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1
Andrew, Culp. "Deleuze Beyond Deleuze: Thought Outside Cybernetics." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A71595.
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Tibik, Kamuran. "Deleuze'." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607900/index.pdf.
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Deleuze's Struggle Against Transcendence and Criticisms About It TIBIK, Kamuran M.S., Department of Philosophy Supervisor: Prof.Dr. Yasin Ceylan December,2006, 128 pages In this study, I first studied the undecidability of transcendence and immanence. Then, I studied the demarcation problem between transcendence and immanence with its results in philosophy. Thirdly, I touched on the idea of the death of philosophy in relation to this demarcation problem. Fourthly, I tried to present Deleuze'
s dualist approach to concepts and I also studied Hume'
s effect on the emergence of this dualist approach. As the fifth, I tried to relate the demarcation problem to ethics, concepts and the future of philosophy. Finally, I presented questions and criticisms about both Hume'
s and Deleuze'
s views on immanence and ethics.
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Porter, Robert. "Deleuze, geophilosophy, criticism." Thesis, Queen's University Belfast, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326283.
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CASTRO, EMANUEL MELLO MATTOS DE. "DELEUZE AND PERSPECTIVISM." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25466@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A pesquisa centra-se na importância do conceito de Perspectivismo na filosofia de Gilles Deleuze. Procurando desarticular a forma-Sujeito, para Deleuze pontos de vista têm a ver com diferenças e não com identidades; a constituição não de sujeitos e objetos, mas de perspectivas ou pontos de vista. Em Deleuze, o perspectivismo não é a relatividade do verdadeiro, mas a verdade da relatividade.
This research focuses on the importance of the concept of Perspectivism in Gilles Deleuze s philosophy. Trying to dismantle the Subject form, for Deleuze points of view have to do with differences rather than identities; not the constitution of subjects and objects, but perspectives or points of view. In Deleuze, perspectivism isn t the relativity of the true, but the truth of relativity.
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Percino, Eziel Belaparte. "Deleuze com Proust." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-04082017-125535/.
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A complicação deleuze-proustiana é um horizonte de incidência e emergência de ideias sobre a questão do pensamento. A fim de fazer jus a este horizonte, a presente tese examina as duas partes do livro Proust et les signes, animada tanto pelo que nele incide, reconstituindo e discutindo as suas formulações conceituais, quanto pelo que dele emerge, combinando a fotografia da explicação com o cinema da experiência, duas noções que, disparadas e fomentadas pela complicação, orientam aqui o próprio ato de examinar: ideia foto-cinema. É que, em qualquer instância, pensar não é apenas compactar exposições lineares e estáticas: além de surgir disparado e fomentado pelos signos emitidos por um objeto, o pensamento se desenha na dupla face da fixação e do movimento. Quando a tarefa ordinária, que remete apenas a um emaranhado de escolhas habituais e quebradiças, expõe-se à imprevisibilidade de um encontro extraordinário, os disparadores e fomentadores, que não são o objeto, mas os seus signos, não produzem outra coisa senão um sentimento de obrigação, a necessidade de um trabalho do pensamento; tudo aí se desdobra num exercício que tanto tematiza o outro quanto se torna ele mesmo uma verdadeira prática, um funcionamento: tríplice fronteira, jazz, lentidão e excesso. A questão, pois, nunca é a de estritamente inventariar o que é, afinal, Deleuze com Proust, dominando-o com arcadas mãos, mas a de assumi-lo como um território íntimo de signos, propício para uma espécie de cultivo livre que se faz desigualmente sobre e com ele, dinâmica funcional invariavelmente desejada e perseguida.The deleuzian-proustian complication is an occurrence and emergency horizon of ideas concerning thought. In order to do justice to this horizon, this thesis examines both parts of Proust et les signes, encouraged not only by what occurs on it, through reconstitution and discussion of its conceptual formulations, but also by what emerges of it, combining photography of explanation with cinema of experience, two notions that, triggered and fomented by complication, guide herein the very act of examining: photo-cinema idea. It is just that thought is, in any instance, not only about compacting linear and inert statements: apart from the fact that it arises triggered and fomented by signs emanating from an object, thought is drawn on the double side of fixation and movement. When the ordinary task, which only refers to a tangle of usual and brittle choices, exposes itself to the unpredictability of an extraordinary encounter, triggers and fomenters, which are not the object, but their signs, do not produce anything else but an obligation feeling, the need of mind work; everything there unfolds into an exercise that both broaches the other and turns itself into a real practice, an operation: triple border, jazz, slowness and excess. Therefore, the question is never about strictly inventorying what after all is Deleuze with Proust, mastering them with arched hands. It would be rather about assuming it as an intimate sign territory, fertile to a sort of free cultivation which unevenly makes itself about and with it, a functional dynamic invariably desired and pursued.
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Schleusener, Simon. "Deleuze and Neoliberalism." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72860.
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The following essay takes the topic of this special issue as an opportunity to not just investigate Deleuze’s “Postscript on Control Societies,” but to look more generally at the text’s place within his work as a whole. Indeed, as various authors have observed, there are a number of aspects that clearly distinguish the essay from the bulk of Deleuze’s other writings. First, what the Postscript aims at is a very direct and immediate “diagnosis of the present” (Foucault 1999: 91). Despite its brevity, the essay therefore entails a wide-ranging account of the (social, economic, cultural, and technological) ‘system’ which was about to take hold when Deleuze wrote the essay (1990) – and which still seems pervasive today. Second, the Postscript represents one of the few instances where Deleuze addresses new media, the digital, cyberspace, and computers: technologies, that is, which in the last few decades have thoroughly transformed the world we live in (cf. Galloway 2012). Third, while Deleuze is usually considered to be a thinker of affirmative creation and a joyous politics of difference and becoming, the Postscript may be the text that most evidently lends itself to discovering not only a more contemporary, but also a somewhat ‘darker’ Deleuze (cf. Culp 2016). For although it underlines the necessity of “finding new weapons” and developing “new forms of resistance” – pointing out that the question is not “whether the old or new system is harsher or more bearable” (Deleuze 1995: 178) – one can argue that the Postscript’s general perspective and tone is in fact more bleak and pessimistic than most of Deleuze’s other writings.
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Redner, Gregg. "Deleuze and film music." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/55453.
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This thesis grows from the premise that film music analysis is currently at an impasse. The reason for this impasse is the inability of film theory and music theory to relate to one another because of their lack of a common theoretical language. It is my contention that a large percentage of the scholarly writing on film music is less than successful, because of the inability of these two disciplines to relate to each other theoretically. Therefore, it is the intention of this thesis to construct a methodological bridge which will allow music theory and film theory to relate to each other on a common analytical plane. I am primarily concerned with just how the film score functions once it enters into the mise-en-scène and is able to exist on an equal theoretical plane with the other elements of the filmic universe. In order to facilitate this, I will apply philosophical concepts drawn from the philosophy of Gilles Deleuze to the analysis of six individual film/score(s): L’Atalante (Jean Vigo, 1934), Things to Come (William Cameron Menzies, 1936), Scott of the Antarctic (Charles Frend, 1948), East of Eden (Elia Kazan, 1955), Hamlet (Grigori Kozintsev, 1964) and Blue (Krzysztof Kieslowski, 1993). Each of these scores provides a specific theoretical challenge which can not be overcome through the use of traditional analytical methodologies. By adapting specific Deleuzian philosophical concepts (sensation, nomadology, the refrain, the eternal refrain, becoming, utopia, smooth space, and duration) to the individual scores in question I will demonstrate that it is possible to create a flexible analytical methodology which draws the various elements of the film into a deep relationship with the score, thereby revealing the score’s actual function in each instance.
