc pas à l’expérience chez Deleuze, elle en pense les conditions systématiques et elle est elle-même une expérience. C’est la genèse et la structure de cette philosophie que nous avons tenté de dégager dans cette recherche. Nous avons cru pouvoir montrer, non pas que le système et l’expérience sont une seule et même chose chez Deleuze, mais que la philosophie prétend atteindre au point où ils passent l’un dans l’autreThe most general project of Deleuze consists in thinking the conditions of real experience, experimenting the conditions of pure thought. This project will only be eventually accomplished at the beginning of the nineties, that is to say after the period set for of our study (1953-1970). We defend the thesis that this general project is based upon a precise philosophical system, and above all, that it merges with it. This system, in Deleuze’s work, appears under different names: transcendental empiricism, philosophy of expression, philosophy of difference and repetition, logic of sense, or also critical philosophy. Under those names, we believe that philosophy as a system of experience is what is at stake. Indeed, Deleuze doesn’t oppose system and experience. If Spinoza’s philosophy has long been read as a system without an empiric dimension, that of Deleuze has mostly been interpreted as a non systematic empiricism. Yet some of his assertions lead us to think differently: the system is no more an abstract logical construction than experience is a reality irreducible to a system. Deleuze’s philosophy isn’t opposed to experience, it sets its systematic conditions and it is an experience in itself. It is the genesis and the structure of this philosophy that we have tried to expose in this research. Through this work, we believe we’ve managed to show that system and experience are not one and the same thing for Deleuze, but that philosophy claims it reaches the point where they become indiscernible