Dissertationen zum Thema „Gilles (1925-1995 ; philosophe)“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Dissertationen für die Forschung zum Thema "Gilles (1925-1995 ; philosophe)" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Dissertationen für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
Yoo, Ga Yeon. „Éthique et esthétique de l’image dans la philosophie de Gilles Deleuze“. Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080121.
Der volle Inhalt der QuelleOur thesis work aims to identify the essential character of the image in the philosophy of Gilles Deleuze. It is true that he is the first philosopher to consider the movement of images as the basis of thought. He has indeed written several books about the image. To him, it resembles the movement of thought and ideas and, as such, it is a means of expression and a way of existing, so it is substantial in expressing philosophy. The image allows thought to become a process to facilitate the thinker's reasoning, to understand his act, to desire life and to form the sensible. This is why Deleuze does not limit his theory of the image to the image of cinema, but extends it to all images of thought. This long neglected dimension is beginning to interest more in research on the philosophy of Deleuze. Indeed, the image makes it possible to invent the actual and virtual world of thought, and the possible and real world of existence, so that it is political, ontological and existential. The image invites us to enter into a new sensitivity and a new composition of the relationships of thoughts. The ethics of the image consists of a totality of ideas which expands and differs into everything, which accelerates in movement and slows down in rest. It constitutes its ultimate and absolute unity in a singular way of aesthetic activities. This is how the ethics of image creates a new image that is aesthetic, stylistic and transcendent in its heterogeneities, discontinuities, insensibility. The aesthetic style image specifies this new image as a new form of thought and defines it by constituent elements, expressions and contents
Pérez, Valérie. „(Se) gouverner selon la nature et la vérité : lire "Emile ou de l'éducation" de Jean-Jacques Rousseau avec Foucault et Deleuze“. Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080133.
Der volle Inhalt der QuelleThis work is attempt to discuss Rousseau's problematisation of education, using concepts drawn from contem-porary French philosophy. However, if one examines the relation between Foucault and Emile by em-ploying the concept of alèthurgie, one cannot but be struck by the figure of the governor in Emile, who appears in the text to be the guarantor and the condition for the emergence of an idea of truth within the narrative- a truth which is natural, which governs the activities of men, and which is deeply in-volved in the process of education. In his 2012 lectures at the College de France, published under the title ‘The government of the living,’ Michel Fou-cault strove "to develop the concept of government by the truth" through an analysis of the power relations within Oedipus. In particular, Foucault ana-lysed the relation between truth, knowledge, and the exercise of governmen-tal power. In this work, I examine the relation between Foucault’s analysis and Emile Rousseau’s novel Emile. The relation between them may seem paradoxical: after all, Foucault is concerned with truth, and Emile is a work of fiction. The government of childhood can also be illuminated by the Deleuzian concept of Becoming. The Becoming does have something to tell us about childhood, the emancipation of the individual, and about education as a life-long project
Karadaku, Dritan. „L'art de gouverner et la resistance au pouvoir : au delà des dichotomies“. Paris 8, 2012. http://www.theses.fr/2012PA083507.
Der volle Inhalt der QuelleFirst of all, this thesis develops two different meanings for the term democracy. The first, it's about contents and confrontation of divergent interests and the second it's about its institutional forms, i. E. As Démocratisme. While basing itself on Foucault, Deleuze, Rancière, and Arendt, we will get into the problematic of the relations between people and the institutional forms that the aforementioned produced. Then, starting from the analyzes of Lefort, Arendt and Balibar we will try to understand the way in which the old dichotomy “Greek-barbarian” reappears in the modernity of a renewed symbolic system. In the third chapter, in order to understand the forms of art to control and resistance the capacity, we will follow two different and similar methodologies at the same time: the genealogy of the power (Foucault) and the “schizo-analyzes” of Deleuze and Guattari. In the fourth chapter, we will analyze, starting from Foucault, Deleuze, Balibar, Rancière and Kant, the problems which appear in the dichotomies built on the opposition: Human rights - rights to the life, equality - inequality, State - civil society and totalitarian State - minimal State. Lastly, in the fifth chapter we will reconsider the problems generated from the relations between people or multitudes and political institutions. We will follow in this chapter the thought of Machiavelli and that of Spinoza. The people-institutions relations will be analyzed like a power struggle or a confrontation of powers. The result is an opinion which is built primarily around the concept of the common freedom of the human being. For this reason, we consider it perfectly current and a possible “leak-line”, in view of a properly political freedom
Keleris, Argyrios. „Politique et esthétique du “mineur” dans le cinéma indépendant américain des années 1980 aux années 2010Lignes de fuite, tensions et originalité des formes créées dans leur rupture avec le système hollywoodien“. Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080107.
Der volle Inhalt der QuelleThe objective of this thesis is to study the American independent cinema from the point of view of the difference which it founds with the Hollywood cinema, as a line of flight which deteritorialises the latter, while creating for itself new forms of expression and content. That supposes to consider its relation with the Hollywood cinema as one between two plans of immanence emerged on the same level of individuation inside a broader plan of immanence, that of the North-American cinema. And, at the same time, it supposes to consider the difference between these under-plans in what it implies for a cinema-thought, namely a thought in terms of blocks of movement-images and time-images, facing the particular tensions which characterize the American society. Within this framework, the principal distinction that should be considered is that which passes between: on the one hand, the Hollywood cinema and its various ways (genres, organico-active régime) “of saving” the difference, by representing it; and of representing it by bringing it back to the requirements of only one great form in direct affinity with what I define as a dream of continuity and of coherence of American society; and, on the other hand, the independent cinema and its various ways of testifying to a rebellious core which deteritorialises the predetermined direction towards which the actions and the situations of the Hollywood cinema converge. What is beyond or below Hollywood organic representation and that the independent cinema tears off from the latter is a space of wandering and intensive distribution between forces of power and forces of resistance
Jeong, Boram. „Theory of subjectification in Gilles Deleuze : a study of the temporality in capitalism“. Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080165.