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Kennedy, Niall. "Deleuze and the author." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/38644/.
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This thesis argues that Gilles Deleuze, as philosopher, reader, and critic, recognised the central importance of a defined authorial subjectivity, closely associated with a philosophical or intellectual project, and that his analyses of philosophy, literature, visual art and cinema were shaped and determined by his recognition of that authority. In this respect, my reading challenges those critics who find in the work of Deleuze an assault on ‘author-centric’ interpretations of texts, and more generally on the concept of a unified self, and which uphold experimentation on the part of the reader or critic rather than interpretation. I argue that Deleuze has a coherent and meaningful conception of an author as a consciousness which persists through time, learns, plans and makes projects, differentiates itself from the work of other authors, is inspired and creative, takes positions in relation to the inheritance of artistic and philosophical traditions, and which is capable of entering into collaboration with others. Through close reading of Deleuze’s texts, I demonstrate that he consistently relies on the authorial function to impose unity and coherence on the distinctive - and often remarkable - body of work of an individual theorist or practitioner. I argue that the historical, political and social situation of an author is of great importance to the analysis of a text. Finally, unlike Roland Barthes or other critics invested in the ‘death’ or displacement of the author, I argue that Deleuze considers the competing interpretations of a text advanced by the reader or spectator to be of little or no importance.
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Borges, Charles Irapuan Ferreira. "Deleuze, ética e imanência." Pontifícia Universidade Católica do Rio Grande do Sul, 2013. http://hdl.handle.net/10923/3422.
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Previous issue date: 2013This work aims to present the core of the conceptual framework of Gilles Deleuze’s imanent ethics. Imanent ethics is referred here as a moral theory derived from the post-critical ontology which claims the absense of any transcendent principle to the process of formation of rules or moral norms. Instead, the imanent ethics theory sees in the genetic origin of reason itself the foundations of the practical rationality and action.
O presente trabalho tem por objetivo apresentar os principais elementos conceituais constitutivos da ética imanente de Gilles Deleuze. Por ética imanente entende-se uma teoria moral derivada da ontologia pós-crítica que postula a não aderência a qualquer princípio transcendente para a formação de regras ou normas morais. Pelo contrário, a ética imanente busca na origem genética da própria razão os fundamentos da racionalidade prática e da ação.
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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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Beaulieu, Alain. "Deleuze et la phénoménologie." Paris 8, 2001. http://www.bibliotheque-numerique-paris8.fr/fre/ref/165119/174493835/.
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Les@relations de Deleuze à Nietzche, Hume, Spinoza, Bergson, l'idéalisme et à la psychanalyse sont bien connues. Toutefois, le rôle occupé par la phénoménologie à l'intérieur de la pensée deleuzienne demeure mal défini. Deleuze lit et cite régulièrement les phénoménologues sans jamais systématiser sa position face à la phénoménologie. Nous nous proposons de combler une lacune interne au corpus deleuzien en clarifiant la relation de Deleuze à la phénoménologie. Nous soutenons que le caractère intempestif de la pensée de Deleuze se définit essentiellement dans sa relation conflictuelle avec la phénoménologie. Notre analyse décrit les principaux démêlés entre Deleuze et la phénoménologie et met en lumière la façon dont se constitue l'état minoritaire deleuzien à travers un combat constant et une critique (au sens nietzschéen du terme) soutenue qui sont dirigés contre le pouvoir phénoménologique. L'étude comprend quatre sections. . .
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Brott, Simone. "Subjectivizations : Deleuze and Architecture." Thesis, Yale University, 2003. http://architecture.yale.edu/people/simone-brott.
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My thesis is an exploration of the architectural production surrounding the French philosopher Gilles Deleuze, specifically, through the overarching theme of Deleuze’s theory of subjectivity, which I will call subjectivization. I interpret this to mean the strange coalescence of matter, architectural subject, and event, in architectural experience and culture. I speculate that subjectivization presents a yet under-explored dimension of deleuzianism in architecture. In order to develop this I pursue two independent trajectories: firstly the narrative of architectural production surrounding Deleuze, from the 1970s until today, as it is an emergence of changing groupings, alliances, formations and disbandment in the pursuit of creative-intellectual tasks—what might be called the subjectivization of architecture—and, secondly, through a speculation about the architecture of subjectivization—that is, an attempt to explore, concretely, what might be the space and time of subjectivization.
Chapter One traces an oral history of deleuzianism in architecture, through conversations with Sanford Kwinter and John Rajchman, describing how the Deleuze milieu makes its way into architectural practice and discussion—subjectivization as a social and cultural emergence—whereas Chapter Two theorizes the emergence of an architectural subjectivity where architecture constitutes its own affective event—what I call subjectivization or material becoming-subject.
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Roberts, Spencer. "Deleuze, judgment and artistic research." Thesis, University of Hertfordshire, 2016. http://hdl.handle.net/2299/17224.
