Tesi sul tema "Deleuze, Gilles (1925-1995 ; philosophe)"
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-50 saggi (tesi di laurea o di dottorato) per l'attività di ricerca sul tema "Deleuze, Gilles (1925-1995 ; philosophe)".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi le tesi di molte aree scientifiche e compila una bibliografia corretta.
Lléres, Stéphane. "La philosophie transcendantale de Gilles Deleuze". Amiens, 2010. http://www.theses.fr/2010AMIE0006.
Vankeerberghen, Véronique. "L'ontologie de Gilles Deleuze". Paris 8, 2001. http://www.theses.fr/2001PA081904.
Sauvagnargues, Anne. "Esthétique et philosophie dans l'oeuvre de Gilles Deleuze". École normale supérieure-Lettres et sciences humaines (Lyon ; 2000-2009), 2003. http://www.theses.fr/2003ENSF0094.
Yoo, Ga Yeon. "Éthique et esthétique de l’image dans la philosophie de Gilles Deleuze". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080121.
Our thesis work aims to identify the essential character of the image in the philosophy of Gilles Deleuze. It is true that he is the first philosopher to consider the movement of images as the basis of thought. He has indeed written several books about the image. To him, it resembles the movement of thought and ideas and, as such, it is a means of expression and a way of existing, so it is substantial in expressing philosophy. The image allows thought to become a process to facilitate the thinker's reasoning, to understand his act, to desire life and to form the sensible. This is why Deleuze does not limit his theory of the image to the image of cinema, but extends it to all images of thought. This long neglected dimension is beginning to interest more in research on the philosophy of Deleuze. Indeed, the image makes it possible to invent the actual and virtual world of thought, and the possible and real world of existence, so that it is political, ontological and existential. The image invites us to enter into a new sensitivity and a new composition of the relationships of thoughts. The ethics of the image consists of a totality of ideas which expands and differs into everything, which accelerates in movement and slows down in rest. It constitutes its ultimate and absolute unity in a singular way of aesthetic activities. This is how the ethics of image creates a new image that is aesthetic, stylistic and transcendent in its heterogeneities, discontinuities, insensibility. The aesthetic style image specifies this new image as a new form of thought and defines it by constituent elements, expressions and contents
Michalet, Judith. "Vie et création chez Gilles Deleuze". Paris 1, 2009. http://www.theses.fr/2009PA010561.
Ao, Long. "La critique littéraire de Gilles Deleuze". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL185.
This 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
Antonelli, Marangi Marcelo Sebastián. "Le concept d’immanence dans la philosophie de Gilles Deleuze". Paris 8, 2012. http://www.theses.fr/2012PA084258.
This thesis deals with the concept of immanence in the work of Gilles Deleuze. It is maintained in our hypothesis that it is an ontological, noological, political and ethical notion what constitutes the nucleus of his philosophical project. The ontological dimension refers to the re-elaboration of Duns Scott’s thesis on the univocity of being and the comprehension of Spinoza’s immanence as “expressive pantheism”. The noological aspect focuses on immanence as a “plane”, within Deleuze’s frame of conception of thought and philosophy, and sets a counterpoint with François Jullien concerning his approach to immanence in terms of “depth”. From the political point of view, the idea of “post-historical axiomatics” implies the functioning of capitalist immanence, which feature of “end of history” is connected to Kojève’s thesis. Furthermore, the essential layouts of politics of immanence as from the pledge of becoming-minor are deployed. The ethical aspect articulates three axes around the idea of “practical immanence”. First, it analyses the statements that conform the intertwining between Nietzsche and Spinoza (valorization of the body, definition of ethics as ethology, apology of joy). Second, it tackles nihilism, recognized as an effect of transcendent positions, which goes beyond Nietzsche’s realm and turns into “resentment” towards the event, which is acquitted by means of amor fati. It also becomes “loss of the world”, which vent consists on the “belief in this world”. Third, within the vitalist structure, the determination of desire as an immanent principle of a prudent experimentation and the “body without organs” as “plane of immanence” of desire are probed
Sibertin-Blanc, Guillaume. "Politique et clinique : recherche sur la philosophie pratique de Gilles Deleuze". Lille 3, 2006. http://www.theses.fr/2006LIL30027.