Der volle Inhalt der QuelleThis dissertation looks at time as a socially or psychologically imposed ‘structure’ that determines the ways in which past, present and future are weaved together in the subject. This inquiry presents (1) a critical role of temporality in the formation of the subject, (2) a specific temporality characteristic of contemporary financial capitalism, and (3) the pathologies of time found in the subjects of capitalism. The first two chapters provide an extensive analysis of Deleuze’s passive syntheses of time given in Difference and Repetition, which reveals the subject’s passive relation to time as a structure of ‘becoming.’ The following chapters examine how this ontological structure of time interacts with socio-economic temporalities in its production of the subject. I particularly focus on the temporal structure of debt, which has become a general condition of the subjects in the current economic system. I claim that the debt-based economy produces ‘melancholic subjectivity,’ characterized by a dominance of the past and the inhibition of becoming
Finichiu, Alice. „Territoires entre-deux : agencements, biopolitique et junkspace“. Electronic Thesis or Diss., Paris 8, 2014. http://www.theses.fr/2014PA080005.
Der volle Inhalt der QuelleRem Koolhaas’s diagnostic of the modern metropolis shows a generic city with no end, no identity, no past, no streets where the only activity remaining is shopping and the « in-transit » condition is becoming universal. An important part is missing from this analysis: the biopolitical condition of the metropolis, that could explain a number of Junkspace’s characteristics, like the fact that it contains the possibility to resist the generic condition. In the light of this review and in accordance with the philosophical directions that Gilles Deleuze and Félix Guattari draw in A Thousand Plateaus, this research intends to identify the intervals witnessing the biopolitical dimension of Junkspace by rallying the assemblage theory as hypothesis for the architectural and urban theory. The general postulate is that these intervals are in-between territories functioning as laboratories of assemblages that show a political and resistant architectural practice redefining the very part of the architect. Three lines of research are deployed. The first one questions the relevance of an architectural assemblage thinking in the context of the current territorial transformations. Operating a crossing with Deleuze and Guattari’s thought, architecture is understood as a process of assembling and re-assembling. The second line of research is questioning the biopolitical dimension of Junkspace identifying the critical points of its assemblages and evaluating the in-between paradox. The third research line is testing the in-between territories potential to create opportunities for new spatial configurations
Jabre, Elias. „La pulsion de pouvoir : traduire la psychanalyse dans le champ politique entre Deleuze et Derrida“. Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080009.
Der volle Inhalt der QuelleThis thesis dissertation develops a comparative analysis of Derrida’s and Deleuze-Guattari’s thought from the point of view of their relation to psychoanalysis. We confront two strategies used to re-involve psychoanalysis in the field of philosophical-political questions. Both strategies involve a reinterpretation of the "Freudian speculation" on the power-drive as developed in Beyond The Pleasure Principle. According to Freud, any body is bound to itself by a force without origin. However, this power-drive reveals that any socius, community, or institution is groundless, in spite of being grounded in a kind of writing. We then stress the necessity to translate into the legal and political fields this detour logic which exceeds the logic of sovereignty and allows us to rethink power distribution. We also explore whether there is a more just way of doing this. While Derrida undertakes formalizations with a kind of hyperbolic reason using a calculation that finds it necessary to calculate with the incalculable event that rewrites any social body – the other which presents itself and that we have to allow into our experience –, we argue that Deleuze-Guattari have bypassed deconstruction and rejected representation for the sake of an immanent justice. This partially jeopardizes their gesture, although it converges to a certain extent with that of Derrida
Masset, Thibault. „Critique et clinique des stratégies de paix au XXIème siècle : une critique deleuzo-guattarienne du pouvoir au XXIème siècle“. Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080008.
Der volle Inhalt der QuelleMy thesis proposes a method of identification of the power, a creation of abstract tools to this end, an critical evaluation of the diversity of the forms of expression of the power and a proposition of measures in order to solved power problems within the framework of a materialistic deleuzo-guattarian political philosophy. Our subject is divided at four moments: the first one is a critical moment of identification of the configuration of the scientifico-political power and the definition of the task of the political philosophy towards him since an at first abstract analysis then the put in perspective of this one by a concrete analysis of the contemporary historic and political processes. The second moment consists in establishing a theory of including political philosophy with regard to all the existing critical approaches. In the third moment, it is a question at first of proposing a contents in the political theory by the presentation of concrete operators of analysis and then to legitimize the position of the political deleuzo-guattarian philosophy in the contemporary field. Finally, according to the materialistic perspective applied to the field of the political philosophy, we formulate concrete proposals for the establishment of a lasting peace by investing the contemporary political legal and strategic field. The objective is to offer a key for understanding contemporary politics by the critical approach guaranteeing a knowledge of the desirous processes presiding over the most viable and livable possible forms of order of the social organizations. We propose strategies to reach these goals
Baltus, Benoît. „Le philosophe artiste : La mise en surface de la philosophie : Panopticon, Amor fati, Etre au monde, L’Ethique“. Electronic Thesis or Diss., Paris 10, 2012. http://www.theses.fr/2012PA100054.
Der volle Inhalt der QuelleThe philosopher artist is a either fantasized or disowned figure. Its very possibility represents the impossible border between philosophical discourse and artistic creation. Although Nietzsche invokes this polemical figure, he has not been able to establish the philosopher artist. Indeed he abandons it in favor of a reincarnated Dionysos, better armed to overcome the confrontation with Apollo. Here is, then, an orphan figure which seems to only refer to a romantic and idealistic nostalgia where philosophy, at last, would share its privileged objects as well as its analytical methods with artistic practice. The question should nonetheless be asked: through what means ought the philosopher artist carry together art and philosophy?This thesis attempts to reintroduce this “eternal” problem by investigating every step of the way the typical tensions that this figure convokes: form and content; metaphysics and phenomena; language and metaphor. Similarly, although Nietzsche is the central figure of this investigation, we will also call upon other and equally typical philosophers such as Merleau-Ponty, Deleuze, as well as Spinoza and Aristotle. However, the aim of the thesis is not to grasp once again these properly philosophical problems as their utterance should be tested through artistic practice. Rather than uselessly attempt to elect a figure without master nor limit, the thesis thus contemplates, each time, a solution through artistic creation, manifested in original choreographic creations. These creations were produced in parallel with the research and elaborate singular works of art based on the same questions as the thesis. They confer to the dissertation a certain plasticity that the purely philosophical argument may have lacked. Further, they abolish the border inasmuch as they confront the same constraints as the argument: Panopticon interrogates panoptism as studied by Foucault in Discipline and Punish; Amor Fati elaborates on the concept of “eternal return” developed by Nietzsche; Etre au Monde recasts the question of sensibility as explored by Merleau-Ponty; finally, L’Ethique strives to reinvest from a sensible point of view the architecture of the axiomatic work of Spinoza. Is it not the meaning of the philosopher artist? Experiment and feel to study the effects?