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The debate concerning the legitimacy of artistic research that has taken place over the last two decades is notable for the way in which it has drawn attention to rival 'representational' and 'performative' conceptions of thought. In the early stages of the debate, critics such as Durling, Friedman, Elkins and Biggs employed broadly representational arguments in a quasi-legal context of judgment to suggest that processes of artistic research were in some sense unrecognisable when attempts were made to see them through the conceptual lens of 'research'. In contrast to this, advocates of artistic research, such as Haseman, Bolt, Sullivan and Slager proposed that research arising out of artistic practice possessed distinctive qualities - conjoining interests in the experimental, the experiential, and the non-representational, with a set of predominantly transformative aims. Haseman et al have likewise suggested that the concerns of the practitioner-researcher, at least in the context of the arts, are mainly ontological as opposed to epistemological in character - seeking to explore, reframe, or contest existing states of affairs in a broadly performative fashion. Whilst supporters of artistic research often stress the requirement for new ways of thinking to accommodate the specificities of practice-led research, many of the concepts that are employed in an attempt to understand the aims and concerns of artistic research have a long 'process-philosophical' lineage. Process philosophy has been present as a minor current in Western philosophy since as early as 540 BC and through the influence of luminaries such as Dewey and Langer, it has long been associated with education in the arts. Process philosophers typically emphasise both the ontological priority of change and the relational constitution of entities. From the perspective of process philosophy, the world of stable and enduring things arises out of a differential play of interacting forces that admit of multiple and contingent patterns of relation. With this in mind, the contemporary anti-essentialist arguments that are often utilised in the defense of artistic research are positioned in this thesis as examples of process-philosophical thinking, paving the way for an application of the post-structuralist, process-philosophical thought of Gilles Deleuze to the debate concerning the legitimacy of practice-led research. An interesting and long running feature of the legitimacy debate has been the failing of participants on both sides of the discussion to critically engage with their opposition - preferring instead to construct rather idealised, ghostly positions, which ultimately sidestep the specificities of the situation. In an attempt to address the lack of sustained critical confrontation between oppositional voices in the discussion, this thesis attempts a close qualitative engagement with a prominent skeptical position. To this end, the work of Michael Biggs and Daniela Büchler is interrogated from a conceptual, aesthetic and relational perspective, revealing its Wittgensteinian and Kantian roots, and subjecting them to critical scrutiny from the perspective of Deleuzian thought. Biggs and Büchler, have developed a markedly critical voice in the legitimacy debate, importing the early hostility towards practice-led research that arose out of a predominantly North American design community into the context of UK, Dutch and Australian discussion. Biggs and Büchler are much cited within the literature on artistic and practice-led modes of research and they have been influential in the framing of policy. The critique of Biggs and Büchler that is developed in this thesis begins from the observation that their work embodies a broadly conservative emphasis upon representation and recognition, and that it is expressive of what Deleuze describes as the 'dogmatic image of thought'. It is argued here that Biggs and Büchler's resistance to the affective and the performative is pervasive, serving to colour their approach to philosophy, art and aesthetics and to place them at odds with the largely material-experiential, and transdisciplinary interests of many artistic researchers. With this in mind, a series of aesthetico-conceptual strategies are employed in order to problematise Biggs and Büchler's position and to stage an encounter between a process-pragmatism of the left (as typified by the philosophy of Deleuze), and a linguistic-pragmatism of the right (as typified by the philosophy of Wittgenstein). This thesis makes a number of claims to knowledge. Primarily it aims to demonstrate that the justification of artistic research need not be separatist or isolationist in character, but that in demonstrating the overlap between traditional and non-traditional forms of research we need not dispense with artistry or neglect the artefact's performative work. In this sense it aims to show how characteristics sometimes considered specific to practice-led research have a more generalised, if somewhat understated presence in the context of more traditional modes of enquiry. In a similar vein, it aims to demonstrate how a broadly traditional, written thesis might be explored in the spirit of practice-led enquiry - drawing attention to a range of textual, imaginative, conceptual and speculative devices that might enable us to explore the intensities of a problem space, and to investigate the ways in which aesthetic devices might also perform active work in the context of an argument. Ultimately this results in a questioning of the separation of artefact and argument that is characteristic of much discussion of practice-led research. Methodologically the thesis is distinctive in its sustained critical engagement with a single oppositional voice, which is also intended, through a process of extrapolation, to problematise a more generalised positivistic current of thought emanating primarily from the discipline of design. Lastly, the philosophical critique of the Wittgensteinian underpinnings of Biggs and Büchler's position also facilitates a contribution to Deleuze studies - addressing the breadth of Deleuze's concept of relation and critically interrogating the thought of Ludwig Wittgenstein - the philosopher for whom Deleuze seemed to harbour the strongest antipathy, but of whom he was also the most reticent to speak. Whilst it is clear that there has been much interest in the potential application of Deleuze since the inception of the legitimacy debate, and whilst it is clear that the employment of Deleuze as primary theorist in practice-based-research projects is in the ascent, to date there has been little work that is explicitly focused upon the resonance of Deleuzian thought with respect to the productive context, or the legitimacy of the practice-based PhD.
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Pósleman, Cristina. "Deleuze : filosofía de la creación." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/115296.
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Doctora en filosofía con mención en estética y teoría del arteEn la presente investigación nos proponemos mostrar al pensamiento de Gilles Deleuze como una filosofía de la creación. Ésta se plantea como desafío el desmontaje del modelo ego-logo/céntrico de pensamiento, asumiendo el cuestionamiento acerca de cómo procurar lo nuevo en la inmanencia absoluta, Dos ejes problemáticos la atraviesan. Dentro del primero abordamos la crítica de la noción de idea como fundamento y la apuesta por una perspectiva acontecimental. Al respecto consideramos el problema de la „realidad de lo virtual‟, atendiendo a los desplazamientos operados por la pareja conceptual actual-virtual, en clave de la teoría de las multiplicidades diferenciales. En la estela de dicho desplazamiento abordamos el combate que el pensamiento deleuziano emprende frente a la perspectiva especular del signo, en pro de una semiótica intensiva. Lo hacemos yendo de una sintomatología o teoría evaluativa de las posibilidades de existencia, a una semiótica estadística o diagramática de las líneas disjuntas que dinamizan la diversidad de regímenes semióticos. Consideramos cómo a tono con este enfoque que pondera la condición intensiva de lo real, el pensamiento de Deleuze asume todas las consecuencias que, para una filosofía del pensamiento como creación, conlleva una perspectiva no orgánica de la vida. Como segundo eje problemático, consideramos que la filosofía de la creación de Deleuze, constituye un modo particular de cumplimiento del llamado „giro estético de la filosofía‟ (Zourabichvili 2011). Uno tal que se conforma en la intercesión del arte y la filosofía, de manera que la filosofía recoge de lo que el arte hace, aquello que desafía los límites del pensamiento como representación, y que, por lo tanto, contribuye a acercar el pensamiento a la vida. Definida la noción de creación con la fórmula: „crear es engendrar pensar en el pensamiento‟ (Deleuze 1968), esta investigación apunta a dar cuenta de la dinámica de dicha génesis, en vistas de mostrar cómo la noción de creación viene a hacer frente a las paradojas de la experimentación de los límites del pensamiento.
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McMahon, Melissa Jane. "Deleuze and Kant's Critical Philosophy." University of Sydney. School of Philosophical and Historical Inquiry (SOPHI), 2005. http://hdl.handle.net/2123/618.
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This thesis considers the status of Deleuze as a Kantian, and as such committed both to the critical destiny of philosophy, and the contestation of the sense of this destiny. The focus of Deleuze�s reading of Kant is an active conception of thought: the fundamental elements of thought are will and value rather than being or the concept. In the development of this idea we can note a progressive 'tapering' of the foundational instance of thought, in three stages: from the speculative field of being to the practical field of reason; from the intellectual category of the concept to the problematic category of the Idea; from the teleological notion of the organism to the aesthetic notion of the singular. Within each stage we can perceive a polemic between the two terms: it is in each case a question of the 'sufficient reason' of thought, its conditions of the actuality beyond its possibility. The highest expression of our reason, for Kant, is neither theoretical nor utilitarian, but moral: the realisation of our lawful freedom. For Deleuze, on the other hand, the ultimate secret of our freedom and thus all of our thought is to be found rather in the realm of the aesthetic.
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Evens, Aden. "Practically impossible : Deleuze and ethics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0019/NQ55326.pdf.