Yang, Kailin. "Le problématique du virtuel chez Gilles Deleuze". Paris 8, 2002. https://octaviana.fr/document/18140205X#?c=0&m=0&s=0&cv=0.
Brito, Vanessa. "Les arts dans la philosophie de Gilles Deleuze". Paris 8, 2007. http://www.theses.fr/2007PA082850.
What is always astonishing for the reader of Deleuze is the abundance of his artistic references and the multiplication of encounters between art and philosophy. By identifying a program with ethical and political resonances at work, for Deleuze, in literature, painting and cinema, this thesis sets out to clarify how these encounters between the readable and the visible are organized. What is ultimately at stake in the enquiry is the exact status and role of the arts in Deleuze's philosophy. By examining the themes of "voyance" and "fabulation", Deleuze's conception of the sublime, his use of allegory and the notion of a "practical philosophy", the enquiry finally reveals the construction of plane of immanence between the inventions of art and the powers of life
Delmas, Sonia. "Penser le temps à partir des oeuvres de Gilles Deleuze". Paris 10, 2007. http://www.theses.fr/2007PA100146.
Thinking about time through Gilles Deleuze’s writings reveals the indivisibility between actual corporeality (present of « effectuation ») and virtual incorporeality (time empty of « effectuation ») as an experience of eternity. Deleuze’s thoughts on time have been deeply influenced by two different kinds of philosophy. As philosophers of immanence, Spinoza, a thinker of God and of the experience of eternity, and Bergson, a philosopher of memory and duration of eternity of life, are his two allies. A description of this background forms the first part of my essay. The second part of the essay stresses the deleuzian distinction between Chronos, the corporal present (characterized as the living present) and Aiôn, time empty of effectuation (characterized as event time). My hypothesis can be summerized as follows : Heidegger’s interpretation of Kant had a significant impact on Deleuze’s elaborations of the concept of Aiôn. The third part aims at emphasising the temporal split between actual corporeality and virtual incorporeality in the field of language, in order to understand the deleuzian concept of Aiôn, not chiefly through the psychanalytic concept of the death instinct, but rather as the virtual that allows the present to pass by making history bifurcate
Cherniavsky, Axel. "La conception de la philosophie de Gilles Deleuze : concept et méthode". Paris 1, 2011. http://www.theses.fr/2011PA010510.
Salucci, Marco. "Gilles Deleuze, une inéfinition esthétique". Paris 8, 2014. http://www.theses.fr/2014PA084150.
The 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
Park, Jung-Tae. "La méthode d'entrecroisement immanent dans l'ontologie de Deleuze". Paris 8, 2006. http://www.theses.fr/2006PA083003.
Deleuze never announced the end of metaphysics. On the contrary, it endeavors to find another plan systematic and logical of metaphysical thought. For him, this other metaphysical plan is that of "univocity of Being". The univocal movement of Being thus seems the core of the philosophy of Deleuze, and the structure of the univocal movement of Being would be the fundamental framework to understand the totality of his philosophy. Indeed, Deleuze works out his own method which founds and dominates his philosophy, leaning, from beginning to end, absolutely, on the structure of the univocal movement of Being, and, insofar as it is absolutely constituted according to the univocal movement of Being, his philosophical method gives us a fundamental point of view which makes us answer precisely all the possible questions about his ontology. From this fact, our thesis proposes to clear up the philosophical method of Deleuze. According to the work of this thesis, it will be proved that the system of the univocal movement of Being is system of immanent intersection between the movement of the immanent identity and the movement of the immanent otherness, and that the method which founds and dominates the ontology of Deleuze is thus a method of immanent intersection
Shirani, Takashi. "Singularité et intensité : Deleuze et une philosophie de l'immanence". Paris 8, 2004. http://www.theses.fr/2004PA082373.
Attali, Jean. "Le plan et le détail : une philosophie de l'architecture de la ville". Paris 1, 2000. http://www.theses.fr/2000PA010667.
Horváth, Eszter. "Deleuze, Derrida : la doublure de la différence". Paris 8, 2005. http://www.theses.fr/2005PA082693.
Ingala, Gómez Emma Andrea. "Structure et rapport : philosophie transcendantale chez Gilles Deleuze et Jaques Lacan". Paris 7, 2012. http://www.theses.fr/2012PA070077.