Lléres, Stéphane. „La philosophie transcendantale de Gilles Deleuze“. Amiens, 2010. http://www.theses.fr/2010AMIE0006.
Der volle Inhalt der QuelleMaffioli, Francesca. „Les voix multiples d’Amelia Rosselli (1930-1996) : figures et variations d'un sujet poétique en lutte“. Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080028.
Der volle Inhalt der QuelleAmelia Rosselli’s work took shape, within Italian lyric poetry, as an experience of subversion of the process of sublimation and of stylisation of the female body. Through the translation and the analysis of the content of poems chosen from the collections Cantilena (1953), La Libellula (1958) and Variazioni belliche (1964), I conducted a critical exegesis of the texts. I performed an analysis according to suggestions of a dialogical practice with the poetical text and with a female subjectivity often hidden, anchored to my critical investment inside feminist comparatism. From petrarchist idea of deletion and “suppression” of women’s body – deletion, of which Pasolini talked already in relation to the genesis of Italian poetry and its characterisation of the lyrical canon – I analysed how the attempt to ease the impact potentially dangerous of love affection has caused the denial of sensuality. The language of camouflaged sorrow is then established as a deliberated choice included in some poetics where it is not the statement that reveals, but the poetical word, which in its cryptic canonical measure, is able to make resonate beyond declarations. We can observe the deployment of a “sursensual device”, similar process to what Gilles Deleuze perceived in Sacher-Masoch's literary personality. The process of subversion does not seem a reconstitution of identity roles, but rather a deconstruction of the traditional model. The starting point for the analysis of those deconstructions is based on the hypothesis that the non-functionality of the desiring organisms (desiring subject and desired object) will lead to a reject of the organic and at the same time to a revelation of an eccentric subjectivity. The revision of the literary model of the canon lies in the hypothesis that a set of female figures of the mythical and literary repertoire in Greco-Roman antiquity are placed in the imaginary practice of Amelia Rosselli's poetical writing, with a view to incorporate the nature of the characters born and conceived inside and by the patriarchal imaginary and to form the body of a subject that aims at making them speak through the voice of a female poet
Ménard, Claire. „L’Insoutenable flexibilité de l’Être : réseaux et errances dans la littérature et le cinéma contemporains“. Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080151.
Der volle Inhalt der QuelleThis dissertation studies representations – in contemporary French and Francophone literary fiction and feature films – of the developing condition associated with global markets and networking technology; a condition that the word “flexibility” aptly summarizes. My approach to this issue draws on the “rhizome” concept proposed by Gilles Deleuze and Felix Guattari – that is, on the idea of a discursive space in which everything is connected and which therefore functions like a network. As the Deleuze and Guattari critique of categorization highlighted the non-linear and non-centrifugal nature of the structures governing the creation of meaning, it can also help us study new forms of representation, communication and signification which are by essence both polymorphic and in constant mutation. This state of affairs supposedly gives more room to creativity and innovation; it can be argued, nevertheless, that in the 21st century, capitalism itself behaves more and more like a rhizome, that is to say an ever-changing and polymorphic structure, which forces human beings to constantly adapt in order to fit into this world, thereby becoming more flexible. We have only begun to take stock of this ongoing process of enforced flexibility, and of the suffering that may result from it for the ever-adapting humanity that we have become. My dissertation calls this anguish or unease courtesy of Milan Kundera – “the unbearable flexibility of being.” This research aims at studying this anguish in French Contemporary Literature and Films in works of literature by Jean Echenoz, Jean-Philippe Toussaint, Michel Houellebecq, Marie Redonnet and Eric Chevillard and in films by directors such as Leos Carax, Laurent Cantet, Nicolas Klotz, Noémie Lvovsky, Jean-Marc Moutout and Cédric Klapisch
Baltus, Benoît. „Le philosophe artiste : La mise en surface de la philosophie : Panopticon, Amor fati, Etre au monde, L’Ethique“. Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100054.
Der volle Inhalt der QuelleThe philosopher artist is a either fantasized or disowned figure. Its very possibility represents the impossible border between philosophical discourse and artistic creation. Although Nietzsche invokes this polemical figure, he has not been able to establish the philosopher artist. Indeed he abandons it in favor of a reincarnated Dionysos, better armed to overcome the confrontation with Apollo. Here is, then, an orphan figure which seems to only refer to a romantic and idealistic nostalgia where philosophy, at last, would share its privileged objects as well as its analytical methods with artistic practice. The question should nonetheless be asked: through what means ought the philosopher artist carry together art and philosophy?This thesis attempts to reintroduce this “eternal” problem by investigating every step of the way the typical tensions that this figure convokes: form and content; metaphysics and phenomena; language and metaphor. Similarly, although Nietzsche is the central figure of this investigation, we will also call upon other and equally typical philosophers such as Merleau-Ponty, Deleuze, as well as Spinoza and Aristotle. However, the aim of the thesis is not to grasp once again these properly philosophical problems as their utterance should be tested through artistic practice. Rather than uselessly attempt to elect a figure without master nor limit, the thesis thus contemplates, each time, a solution through artistic creation, manifested in original choreographic creations. These creations were produced in parallel with the research and elaborate singular works of art based on the same questions as the thesis. They confer to the dissertation a certain plasticity that the purely philosophical argument may have lacked. Further, they abolish the border inasmuch as they confront the same constraints as the argument: Panopticon interrogates panoptism as studied by Foucault in Discipline and Punish; Amor Fati elaborates on the concept of “eternal return” developed by Nietzsche; Etre au Monde recasts the question of sensibility as explored by Merleau-Ponty; finally, L’Ethique strives to reinvest from a sensible point of view the architecture of the axiomatic work of Spinoza. Is it not the meaning of the philosopher artist? Experiment and feel to study the effects?