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Cull, Laura Katherine. "Differential presence : Deleuze and performance." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/97094.
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This thesis argues that presence in the performing arts can be reconceived, via the philosophy of Gilles Deleuze, as an encounter with difference or ‘differential presence’ which is variously defined as immanence, destratification, affect/becoming, and duration. These definitions are developed through a series of four analyses of exemplary performance practices: 1) The Living Theatre; 2) Antonin Artaud; 3) Allan Kaprow and 4) Goat Island. Chapter One recuperates the Living Theatre from a dominant narrative of ‘failure’, aided by the Deleuzian concepts of ontological participation, immanence, production/creation and ‘the people to come’. Reframing the company as pioneers of methods such as audience participation and collective creation, the chapter argues that their theatrical ambition is irreducible to some simple pursuit of undifferentiated presence (as authenticity or communion). Chapter Two provides an exposition of three key concepts emerging in the encounter between Artaud and Deleuze: the body without organs, the theatre without organs, and the destratified voice. The chapter proposes that To have done with the judgment of god constitutes an instance of a theatre without organs that uses the destratified voice in a pursuit of differential presence – as a nonrepresentative encounter with difference that forces new thoughts upon us. Chapter Three defines differential presence in relation to Deleuze’s concepts of affect and becoming-imperceptible and Kaprow’s concepts of ‘experienced insight’, nonart, ‘becoming “the whole”’, and attention. The chapter argues that Kaprow and Deleuze share a concern to theorize the practice of participating in actuality beyond the subject/object distinction, in a manner that promotes an ethico-political sense of taking part in “the whole”. Finally, Chapter Four focuses on the temporal aspect of differential presence, arguing that through slowness, waiting, repetition and imitation, Goat Island’s performance work acknowledges and responds to ‘the need to open ourselves affectively to the actuality of others’ (Mullarkey 2003: 488).
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Law, Sum-po Jamsen, and 羅琛堡. "Nietzsche, Deleuze and video art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952665.
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Almeida, Julia Maria Costa de. "Pragmatica e agramatical em Deleuze." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270363.
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Orientador: Luiz B. L. OrlandiTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Trata-se de percorrer a obra de Gilles Deleuze rastreando conceitos que propiciam um outro modo de pensar a linguagem: a pragmática deleuzeana é uma das linhas de efetuação das variações de que se mostrou capaz em inúmeros campos essa filosofia, que pensa em termos de multiplicidades, de diferenciações, de acontecimentos, de devires, de novidades. Mas não se trata simplesmente de aplicar filosofemas genéricos no estudo do objeto de uma disciplina específica. Nosso propósito é, isto sim, tematizar a emergência de um novo regime linguageiro, o regime do agramatical, regime que se pode apreender, por exemplo, nos usos menores de uma língua, em procedimentos lingüísticos e literários
Abstract: Not informed.
Doutorado
Doutor em Linguística
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Borges, Charles Irapuan Ferreira. "Deleuze, ?tica e iman?ncia." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2013. http://tede2.pucrs.br/tede2/handle/tede/2917.
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Previous issue date: 2013-03-01This work aims to present the core of the conceptual framework of Gilles Deleuze s imanent ethics. Imanent ethics is referred here as a moral theory derived from the post-critical ontology which claims the absense of any transcendent principle to the process of formation of rules or moral norms. Instead, the imanent ethics theory sees in the genetic origin of reason itself the foundations of the practical rationality and action.
O presente trabalho tem por objetivo apresentar os principais elementos conceituais constitutivos da ?tica imanente de Gilles Deleuze. Por ?tica imanente entende-se uma teoria moral derivada da ontologia p?s-cr?tica que postula a n?o ader?ncia a qualquer princ?pio transcendente para a forma??o de regras ou normas morais. Pelo contr?rio, a ?tica imanente busca na origem gen?tica da pr?pria raz?o os fundamentos da racionalidade pr?tica e da a??o.
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Ramírez, Herrera Gonzalo. "Deleuze: una ontología, una ciencia." Pontificia Universidad Católica del Perú, 2016. http://repositorio.pucp.edu.pe/index/handle/123456789/119214.
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This paper has two objectives: first, to rebut three misconceptions about the philosophy of Gilles Deleuze that deal with his position in ontology, aestheticsand science; and second, to probe deeper into two of these misunderstandings inorder to discover their current scope. Both of these misunderstandings regard hisviews on ontology and on science. Here we will see how an ontology of differenceand an intensive science arise. We will close our paper with some comments on theactuality of this thought.La presente contribución tiene dos objetivos. En primer lugar, rebatir tres visiones equivocadas sobre la filosofía de Gilles Deleuze. Estas visiones giran en tornoa su posición en ontología, en estética y en ciencia. En segundo lugar, profundizar en dos de estos malentendidos con el fin de descubrir sus alcances actuales. Estos dos malentendidos son sobre su visión ontológica y su visión sobre la ciencia. Acá veremos cómo se plantea una ontología de la diferencia y una ciencia intensiva. Cerraremos nuestra contribución con algunos comentarios sobre la actualidad de este pensamiento.
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Lafferranderie, Emilio J. "Spinoza en Deleuze: cartas políticas." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/119563.
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To think a Deleuzian politics requires to understand the philosophical markleft in his work by Spinoza. Both philosophers’ paths crisscross in their problems, questions and consequences. In this paper three concepts will be put in relation: critique, right and crowd. The aim is to elucidate how man can open new ways of political experience from the conjunction of two philosophies articulated upon a common ground: immanence and life.Pensar una política en Gilles Deleuze exige comprender la huella filosófica que ha dejado en su obra Baruch Spinoza. Las sendas de ambos filósofos se entrecruzan en problemas, preguntas y consecuencias. Hay tres conceptos que serán puestos en relación en el presente trabajo: crítica, derecho y multitud. El objetivo es elucidar cómo se pueden abrir nuevos modos de experiencia política a partir de la conjunción de dos filosofías articuladas por un suelo común: la inmanencia y la vida.
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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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Law, Sum-po Jamsen. "Nietzsche, Deleuze and video art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2222693X.
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McMahon, Melissa Jane. "Deleuze and Kant's Critical Philosophy." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/618.
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This thesis considers the status of Deleuze as a Kantian, and as such committed both to the critical destiny of philosophy, and the contestation of the sense of this destiny. The focus of Deleuze's reading of Kant is an active conception of thought: the fundamental elements of thought are will and value rather than being or the concept. In the development of this idea we can note a progressive 'tapering' of the foundational instance of thought, in three stages: from the speculative field of being to the practical field of reason; from the intellectual category of the concept to the problematic category of the Idea; from the teleological notion of the organism to the aesthetic notion of the singular. Within each stage we can perceive a polemic between the two terms: it is in each case a question of the 'sufficient reason' of thought, its conditions of the actuality beyond its possibility. The highest expression of our reason, for Kant, is neither theoretical nor utilitarian, but moral: the realisation of our lawful freedom. For Deleuze, on the other hand, the ultimate secret of our freedom and thus all of our thought is to be found rather in the realm of the aesthetic.