The aim of this research is to highlight and inquire into the common methodological principles, interest and concepts constitutive of Gilles Deleuze's and Jacques Lacan's theories. Against interpretations that affirm the incompatibility of their approaches, and against analyses that restrict the comparison to their critiques of the Freudian Oedipus, our aim is to prove that the source of their commonality emanates from the relationship Deleuze and Lacan have to the problematic field designated by Kantian transcendental philosophy. Since what is at stake is no longer the possibility of thinking the conditions of possible experience in general but the conditions of the singular or the difference, that is, the conditions of an experience that by definition cannot be limited a priori by anything, that affiliation will entail a subversion and a deep reformulation of the concept 'transcendental'. The transcendental becomes a paradoxical concept insofar as, first, it is emptied or neutralized, although it doesn't disappear completely, and, second, the impossible reveals itself as the ultimate condition of possibility. We expose the programmes of Deleuze and Lacan separately but in parallel, understanding that both define the mission of transcendental research by dividing it into two phases: first, the analysis of the conditions of the thinkable in general, based upon the Structuralist premises, operates as the platform that allows them to, secondly, transcend to the real, which entails a movement from the structure towards its reverse: the "beyond the conditions'. This progress is completed in both Deleuze and Lacan by a science of limits
Jacques, Vincent. "Expressionnisme et suspension problématique : la notion de problème chez Gilles Deleuze". Paris, EHESS, 2010. http://www.theses.fr/2010EHES0148.
The notion of problem occupies an essential position in Deleuze's –philosophy. Starting from this notion, and using both a genetic and systematic approach, this study offers a reading of the Deleuze's system while at the same time exposing its fractures and its transformations This thesis situates itself, and develops, around the turn leading from the Idea¬problem (Difference and repetition) to the abstract machine of A Thousand Plateaus. The first part of the thesis is constructed around the critical reversaI which places the problem at the very heart of thought. The notion of problem correlates to a concept of expression taken from the first reading of Spinoza (1967). Insisting on the importance of the notion of expression, the study shows the strong internal consistency of the first stage of the system, which is known as problematic expressionism. The second part of the thesis presents the second stage of this problematic expressionism, which was developed in Mille plateau. As a result of analysis of the second reading of Spinoza (1981), it becomes necessary to demonstrate in what way the reorganization of the expressionist system became the driving force for a philosophy of the nature and the social. The notion of problem is also essential to the notion of experience as problematic suspension, as revealed in the event of The Logic of Sense and in the crystal-time of The Time-Image. Between the suspension as the contemporary question of the belief in the world and the expression as the problematic: participation in the world, the thesis thus shows that the notion of problem is found at the heart of the Deleuze's philosophy
Hawkins, Stephen Bernard. "The void in Deleuze : difference and the good /". Internet access available to MUN users only, 2003. http://collections.mun.ca/u?/theses,166046.
Krtolica, Igor. "Le système philosophique de Gilles Deleuze (1953-1970)". Thesis, Lyon, École normale supérieure, 2013. http://www.theses.fr/2013ENSL0866.
The most general project of Deleuze consists in thinking the conditions of real experience, experimenting the conditions of pure thought. This project will only be eventually accomplished at the beginning of the nineties, that is to say after the period set for of our study (1953-1970). We defend the thesis that this general project is based upon a precise philosophical system, and above all, that it merges with it. This system, in Deleuze’s work, appears under different names: transcendental empiricism, philosophy of expression, philosophy of difference and repetition, logic of sense, or also critical philosophy. Under those names, we believe that philosophy as a system of experience is what is at stake. Indeed, Deleuze doesn’t oppose system and experience. If Spinoza’s philosophy has long been read as a system without an empiric dimension, that of Deleuze has mostly been interpreted as a non systematic empiricism. Yet some of his assertions lead us to think differently: the system is no more an abstract logical construction than experience is a reality irreducible to a system. Deleuze’s philosophy isn’t opposed to experience, it sets its systematic conditions and it is an experience in itself. It is the genesis and the structure of this philosophy that we have tried to expose in this research. Through this work, we believe we’ve managed to show that system and experience are not one and the same thing for Deleuze, but that philosophy claims it reaches the point where they become indiscernible
Mernissi, Laïla. "Le statut paradoxal du rêve dans la philosophie de Gilles Deleuze". Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20052.