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.
Der volle Inhalt der QuelleVankeerberghen, Véronique. „L'ontologie de Gilles Deleuze“. Paris 8, 2001. http://www.theses.fr/2001PA081904.
Der volle Inhalt der QuelleSibertin-Blanc, Guillaume. „Politique et clinique : recherche sur la philosophie pratique de Gilles Deleuze“. Lille 3, 2006. http://www.theses.fr/2006LIL30027.
Der volle Inhalt der QuelleAntonelli, Marangi Marcelo Sebastián. „Le concept d’immanence dans la philosophie de Gilles Deleuze“. Paris 8, 2012. http://www.theses.fr/2012PA084258.
Der volle Inhalt der QuelleThis thesis deals with the concept of immanence in the work of Gilles Deleuze. It is maintained in our hypothesis that it is an ontological, noological, political and ethical notion what constitutes the nucleus of his philosophical project. The ontological dimension refers to the re-elaboration of Duns Scott’s thesis on the univocity of being and the comprehension of Spinoza’s immanence as “expressive pantheism”. The noological aspect focuses on immanence as a “plane”, within Deleuze’s frame of conception of thought and philosophy, and sets a counterpoint with François Jullien concerning his approach to immanence in terms of “depth”. From the political point of view, the idea of “post-historical axiomatics” implies the functioning of capitalist immanence, which feature of “end of history” is connected to Kojève’s thesis. Furthermore, the essential layouts of politics of immanence as from the pledge of becoming-minor are deployed. The ethical aspect articulates three axes around the idea of “practical immanence”. First, it analyses the statements that conform the intertwining between Nietzsche and Spinoza (valorization of the body, definition of ethics as ethology, apology of joy). Second, it tackles nihilism, recognized as an effect of transcendent positions, which goes beyond Nietzsche’s realm and turns into “resentment” towards the event, which is acquitted by means of amor fati. It also becomes “loss of the world”, which vent consists on the “belief in this world”. Third, within the vitalist structure, the determination of desire as an immanent principle of a prudent experimentation and the “body without organs” as “plane of immanence” of desire are probed
Brito, Vanessa. „Les arts dans la philosophie de Gilles Deleuze“. Paris 8, 2007. http://www.theses.fr/2007PA082850.
Der volle Inhalt der QuelleWhat 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
Ao, Long. „La critique littéraire de Gilles Deleuze“. Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL185.
Der volle Inhalt der QuelleThis 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
Michalet, Judith. „Vie et création chez Gilles Deleuze“. Paris 1, 2009. http://www.theses.fr/2009PA010561.
Der volle Inhalt der QuelleCherniavsky, Axel. „La conception de la philosophie de Gilles Deleuze : concept et méthode“. Paris 1, 2011. http://www.theses.fr/2011PA010510.
Der volle Inhalt der QuelleAttali, Jean. „Le plan et le détail : une philosophie de l'architecture de la ville“. Paris 1, 2000. http://www.theses.fr/2000PA010667.
Der volle Inhalt der QuelleYang, Kailin. „Le problématique du virtuel chez Gilles Deleuze“. Paris 8, 2002. https://octaviana.fr/document/18140205X#?c=0&m=0&s=0&cv=0.
Der volle Inhalt der QuelleDelmas, Sonia. „Penser le temps à partir des oeuvres de Gilles Deleuze“. Paris 10, 2007. http://www.theses.fr/2007PA100146.
Der volle Inhalt der QuelleThinking about time through Gilles Deleuze’s writings reveals the indivisibility between actual corporeality (present of « effectuation ») and virtual incorporeality (time empty of « effectuation ») as an experience of eternity. Deleuze’s thoughts on time have been deeply influenced by two different kinds of philosophy. As philosophers of immanence, Spinoza, a thinker of God and of the experience of eternity, and Bergson, a philosopher of memory and duration of eternity of life, are his two allies. A description of this background forms the first part of my essay. The second part of the essay stresses the deleuzian distinction between Chronos, the corporal present (characterized as the living present) and Aiôn, time empty of effectuation (characterized as event time). My hypothesis can be summerized as follows : Heidegger’s interpretation of Kant had a significant impact on Deleuze’s elaborations of the concept of Aiôn. The third part aims at emphasising the temporal split between actual corporeality and virtual incorporeality in the field of language, in order to understand the deleuzian concept of Aiôn, not chiefly through the psychanalytic concept of the death instinct, but rather as the virtual that allows the present to pass by making history bifurcate
Shirani, Takashi. „Singularité et intensité : Deleuze et une philosophie de l'immanence“. Paris 8, 2004. http://www.theses.fr/2004PA082373.
Der volle Inhalt der QuellePark, Jung-Tae. „La méthode d'entrecroisement immanent dans l'ontologie de Deleuze“. Paris 8, 2006. http://www.theses.fr/2006PA083003.