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Bénit, Bernard. "Deleuze : la pensée sans image." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100002/document.
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Dans ses premières œuvres, Deleuze recherche une "pensée sans image", inséparable de la critique de "l'image de la pensée", c'est-à -dire de la représentation. Le problème, organisant alors la philosophie de Deleuze, est celui du rapport de la pensée avec l'image, problème qui est repris .et déplacé, de Nietzsche et la philosophie à Différence et répétition. Pour "décrire" les actes d'une pensée sans image, Deleuze procède en trois étapes : "le point de départ" est la critique de l'image de la pensée, la dénonciation de la représentation et de ses présupposés, qui emprisonnent et dénaturent la pensée. "Le véritable commencement" consiste, dès lors, à dégager les conditions, non de l'expérience possible comme dans la représentation, mais de l'expérience réelle, c'est-à-dire une nouvelle image de la pensée qui la libère de la représentation. A l'image représentative de la pensée, Deleuze substitue donc une nouvelle image de la pensée qui est l'ensemble des conditions d'une pensée sans image. Enfin, la troisième étape, "l'authentique répétition", est la mise à jour d'une pensée sans image, sub-représentative. Loin d'être naturelle, donnée à un penseur de bonne volonté, comme recognition, la pensée sans image est création de penser dans la pensée, pensée sauvage, nomade, qui nait sans modèle préalable, ni ressemblance : elle surgit de la rencontre violente avec le signe qui la force à penser. Autrement dit, la pensée sans image, c'est le système du simulacreIn his early works, Deleuze looks for a "thought without image", inseparable from the critique of the "image of thought", i.e. of representation. The problem, organizing Deleuze's philosophy, is the relation of thought with the image problem that is picked up and moved, from Nietzsche and phi/osophy to Difference and repetition. To "describe" the acts of a thought without image, Deleuze proceeds in three steps: "the starting point" is the criticism of the image of thought, the denunciation of representation and its presuppositions, which trap and distort the thought. "The real beginning" consists, therefore, in identifying the conditions, not of experience possible such in the representation, but the actual experience, which is a new image of thought that frees it from the representation. The representative image of thought, Deleuze substitute to a new image of thought which is the set of conditions for a thought without image. Finally, the third step, "the authentic repetition", is the update of a thought without image, sub representative. Far from being natural, given to a thinker of goodwill, like recognition, the thought without image is creation of thinking in thought, thought wild, nomadic, who was born without prior model, or likeness: it arises from the violent encounter with the sign that forces it to think. In other words, the thought without image, is the system of the simulacrum
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Brott, Simone. "Impersonal effects : architecture, Deleuze, subjectivity." Thesis, The University of Melbourne, Faculty of Architecture Building and Planning, 2007.
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Vinci, Christian Fernando Ribeiro Guimarães. "Deleuze-Guattarinianas: experimentações educacionais com o pensamento de Gilles Deleuze e Félix Guattari (1990-2013)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-01042015-134108/.
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Essa pesquisa parte da percepção, cada vez mais acentuada, da centralidade que alguns conceitos formulados pelo filósofo Gilles Deleuze e pelo psicanalista Félix Guattari têm tido no pensamento educacional brasileiro. Não é difícil depararmos com apropriações de conceitos tais como nomadismo, devir, cartografia, rizoma, platôs, micropolítica, desterritorialização e tantos outros. A apropriação do conceitual deleuze-guattariano tem produzido deslocamentos e inspirado procedimentos analíticos diversos daqueles que tomaram corpo no início dos anos 1990, no seio dos estudos denominados de póscríticos, abrindo espaço para aquilo que denominamos de experimentações do pensamento. Procurando erigir uma crítica capaz de afectar o leitor e levá-lo a produção um pensamento outro, mais do que conduzi-lo à constatação de uma verdade presente alhures, a produção que tem se valido da filosofia de Deleuze e Guattari assume contornos analíticos até então inéditos, experimentando o intensivo que os conceitos elaborados pela dupla de autores comportam. Diante desse cenário, da imensa miríade de escritos que vemos surgir a cada dia articulando de maneira inusitada o pensamento da diferença de Deleuze e Guattari a tópicos educacionais, faz-se necessário interpelar essa literatura de forma a apreender sua singularidade e os novos procedimentos analíticos resultantes desse cruzamento. Dessa forma, buscaremos apresentar uma problematização dos estudos de cunho deleuze-guattarianos no campo educacional brasileiro, focalizando para tanto os artigos publicados nos 44 melhores conceituados periódicos acadêmicos da área de acordo com a tabela Qualis 2013 entre os anos 1990 e 2013. Orientado por uma abordagem pós-estruturalista em educação, trata-se de um estudo crítico fundamentado nos conceitos de arquivo e problematização, ambos oriundos do legado do pensador francês Michel Foucault; tendo por objetivo apreender as condições de emergência da literatura deleuzeana na seara educacional, tomamos como referência analítica a seguinte questão frente ao fundo documental dos periódicos indexados: de que maneira a produção acadêmica educacional tem experimentado a necessidade de deleuzear ou guattariar ou deleuze-guattariar?This research aims at developing an analisys about the importance of the concepts formulated by Deleuze and Deleuze-Guattari in Brazilian educational thought. It is not difficult, in academic articles, to come across with concepts such as nomadism, devir, cartography, rhizome, plateaus, deterritorialization and many others. The appropriation of the conceptual deleuze-guattarian has produced displacements and inspired analytical procedures other than those that took shape in the early 1990s , within the study called \"post- critical\" , paving the way for what we call trials of thought. Looking erect a critical able to affect the reader and get him to produce a thought the other , rather than lead him to the discovery of a truth this elsewhere, a production that has been using the philosophy of Deleuze and Guattari assumes analytical contours hitherto unpublished , experiencing intensive that the concepts developed by the duo of authors behave . Given this \"deleuzean\" shadow which hovers over the field such as the myriad of writings that we see emerging every day, it is necessary to question this literature in order to set up a possible horizon of dissemination of such thinking in Brazilian education academic production. Therefore, we try to present a problematization of deleuz-guattarian studies in Brazilian educational field, focusing on the top 44 articles published in reputable journals in the area - according to the table Qualis 2013 - between 1990 and 2013. Guided by a post-structuralist approach in education, this research is a critical study which is grounded in an interrogational sitting here on the concepts of file and problematization which comes from the legacy of French thinker Michel Foucault. Our objective is to apprehend the emergency conditions of this Deleuzian literature in the educational studies. We submit the following analytical question to the archive of journals indexed: how educational scholarship has experienced the need for deleuzear or guattariar or deleuze-guattariniar?
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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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Lopes, Luiz Manoel. "A teoria do sentido em Deleuze." Universidade Federal de São Carlos, 2006. https://repositorio.ufscar.br/handle/ufscar/4738.