Der volle Inhalt der QuelleDeleuze never announced the end of metaphysics. On the contrary, it endeavors to find another plan systematic and logical of metaphysical thought. For him, this other metaphysical plan is that of "univocity of Being". The univocal movement of Being thus seems the core of the philosophy of Deleuze, and the structure of the univocal movement of Being would be the fundamental framework to understand the totality of his philosophy. Indeed, Deleuze works out his own method which founds and dominates his philosophy, leaning, from beginning to end, absolutely, on the structure of the univocal movement of Being, and, insofar as it is absolutely constituted according to the univocal movement of Being, his philosophical method gives us a fundamental point of view which makes us answer precisely all the possible questions about his ontology. From this fact, our thesis proposes to clear up the philosophical method of Deleuze. According to the work of this thesis, it will be proved that the system of the univocal movement of Being is system of immanent intersection between the movement of the immanent identity and the movement of the immanent otherness, and that the method which founds and dominates the ontology of Deleuze is thus a method of immanent intersection
Ingala, Gómez Emma Andrea. „Structure et rapport : philosophie transcendantale chez Gilles Deleuze et Jaques Lacan“. Paris 7, 2012. http://www.theses.fr/2012PA070077.
Der volle Inhalt der QuelleThe aim of this research is to highlight and inquire into the common methodological principles, interest and concepts constitutive of Gilles Deleuze's and Jacques Lacan's theories. Against interpretations that affirm the incompatibility of their approaches, and against analyses that restrict the comparison to their critiques of the Freudian Oedipus, our aim is to prove that the source of their commonality emanates from the relationship Deleuze and Lacan have to the problematic field designated by Kantian transcendental philosophy. Since what is at stake is no longer the possibility of thinking the conditions of possible experience in general but the conditions of the singular or the difference, that is, the conditions of an experience that by definition cannot be limited a priori by anything, that affiliation will entail a subversion and a deep reformulation of the concept 'transcendental'. The transcendental becomes a paradoxical concept insofar as, first, it is emptied or neutralized, although it doesn't disappear completely, and, second, the impossible reveals itself as the ultimate condition of possibility. We expose the programmes of Deleuze and Lacan separately but in parallel, understanding that both define the mission of transcendental research by dividing it into two phases: first, the analysis of the conditions of the thinkable in general, based upon the Structuralist premises, operates as the platform that allows them to, secondly, transcend to the real, which entails a movement from the structure towards its reverse: the "beyond the conditions'. This progress is completed in both Deleuze and Lacan by a science of limits
Astier, Frédéric. „La philosophie orale de Gilles Deleuze et son rôle dans l'élaboration de son œuvre écrite“. Paris 8, 2007. http://www.theses.fr/2007PA082865.
Der volle Inhalt der QuelleThe audiocassette recordings of Gilles Deleuze at the University of Paris 8, 1979-1987 (177 courses, 400 hours) transport us, his listeners and readers, in the ebb and flow of the words lines and chapters of the philosopher. His classes were the moment at which he could sharpen an idea or elaborate a concept out of an abstraction, then create concrete examples that would captivate and address specialists and non-philosophers alike. A philosophical notion repeated in class would enrich itself with a multitude of artistic, political, and scientific references; anecdotes shaped lifestyles as well as conceptual approaches. These various points of view led to a form of experimentation. In the same movement, a new philosophical vocabulary and a pedagogical approach were invented. Far from the academic philosophy, the teachings of Gilles Deleuze at Vincennes resulted in an unprecedented encounter, an inauguration of creative reasoning and the virtual. According to a dialogical style of teaching, his oral philosophy was a prerequisite to his books and a laboratory necessary to the unfolding of the "affect of the concept". Oral philosophy is followed today by the movement towards "become-listener" thus linking with oral tradition, creative writing, the transmission of philosophical notions and living university research
Cooper, Melinda. „Nouvelle alliance, nouvelle naissance : la question de la genèse dans la philosophie de G. Deleuze et F. Guattari“. Paris 8, 2000. http://www.theses.fr/2000PA081775.
Der volle Inhalt der QuelleSamaha, Mahboub Caline. „Logique et Réalité chez Hegel et Aristote. Dialogue avec Adorno et Deleuze“. Electronic Thesis or Diss., Poitiers, 2019. http://theses.univ-poitiers.fr/66692/2019-Samaha-Mahboub-Caline-These.
Der volle Inhalt der QuelleIn this thesis, we challenge the critique of identity as being what oppresses difference and evolution. We try to show that the search for identity in the Hegelian system does not undermine the real but on the contrary enriches it and is a condition for its evolution and for our freedom. We also show how the emphasis on unity when interpreting a philosopher, here Aristotle, is legitimate because it allows us to emphasize in him a contribution to the search for knowledge and freedom well more than the emphasizing separation and preserving mystery and irreducibility. The latter could rather alienate us while giving us an illusion of freedom and space. We therefore oppose a logic of transcendence and separation, and show how this logic is in itself reductive. Our work has thus led more specifically in a first part to take on the ideas of unity, identity and completion present in Hegel and to show versus Adorno mainly that said ideas do not oppose human freedom but that on the contrary they imply it and are a necessary condition thereof. We try in a second part to support a Hegelian interpretation of Aristotle that takes into account unity, opposing in particular Pierre Aubenque who defends a separation and irreducibility in Aristotle. Finally, in a last part we support the representation of the real through logic - the contradiction in Hegel and the opposites in Aristotle - with the aim of showing that the negative of the representation allows an effective power over the real and cannot be considered illusory as claimed by Deleuze and Nietzsche. In this work, our reflection is led by the criticism made by these philosophers and commentators against the Hegelian philosophy and what it includes in terms of presuppositions, identity, system and logic. By highlighting the contradictions inherent in their criticism, we show that the Hegelian philosophy and the perspective it proposes overcome these contradictions and move towards freedom
Mernissi, Laïla. „Le statut paradoxal du rêve dans la philosophie de Gilles Deleuze“. Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20052.
Der volle Inhalt der QuelleInitialy, the dream is not central to the philosophy of Deleuze. However, it seems interesting to follow the paths that this idea offers, and to listen to the multiple voices arising from the problems related to it, for different reasons. First, our work will debunk a common illusion about Deleuze : the common idea according to which his thought is a delirious and a never-ending praise of folly. Far from this cliché, Deleuze never gave up on defining philosophy with strict rigor, as a « debunking undertaking », this has been explored by Lucretius, Spinoza and Nietzsche before him. Although, the dream plays a major role in his philosophy, but it is not the role we commonly think it plays. We would like to defend the idea of a superior onirism of Deleuze, that helps giving an original consistency and a paradoxical status to the dream itself. Then the dream becomes a relevant starting point for an assessment of the relationship between truth, thought and life. From the fictional illusion of an idealist shape of the dream to the imaginative power of the onirical process, we can find three metamorphosis of the dream in the philosophy of Deleuze, to the service of a superior justice : a fiction of the airs, an exaltation of the depths, a cristal of the earth
Krtolica, Igor. „Le système philosophique de Gilles Deleuze (1953-1970)“. Thesis, Lyon, École normale supérieure, 2013. http://www.theses.fr/2013ENSL0866.
Der volle Inhalt der QuelleThe 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
Jacques, Vincent. „Expressionnisme et suspension problématique : la notion de problème chez Gilles Deleuze“. Paris, EHESS, 2010. http://www.theses.fr/2010EHES0148.
Der volle Inhalt der QuelleThe notion of problem occupies an essential position in Deleuze's –philosophy. Starting from this notion, and using both a genetic and systematic approach, this study offers a reading of the Deleuze's system while at the same time exposing its fractures and its transformations This thesis situates itself, and develops, around the turn leading from the Idea¬problem (Difference and repetition) to the abstract machine of A Thousand Plateaus. The first part of the thesis is constructed around the critical reversaI which places the problem at the very heart of thought. The notion of problem correlates to a concept of expression taken from the first reading of Spinoza (1967). Insisting on the importance of the notion of expression, the study shows the strong internal consistency of the first stage of the system, which is known as problematic expressionism. The second part of the thesis presents the second stage of this problematic expressionism, which was developed in Mille plateau. As a result of analysis of the second reading of Spinoza (1981), it becomes necessary to demonstrate in what way the reorganization of the expressionist system became the driving force for a philosophy of the nature and the social. The notion of problem is also essential to the notion of experience as problematic suspension, as revealed in the event of The Logic of Sense and in the crystal-time of The Time-Image. Between the suspension as the contemporary question of the belief in the world and the expression as the problematic: participation in the world, the thesis thus shows that the notion of problem is found at the heart of the Deleuze's philosophy
Arsenie-Zamfir, Raluca. „Le corps dans la philosophie française contemporaine : Michel Henry et Gilles Deleuze“. Dijon, 2006. http://www.theses.fr/2006DIJOL008.
Der volle Inhalt der QuelleOur thesis's subject is the body in the contemporary French philosophy, which we analyze starting from the writings of Michel Henry and Gilles Deleuze. The revalorization of the body's traditional concept opens a new prospect for philosophy, by conceiving the human as a nature's part and the corporeity as intensity and movement. We want to outline a philosophy of life where the body loses its geometrical contours with the profit of its capacities and its affects. The radicalism of this prospect is founded on the absolute immanence which offers the bases for the living body expressing itself by the relations with the others and with the events taking part in its constitution of meaning. Our purpose is also to revalue the order of the body practice in the world in terms of individually adjusted ethics. The living body appears therefore be fond of intensive materiality, enveloping affectivity and practices of objective control
Bardet, Marie. „Philosophie des corps en mouvement : entre l'improvisation en danse et la philosophie de Bergson : étude de l'immédiateté“. Paris 8, 2008. http://octaviana.fr/document/136508049#?c=0&m=0&s=0&cv=0.
Der volle Inhalt der QuelleThis encounter between philosophy and dance -in redefining a theoretic-practical field- offers an opportunity to seize corporeities at play in dance from both sensitive and representational points of view, through its relationship with gravity. By splitting the weight in and amongst bodies, North American dance groups of the sixties and seventies (like The Judson Dance Theatre and The Grand Union) have called into question the author's function amid group members. Ever since then, improvisation has singularly expressed some of the many ways taken by that dehierarchization. And it has done so through a gravitational experience that allows both to criticise the myth of authenticity towards oneself, and to come to terms with the problem of composition and immediacy. Working closely with the danced movements of Julyen Hamilton, the present time of improvisation as attention is rethought in consonance with Bergson’s philosophy of duration. And departing from the common question of intuitive posture, a detailed and critical consideration of immediacy and immediate composition is undertaken in terms of qualitative differentiation, heterogeneity and assemblage. Finally, the shifts introduced by improvisation in the field of possibility renew the need for a philosophy of actualisation and becoming. At the same time, this shifts contest the grounds of representation in the edge of arts and politics that has livened up the latest philosophical debates (Deleuze, Rancière). And they force to think and rethink the separation "écart" set up in immediate production and composition
La, Salvia Andre Luis 1982. „Introdução ao estudo dos regimes de imagens nos livros "Cinema" de Gilles Deleuze“. [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281534.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-06T22:54:09Z (GMT). No. of bitstreams: 1 LaSalvia_AndreLuis_M.pdf: 299013 bytes, checksum: bcc04f229506adeefe009efa83a15e2f (MD5) Previous issue date: 2006
Resumo: A ¿taxionomia¿ dos signos cinematográficos e dos tipos de imagens, os quatro comentários a Bergson, as monografias de mais de 150 autores são algumas das entradas possíveis aos livros Cinema de Gilles Deleuze. Aqui, optou-se por encarar a obra pelo viés conceitual, a saber, considerou-se Imagem-movimento e Imagem-tempo conceitos deleuzeanos. Assim sendo, em primeiro lugar, a pesquisa precisou entender quais características Deleuze dá aos conceitos: eles são constituídos por elementos em relação de vizinhança organizando campos de solução para problemas. Os conceitos de Imagem-movimento e Imagem-tempo são dinâmicos e diferenciam-se através das diferentes relações dinâmicas que seus diferentes elementos travam entre si. Ao mesmo tempo, a pesquisa percorreu a obra Cinema em vários sentidos, extraiu linhas mais ou menos constantes e assistiu muitos filmes. Desse modo, buscou os elementos que eram colocados em jogo quando Deleuze precisava explicar porque determinado autor fazia uma ¿imagem indireta do tempo¿ ou uma ¿imagem direta do tempo¿ ¿ o filósofo deixa claro, em uma das entrevistas de Conversações, que seu interesse é analisar como o devir das imagens e signos constitui um ¿automovimento¿ e também uma ¿autotemporalização¿ das imagens. E estes termos são os problemas para os quais os conceitos de Imagem-movimento e Imagem-tempo apresentam elementos que, em relação, são capazes de dizer algo sobre os diferentes autores e estilos de fazer cinema