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Previous issue date: 2006-03-31The proposal of this work is to study the theory of sense in Deleuze inserted in the questions that reverberate on the contemporaneous philosophical field. Our route will follow the statements of Deleuze on his book Logic of Sense , especially when he detaches that this theme was thought by three different ways: the first, as lekton, by the Stoics on the III century B.C.; the second, as complexe significable, by Gregori di Rimini, on the XIV century; the third as obektiv, by Meinong, on the XIX century. When Deleuze thinks about his theory of sense, he introduces the sense as event.. Our study will start from the rosen questions by Meinong and how they have their origin on the paradox of the representation without object rosen by Benhard Bozano , which allows us to affirm that such paradox is at the origins of the phenomenology and in the analytic philosophy. The theory of the sense of Deleuze will be presented like being out from these two current contemporaneous philosophies.
O propósito deste trabalho é o de estudar a teoria do sentido em Deleuze inserida nas questões que repercutem no âmbito filosófico contemporâneo. O nosso percurso seguirá as indicações de Deleuze em seu livro Lógica do sentido , sobretudo quando sublinha que este tema foi pensado de três maneiras diferentes: a primeira, como lekton, pelos estóicos no século III a C; a segunda, como complexe significabile, por Gregório de Rimini, no século XIV; a terceira, como objektiv, por Meinong no século XIX. Deleuze pensa a sua teoria do sentido apresenta-o como acontecimento, o que implica em dizer que é uma quarta e inovadora maneira de pensá-lo. O nosso estudo, partirá das questões levantadas por Meinong e como estas tem a sua origem no paradoxo das representações sem objeto levantadas por Benhard Bolzano, o que permite-nos afirmar que tal paradoxo está nas origens da fenomenologia e da filosofia analítica. A teoria do sentido de Deleuze será apresentada como estando fora destas duas correntes de filosofia contemporânea.
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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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Groves, Christopher. "Hegel and Deleuze : immanence and otherness." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/2473/.
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The thesis critically analyses the dominant foundationalist tendency of modern philosophy, with special reference to the sophisticated antifoundationalist critiques of foundationalism formulated by G.W.F. Hegel and Gilles Deleuze. It begins by outlining a general methodological aspect of foundationalism, regarding the necessity of radical self-critique in philosophy, which directly connects contemporary thought with Cartesianism, via classical German philosophy. In the philosophies of Kant, Fichte and Schelling, this self-critical project is transformed: they undertake to show that reason can, by examining itself, give an account of experience that is systematic, or consistent with itself. However, each of these thinkers fails to accomplish this, and indeed, the commitment to a priori foundations is itself undermined in Schelling's work; where a philosophical crisis of meaning (a 'trauma of reason', philosophical nihilism) emerges. Deleuze and Hegel's contrasting critiques of foundationalism, and their positive reconstructions of the standpoint of philosophy, are then interpreted as non-foundationalist attempts to overcome this internal crisis of foundationalist thought as inadvertently exposed by Schelling. Both criticise certain subjective presuppositions common to foundationalist philosophies, which they consider constitute a dogmatic 'image' of philosophy, a kind of transcendental illusion that is the guiding force behind foundationalism. Both also aim to replace this with a genuinely philosophical image. The thesis provides an original historical contextualisation of Deleuze's thought in relation to German Idealism, and Schelling in particular, with whom, it is argued, Deleuze has much in common. Deleuze's conception of pure difference is treated in this regard as a kind of 'absolute knowledge'. This contextualisation also allows the sometimes crudely understood antipathy between Hegel and Deleuze to be addressed in a more penetrating fashion, which shows that they have more in common in terms of their critical orientation than is usually supposed. The thesis concludes with a critical comparison of these thinkers, which argues that, although both succeed in their own terms, in relation to a criterion of self-consistency, Hegel's philosophy offers a more satisfactory treatment of the ontological and historical conditions of philosophical activity.
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Barthold, Charles. "Resisting financialisation with Deleuze and Guattari." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/32895.
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This thesis wanted to operate two tasks. First, this thesis sought to perform a description of the contemporary functioning of the economy, that is to say of capitalism. This entailed an analysis of the current financialisation of world capitalism. Second, this thesis wanted to identify a revolutionary resistant subjectivity to financialisation. This implied to look for a subjectivity which could successfully resist the power of finance. The first task, that is to say the description of the contemporary economy, was performed through an engagement with an interdisciplinary and Marxian literature that problematised financialisation as a process related not only to the economy and production, but also to the State, social reproduction and even subjectivity. Marxism allowed me to understand the dynamics of capitalism and the current centrality of finance, which was expressed by the concept of financialisation. However, Marxism was unable to provide a sophisticated political strategy which would be based on a specific revolutionary subjectivity. Marx’s oeuvre never provided very effective political strategies. Therefore, the political economy of Marx was often complemented by Leninism as a form of political strategy, based on party politics and the vanguard of the proletariat. However, Leninism was connected to Fordist capitalism. Therefore, a new political strategy was needed in the context of financialisation. The work of Deleuze and Guattari provided a novel conceptualisation of subjectivity which could articulate a revolutionary resistance to financialisation. My revolutionary understanding of the oeuvre of Deleuze and Guattari was situated by an analysis of their reception by political philosophy because alternative interpretations existed. Therefore, this thesis sought to operate a fruitful dialogue, that is to say a resonance between Marx and Deleuze and Guattari.
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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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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)
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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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Santos, Zamara Araujo dos 1966. "A geofilosofia de Deleuze e Guattari." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280012.
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Orientadores: Luiz Benedicto Lacerda Orlandi, Anne SauvagnarguesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A Geofilosofia é um conceito tardio na obra de Deleuze e Guattari e, embora se aplique ao último livro em parceria, Qu'est-ce que la Philosophie ?, trata-se de uma noção que envolve suas principais criações conceituais, circunscrevendo o período de Capitalisme et schizophrénie, mas dialogando com noções e momentos distintos da obra dos autores. Sob a rubrica da noção, a filosofia consagra a conexão de um plano de imanência absoluto derivado de um meio imanente e social que constitui a conjunção de relações variáveis entre o território e a terra. Assim, o ato de pensar não gravita sob a órbita das categorias sujeito e objeto, mas concerne a um meio intensivo e contingente, que, compondo uma ambiência de circunstâncias externas, demarca um campo de conexões e fronteiras de relações múltiplas e devires que contornam o molar e o molecular, estabelecendo um regime de troca, captura e sobrecodificação dos códigos. Nesse traçado, o pensamento e os conceitos invocam um "fora", um devir molecular, devires animais e imperceptíveis que povoam o território e os agenciamentos, perfilham conexões, ramificações heterogêneas e rizomáticas que seguem por linhas intensivas, conjurando forças e movimentos da terra que operam por movimentos diagramáticos, geodésia e desterritorialização. Configura-se, com efeito, uma cartografia dos deslocamentos, direções e trajetos que circunscreve o mapa de uma geografia agitada por linhas de fuga, longitudes e latitudes, sendo essas, portanto, as condições do plano de imanência absoluto do pensamento, de sua desterritorialização e reterritorialização
Abstract: Geophilosophy is a lag concept in Deleuze and Guattari's work, and besides it can be applied at the last book in partnership Qu'est-ce que la Philosophie?, it is a notion that involves their main conceptual creations, circumscribing the period of Capitalisme et schizophrénie, but in dialogue with distincts notions and moments of both autors work. Under the heading of the notion, philosophy consecrates the conexion of an absolut immanence plan derivative of a social and immanent environment that constitutes the conjunction of variable relations between the territory and the earth. This way, the act of thinking doesn't gravitate in the orbit of the categories of subject and object, but concerns to a intensive and contingent environment, that, setting an ambience of external circunstances, delimits a field of conexions and borders, of multiple relations and becomings that skirts the molar and the molecular, establishing a system of change, capture and overcoding of the codes. In this route, the thought and the concepts invocate an "outside", a molecular becoming, animal and inconspicuous becomings that settle the territory and the assemblages, profiling conexions, heterogeneous and rhizomatic ramifications that follow by intensive lines, conjuring forces and movements of earth that operates by diagrammatic movements, geodey and deterritorialization. Setting up, in effect, a cartography of displacements, directions and pathways that circumscribes the map of a geography agitated by creepage, longitudes and latitudes, being these, by the way, the conditions of the absolut immanence plan of thinking, of its deterritorialization and reterritorialization
Doutorado
Filosofia
Doutor em Filosofia
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Alvim, Davis Moreira. "Foucault e Deleuze: deserções, micropolíticas, resistências." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/11561.