Abstract: The ¿taxionomy¿ of the cinematographic signs and the types of images, the four commentaries the Bergson, the monographs of more than 150 authors are some of the possible entrances the work Cinema of Gilles Deleuze. Here, it was opted to facing the work for the conceptual bias, namely, considered Image-movement and Image-time deleuzeans concepts. Thus, in first place, the research needed to understand which characteristics Deleuze gives to the concepts: they are constituted by elements in neighborhood relation having organized fields of solution for problems. The concepts of Image-movement and Image-time are dynamic and are differentiated through the different dynamic relations that its different elements do between itself. At the same time, the research covered the work Cinema in some directions, extracted more or less constant lines and attended many films. In this manner, it searched the elements that were placed in game when Deleuze needed to explain because one author made a ¿indirect image of the time¿ or a ¿direct image of the time¿ - the philosopher leaves clearly, in one of the interviews of Conversations, that its interest is to analyze how the devir of the images and signs constituted a ¿automotion¿ and a ¿autotimezation¿ of the images. And these terms are the problems for which the concepts of Image-movement and Image-time presents elements that, in relation, are capable to say something on the different authors and styles to make cinema
Mestrado
Mestre em Filosofia
Bowden, Sean. „La priorité ontologique des événements dans la "Logique du sens" de Gilles Deleuze“. Paris 8, 2009. http://octaviana.fr/document/152360085#?c=0&m=0&s=0&cv=0.
Der volle Inhalt der QuelleThe aim of this thesis is to examine the way in which Deleuze affirms the ontological priority of events over substances in his 1969 work, "The Logic of Sense". In particular, the thesis analyses the way in which Deleuze grounds this affirmation by establishing a complex and 'structural' relation between the works representative of several of the philosophers and intellectual movements which Deleuze privileges in "The Logic of Sense", namely, the Stoics, Leibniz, Albert Lautman, Gilbert Simondon, Structuralism and Psychoanalysis. We will show Deleuze constructs a concept of the ontologically primitive event by extracting from the works of these thinkers, on the one hand, a number of event-related problems and, on the other hand, a system of concepts which are capable, with several important qualifications, of resolving these problems, and thus functioning as the elements of a concept of the event on which, in the final analysis, every substance depends. We conclude that the process of associating, ordering and bringing into relation the worldly events characterizing things in general – that is, of discovering the laws which govern them and of constructing their corresponding concepts – is itself an event, always already underway, which is produced in an intersubjective and linguistic context. This 'sense-event' can be described in terms of a moving structure of relations between events. Within this structure, events of all orders and levels determine one another to determine things in general, and without reference to some already given substance which would fix this structure from outside
Laporte, Marc. „L'unité des tâches nietzschéennes : la vie, l'art, la philosophie“. Paris 10, 1987. http://www.theses.fr/1987PA100113.
Der volle Inhalt der QuellePombo, Nabais Catarina. „L'esthétique en tant que philosophie de la nature : le concept de vie chez Gilles Deleuze : pour une théorie naturelle de l'expressivité : regards sur la littérature“. Paris 8, 2007. http://octaviana.fr/document/140599770#?c=0&m=0&s=0&cv=0.
Der volle Inhalt der QuelleThe discovery of a permanent displacement in Deleuze's approach to literature has taken us from an analytic semiotics of fictional statements to a pragmatics of collective assemblages of pronouncements, followed by a philosophy of the Nature of the machines of literary abstraction, and finally to an ethics of the fabler's spirit. The conducting line is created via the program of a transcendental empiricism which describes both the experience's genesis as the violence that a work of art produces vis-à-vis thought, and the work of art as the expression of a way of life. From Proust to Beckett, passing through Masoch, Kafka, Bene and Melville, we see different figures of a non-organic life of art emerging, which variously takes the names of "essence", "phantasm", "event", "assemblage", "becoming minoritarian", "people yet to come" and "soul"
Salucci, Marco. „Gilles Deleuze, une inéfinition esthétique“. Paris 8, 2014. http://www.theses.fr/2014PA084150.
Der volle Inhalt der QuelleThe 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
Raby, John. „Gilles Deleuze : musique, philosophie et devenir“. Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20011/document.
Der volle Inhalt der QuelleAccording 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
Hawkins, Stephen Bernard. „The void in Deleuze : difference and the good /“. Internet access available to MUN users only, 2003. http://collections.mun.ca/u?/theses,166046.
Der volle Inhalt der QuelleFeola, Mauro Alexandre. „As potencias da imagem-tempo e o cinema utopico de Lars von Trier“. [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278739.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-09T04:59:07Z (GMT). No. of bitstreams: 1 Feola_MauroAlexandre_M.pdf: 31333485 bytes, checksum: 6b2c18e5197966deaba86bfec7b0eaf7 (MD5) Previous issue date: 2007
Resumo: Este trabalho procura descrever o que vem a se constituir como utópico no cinema contemporâneo, mais precisamente em alguns filmes que integram a obra cinematográfica do diretor escandinavo Lars von Trier. O foco maior da pesquisa é a análise de Dançando no Escuro. Porém, há que se destacar as análises feitas para Epidemic e Os Cinco Obstáculos. Os livros que o filósofo francês Gilles Deleuze escreveu sobre o cinema integram o arcabouço teórico que orienta a análise dos filmes citados. De todos os seus conceitos, a imagem-tempo e os seus diferentes tipos - imagens-sonho e imagens-cristal, principalmente - foram os instrumentos que nos guiaram para se chegar aos resultados finais desta pesquisa
Abstract: This work aims to describe what it might constitute as utopist in the contemporary cinema, more precisely in some of the films that take part of Scandinavian Lars von Trier's cinematography. This research has a major focus in Dancer in the Dark. However, it must be underlined that analyses have been dane for Epidemic and The Five Obstructions. The books about cinema written by the French philosopher Gilles Deleuze integrate the framework that directs the analyses for the cited films. Amongst Deleuze's concepts, time-image and its different types - mainly dream-images and crystal-images - have been the instruments that guided us to reach the final results of this research
Mestrado
Sociologia da Cultura
Mestre em Sociologia
Horváth, Eszter. „Deleuze, Derrida : la doublure de la différence“. Paris 8, 2005. http://www.theses.fr/2005PA082693.
Der volle Inhalt der QuelleFerreyra, Julian. „Du capitalisme aux "rapports humains", une recherche sur la lutte pour l'existence dans la philosophie politique de Gilles Deleuze“. Thesis, Paris 10, 2009. http://www.theses.fr/2009PA100024/document.
Der volle Inhalt der QuelleWe aim to interpret the work of the French philosopher Gilles Deleuze (1935-1995) basing our analysis on two concepts that will allow us to trace a problematic itinerary: “capitalism” and “human relations”. The first of these concepts will let us carry out an analysis of the regime of functioning of the contemporary social form. Even if “capitalism” embraces the heritage of Karl Marx’s (Germany, 1818-1883) theory, it implies nevertheless deep differences of ontological root. It’s where Marx utilises the dialectical ontology of Georg Hegel (Germany, 1770-1831) that Deleuze will take the problem from a stand point more adequate to his ontology of difference: the one provided by his interpretation (heterodox enough) of the philosophy of Gottfried Leibniz (Germany, 1646-1716). We will examine the deep consequences of this replacement. However, the concepts of Leibniz, that where very efficient when it came to describing our world, must be abandoned when working on a constructive philosophy. The limitations of the point of view of Leibniz (requisite of converging series, of composibility, of divine choice, of the principle of the Best) block all modifications of the state of the matter. To do so, it is necessary to fit Leibniz’s “differential relation” into the larger frame of the ontology of Baruch de Spinoza (Holland, 1632-1677). This ontology will permit us to identify the difference between the historically contingent relation of capitalism and the relation that constitutes us, humans: what we will call “human relations”. What is adequate to these relations will be the criteria for the constitution of a new regime of social functioning that, instead of being based on the affects of sadness that imply our bondage, may be based in the active affections that allow the fulfilment of our power
Bolduc, Charles. „Le rôle de l'expérience dans la pratique philosophique de Gilles Deleuze“. Thèse, Université de Sherbrooke, 2013. http://hdl.handle.net/11143/6443.
Der volle Inhalt der QuelleHortonéda, Jeanine. „Deux contemporains Michel Foucault et Gilles Deleuze : convergences, divergences, résurgences“. Toulouse 2, 2009. http://www.theses.fr/2009TOU20115.
Der volle Inhalt der QuelleFoucault and Deleuze: two philosophers, two contemporaries with an unusual career whose meeting and mutual acknoledgement throws a glimmering ligth on each other's thinking. By comparing Foucault's and Deleuze's texts, one can find out how concepts –even philosophical practices– pass and transform from one to the other. Their asymmetrical respective publications put into relief perspectives on topical questions theoretical and political common commitments, particulary on the issue of relationships between politics and subjectivization practices; How the subject came into being through desire, and how the body harnesses its pleasures –caught between subjection to and desubjection from – give rise to an array of questions about what a life that would be free from the concept of subject, êthopoiétique, alêthurgique, in a word, a philosophical life can be. Two philosophers concerned with the event – even though Deleuze's notion of transformation does not coincide with Foucault's genealogical and archeological approach – who share the same sharp sense of criticism in order to provide a new vision of thought and foster the resurgence of an ethical questioning after the “dead of man” and the “dead of God”
Jude, Ismaël. „Théâtre et philosophie chez Gilles Deleuze. La notion de dramatisation“. Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040062.
Der volle Inhalt der QuelleThe notion of “dramatisation” was formulated by Gilles Deleuze in his 1967 text Difference and Repetition, only later to be abandoned. This piece of research sets out to clarify the meaning of this concept by distinguishing its “dramatic” acceptance from its “scenic” one. Since Deleuze never explicitly expressed his theory of the stage this thesis project intends to determine from Deleuze’s texts, as well as from the authors to whom he himself referred, the hypothesis at work within the philosopher’s definition of this term. The statement of this hypothesis takes place in a problematic conceptual environment, as described in the works of Denis Guénoun and Esa Kirkkopelto. The notion of “dramatisation” derives its meaning through a critique of a particular understanding of “representation” within which Plato, Aristotle, Kant and Hegel are held captive, as well as through a certain construal of Kierkegaard and Nietzsche’s concept of repetition. Interpretations of Plato’s method of dichotomous division, Kant’s transcendental method and Nietzsche’s eternal return contribute in this thesis to articulating the way in which drama, the stage and repetition combine
Hême, de Lacotte Suzanne Véronique. „Le cinéma et l'image de la pensée“. Paris 1, 2009. http://www.theses.fr/2009PA010651.
Der volle Inhalt der QuelleLoiseau, Sylvain. „Sémantique du discours philosophique : du corpus aux normes : autour de G. Deleuze et des années 60“. Paris 10, 2006. http://www.theses.fr/2006PA100119.
Der volle Inhalt der QuelleThis thesis aims at describing the philosophical discourse through the properties of its texts. Discourse is intended as a norm determining, at the level of the text, all the levels of the description. Correlations between these levels are described by the mean of a deeply annotated corpus comprising texts by G. Deleuze. Accessing the empirical complexity of this corpus allows us to show the importance of discourse normativity, from the morphological level to the semantic macro-structures. We examine also the influence of the idiolect and its interaction with discursive normativity. The theoretical frame of a linguistic of the norms and the methodological frame of corpus linguistics allow to make the discourse an observable and to discuss the typological criteria which do not take it into account