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Previous issue date: 2011-05-13Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The inventory of hypotheses about the post-modernity is extensive. Generally, those who think it like a historical period and not only an aesthetic tendency indicates at least two important features: first, the victory of the ephemeral and the banality against the critical power of the modernity and, second, the new modulation or mutation of the postwar capitalism. Another direction taken by contemporary debate characterizes our times by the emergence of a new sovereign power, which makes the state of emergency a rule and turns the concentration camp into to a paradigm of government. In both cases, the resistances were subjected to silence or placed in the background. To approach the problem we propose the following question: how the resistances occur in the post-modern times? However, we must add to the problem an inflection inspired by Deleuze: how to think a resistance in itself, apart of the categories of negative? It was necessary to investigate the notion of resistance, especially in the writings of Michel Foucault and Gilles Deleuze and, in this way, determine his contributions, disagreements and meetings around the concept. We attempt to think the resistance in themselves, freeing them from exogenous factors that determine their dynamics and observing its affirmative power. We conclude that the resistances contain, by one hand, defectors and micropolitical aspects, which are primary in relation to power, and, by another hand, connectives and inventive characteristics
A lista de hipóteses sobre a pós-modernidade é extensa. De forma geral, aqueles que a pensam como um período histórico e não apenas uma tendência estética indicam ao menos dois traços importantes: primeiro, a vitória do efêmero e da banalidade sobre a potência crítica e contestatória existente na modernidade e, segundo, a nova modulação ou mutação do capitalismo do período pós-guerra. Outra direção tomada pelo debate contemporâneo caracteriza nossos tempos pela emergência de um novo poder soberano, que faz do estado de exceção uma regra e transforma o campo de concentração em um paradigma de governo. Em um caso como no outro, as resistências foram submetidas ao silêncio ou colocadas em segundo plano. Para começar a enfrentar o problema, propõe-se a seguinte questão: como se dão as resistências no pós-moderno? Contudo, seria preciso acrescentar ao problema certa inflexão inspirada em Deleuze: como pensar uma resistência em si mesma, independente das categorias do negativo? Assim, foi preciso investigar a noção de resistência, especialmente em alguns escritos de Michel Foucault e Gilles Deleuze e, dessa maneira, averiguar suas contribuições, divergências e encontros em torno do conceito. Busca-se pensar as resistências em si mesmas, livrando-as de condicionantes externos que determinem sua dinâmica, observando sua potência afirmativa, sua força ativa e criadora. Concluímos que as resistências possuem, por um lado, aspectos desertores e micropolíticos que são primordiais em relação ao poder e, por outro, características conectivas e inventivas
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Cerqueira, Luame. "Deleuze e a instauração das sensações." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2161.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorDeleuze presents a totally new way of thinking about art, considering it as a mode of thought in itself. Along with science and philosophy, art is also an expression of thought, though each one of these is irreducible and produces itself necessarily by its own means. Above all, art is the establishment of sensations, i. e., as long as this last term has nothing to do with the cognitive correspondence between subject and object. Now, because of arts excessive nature, no perception, personal memory, subjective state or feeling are able to produce it or achieve it, either as cause or effect. It is required to art to be able to sustain itself regardless of any creator, spectator or model. Thus, as a block of percepts and affects, art has not the function of representing the world or actualizing some preexistent thing, rather it creates possibles. The aesthetic plan of composition is autonomous; involves a vibrating or excitation condition without its motor, organic extension. Indeed, opening up to the Outside (an immanent field of forces) determines the artistic individuation, and exposes the essentially inhuman character of art and its development in nature, which starts precisely with the urgent qualitative and non-functional territorial cutting that the animal can perform. Therefore, free from all organicity, motricity and personal affairs, the artist ultimately creates singularities that dont fit in the field of understanding and recognition, always funding a new way of thinking. When one gets rid of representations, the will to truth is abandoned to let another will become the master of the spirit the will to power. This is the actual meaning of the establishment of sensation: to raise false to its highest degree of power.
Deleuze apresenta-nos uma maneira inédita de pensar a arte, tomando-a ela própria como um modo de pensamento. Ao lado da ciência e da filosofia, a arte também consiste em uma expressão do pensamento, ainda que cada qual seja irredutível e se produza necessariamente com seus próprios meios. Sobretudo, a arte é instauração de sensações, isto é, na medida em que este último termo nada tem a ver com a correspondência cognitiva entre sujeito e objeto. Ora, pela natureza excessiva da arte, nenhuma percepção, memória pessoal e nenhum estado subjetivo ou sentimento são capazes de produzi-la ou alcançá-la, quer como causa, quer como efeito. Exige-se que a arte seja capaz de se sustentar sozinha, independentemente de todo criador, espectador ou modelo. Dessa maneira, enquanto bloco de perceptos e afectos, a arte não tem por função representar o mundo ou atualizar algo preexistente, antes, cria possíveis. O plano de composição estético é autônomo e implica uma condição de vibração ou excitação da sensação, sem seu prolongamento motor, orgânico. Abrir-se ao Fora, campo imanente de forças, é condição da individuação artística, explicitando o caráter essencialmente inumano da arte e seu desenvolvimento presente na natureza, começando mais precisamente com a urgência qualitativa e não-funcional do recorte territorial que o animal pode fazer. Assim, livre de toda organicidade, motricidade e pessoalidade, o artista acaba por criar singularidades que não cabem no campo do entendimento e do reconhecimento, fundando sempre uma nova maneira de pensar. Vendo-se livre da representação, abandona-se a vontade de verdade e uma outra vontade se torna soberana no espírito a vontade de potência. Eis o sentido mesmo da instauração das sensações: elevar o falso à enésima potência.
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Araujo, dos Santos Zamara. "A geophilosofia de Deleuze e Guattari." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100135/document.
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La Géophilosophie est un concept tardif dans l’oeuvre de Deleuze et Guattari, et bien qu’il s’applique au dernier livre qu’ils ont écrit ensemble « Qu´est-ce que la Philosophie ? », il s’agit d’une notion qui enveloppe leurs principales créations conceptuelles et circonscrit la période de « Capitalisme et schizophrénie », tout en dialoguant avec des notions et des moments distincts de l’oeuvre des auteurs. Sous la rubrique de cette notion, la philosophie se définit selon le rapport entre un plan d’immanence qu’il s’agira de définir et d’un milieu immanent et social constituant une conjonction de relations variables entre le territoire et la terre. Ainsi l’acte de penser ne gravite-t-il pas dans l’orbite des catégories du sujet et de l’objet, mais concerne un milieu intensif et contingent qui, tout en composant une milieu de circonstances extérieures, délimite un champ de connexions et frontières, de relations multiples et de devenirs, qui contournent le molaire et le moléculaire en établissant un régime d’échange, de capture et de surcodage de codes. Selon ce tracé, la pensée et les concepts invoquent un “ dehors”, un devenir moléculaire, que Deleuze et Guattari analysent en utilisant les concepts de devenirs-animaux et imperceptibles. Ce sont ces concepts que nous cherchons à expliquer, dans la mesure où ils explorent le caractère géophilosophique de la pensée, dans son rapport aux concepts de territoire et d’agencements. Nous entendons en délinéer les connexions, les ramifications hétérogènes et rhizomatiques qui suivent des lignes intensives en conjurant des forces et des mouvements de la terre, et qui opèrent par des mouvements diagrammatiques, géodésie et déterritorialisation. En effet, une cartographie des déplacements, directions et chemins circonscrivant la carte d’une géographie agitée par des lignes de fuite, des longitudes et des lattitudes est configurée. Ces conditions définissent le plan d’immanence de la pensée, de sa déterritorialisation et de sa reterritorialisationGeophilosophy is a lag concept in Deleuze and Guattari’s work, and besides its can be applied at the last book in partnership « Qu´est-ce que la Philosophie ? », it is a notion that involves their main conceptual creations, circumscribing the period of Capitalisme et schizophrénie, but in dialogue with distincts notions and moments of both autors work. Under the heading of the notion, philosophy consecrates the conexion of a absolut immanence plan derivative of a social and immanent environment that constitutes the conjunction of variable relations between the territory and the earth. This way, the act of thinking doesn’t gravitate in the orbit of the categories of suject and object, but concerns to a intensive and contingent environment, that, setting an ambience of external circunstances, delimits a field of conexions and borders, of multiple relations and becomings that skirts the molar and the molecular, establishing a system of change, capture and overcoding of the codes. In this route, the thought and the concepts invocate an « outside », a molecular becoming, animal and inconspicuous becomings that settle the territory and the assemblages, profiling conexions, heterogeneous and rhizomatic ramifications that follow by intensive lines, conjuring forces and movements of earth that operates by diagrammatic movements, geodey and deterritorialization. Setting up, in effect, a cartography of displacements, directions and pathways that circumscribes the map of a geography agitated by creepage, longitudes and latitudes, being these, by the way, the conditions of the absolut immanence plan of thinking, of its deterritorialization and reterritorialization
A Geofilosofia é um conceito tardio na obra de Deleuze e Guattari e, embora se aplique aoúltimo livro em parceria, Qu´est-ce que la Philosophie ?, trata-se de uma noção queenvolve suas principais criações conceituais, circunscrevendo o período de Capitalisme etschizophrénie, mas dialogando com noções e momentos distintos da obra dos autores. Soba rubrica da noção, a filosofia consagra a conexão de um plano de imanência absolutoderivado de um meio imanente e social que constitui a conjunção de relações variáveisentre o território e a terra. Assim, o ato de pensar não gravita sob a órbita das categoriassujeito e objeto, mas concerne a um meio intensivo e contingente, que, compondo umaambiência de circunstâncias externas, demarca um campo de conexões e fronteiras derelações múltiplas e devires que contornam o molar e o molecular, estabelecendo umregime de troca, captura e sobrecodificação dos códigos. Nesse traçado, o pensamento e osconceitos invocam um “fora”, um devir molecular, devires animais e imperceptíveis quepovoam o território e os agenciamentos, perfilham conexões, ramificações heterogêneas erizomáticas que seguem por linhas intensivas, conjurando forças e movimentos da terra queoperam por movimentos diagramáticos, geodésia e desterritorialização. Configura-se, comefeito, uma cartografia dos deslocamentos, direções e trajetos que circunscreve o mapa deuma geografia agitada por linhas de fuga, longitudes e latitudes, sendo essas, portanto, ascondições do plano de imanência absoluto do pensamento, de sua desterritorialização ereterritorialização
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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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Takashi, Shirani Rancière Jacques. "Deleuze et une philosophie de l'immanence /." Paris : l'Harmattan, 2006. http://catalogue.bnf.fr/ark:/12148/cb409649101.
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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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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.
Full textAbstract:
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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Zeppini, Paola Sanfelice 1983. "Deleuze e o corpo = articulações conceituais entre Deleuze, Nietzsche e Espinosa em função da problemática do corpo." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278826.
Full textAbstract:
Orientador: Luiz B. L. OrlandiDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O presente trabalho tem como objetivo mostrar a importância que certos conceitos de Espinosa e de Nietzsche têm do ponto de vista de uma trama conceitual que indica elementos para uma filosofia deleuzeana do corpo. Os estudos dedicados à filosofia deleuzeana apontam a originalidade desta ao apropriar-se seletivamente de conceitos de outros filósofos para criar sua filosofia prática. Em se tratando dos estudos sobre o corpo, os diálogos de Deleuze com Espinosa e com Nietzsche resultam em uma multiplicidade conceitual que afirma a vida, procurando elevar, a graus cada vez maiores, as potências do pensamento e do próprio corpo. Ao mesmo tempo, com a ajuda de outros estudos feitos por Deleuze em parceria com Félix Guattari, buscamos mostrar como os escritos a respeito da criação de Corpos sem Órgãos apontam para uma valorização ética do intensivo, valorização esta que não perde de vista a importância de certa prudência prática
Abstract: The present work aims at showing the importance of certain concepts from Spinoza and Nietzsche regarding the deleuzian philosophy of the body. The studies dedicated to deleuzian philosophy indicate its originality in its way of selectively appropriating other philosophers? concepts in order to create his practical philosophy. By focusing on studies about the body, the dialogs of Deleuze with Spinoza and Nietzsche result in a conceptual multiplicity that affirms life and seeks to increase more and more the powers of thought and of one?s own body. In the same time, with the help of other studies by Deleuze in partnership with Félix Guattari, we are trying to show how the writings regarding the creation of Bodies without Organs indicate an ethical valorization of the intensive, valorization that does not underestimate the importance of a certain practical prudence
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