Initialy, the dream is not central to the philosophy of Deleuze. However, it seems interesting to follow the paths that this idea offers, and to listen to the multiple voices arising from the problems related to it, for different reasons. First, our work will debunk a common illusion about Deleuze : the common idea according to which his thought is a delirious and a never-ending praise of folly. Far from this cliché, Deleuze never gave up on defining philosophy with strict rigor, as a « debunking undertaking », this has been explored by Lucretius, Spinoza and Nietzsche before him. Although, the dream plays a major role in his philosophy, but it is not the role we commonly think it plays. We would like to defend the idea of a superior onirism of Deleuze, that helps giving an original consistency and a paradoxical status to the dream itself. Then the dream becomes a relevant starting point for an assessment of the relationship between truth, thought and life. From the fictional illusion of an idealist shape of the dream to the imaginative power of the onirical process, we can find three metamorphosis of the dream in the philosophy of Deleuze, to the service of a superior justice : a fiction of the airs, an exaltation of the depths, a cristal of the earth
La, Salvia Andre Luis 1982. "Introdução ao estudo dos regimes de imagens nos livros "Cinema" de Gilles Deleuze". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281534.
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-06T22:54:09Z (GMT). No. of bitstreams: 1 LaSalvia_AndreLuis_M.pdf: 299013 bytes, checksum: bcc04f229506adeefe009efa83a15e2f (MD5) Previous issue date: 2006
Resumo: A ¿taxionomia¿ dos signos cinematográficos e dos tipos de imagens, os quatro comentários a Bergson, as monografias de mais de 150 autores são algumas das entradas possíveis aos livros Cinema de Gilles Deleuze. Aqui, optou-se por encarar a obra pelo viés conceitual, a saber, considerou-se Imagem-movimento e Imagem-tempo conceitos deleuzeanos. Assim sendo, em primeiro lugar, a pesquisa precisou entender quais características Deleuze dá aos conceitos: eles são constituídos por elementos em relação de vizinhança organizando campos de solução para problemas. Os conceitos de Imagem-movimento e Imagem-tempo são dinâmicos e diferenciam-se através das diferentes relações dinâmicas que seus diferentes elementos travam entre si. Ao mesmo tempo, a pesquisa percorreu a obra Cinema em vários sentidos, extraiu linhas mais ou menos constantes e assistiu muitos filmes. Desse modo, buscou os elementos que eram colocados em jogo quando Deleuze precisava explicar porque determinado autor fazia uma ¿imagem indireta do tempo¿ ou uma ¿imagem direta do tempo¿ ¿ o filósofo deixa claro, em uma das entrevistas de Conversações, que seu interesse é analisar como o devir das imagens e signos constitui um ¿automovimento¿ e também uma ¿autotemporalização¿ das imagens. E estes termos são os problemas para os quais os conceitos de Imagem-movimento e Imagem-tempo apresentam elementos que, em relação, são capazes de dizer algo sobre os diferentes autores e estilos de fazer cinema
Abstract: The ¿taxionomy¿ of the cinematographic signs and the types of images, the four commentaries the Bergson, the monographs of more than 150 authors are some of the possible entrances the work Cinema of Gilles Deleuze. Here, it was opted to facing the work for the conceptual bias, namely, considered Image-movement and Image-time deleuzeans concepts. Thus, in first place, the research needed to understand which characteristics Deleuze gives to the concepts: they are constituted by elements in neighborhood relation having organized fields of solution for problems. The concepts of Image-movement and Image-time are dynamic and are differentiated through the different dynamic relations that its different elements do between itself. At the same time, the research covered the work Cinema in some directions, extracted more or less constant lines and attended many films. In this manner, it searched the elements that were placed in game when Deleuze needed to explain because one author made a ¿indirect image of the time¿ or a ¿direct image of the time¿ - the philosopher leaves clearly, in one of the interviews of Conversations, that its interest is to analyze how the devir of the images and signs constituted a ¿automotion¿ and a ¿autotimezation¿ of the images. And these terms are the problems for which the concepts of Image-movement and Image-time presents elements that, in relation, are capable to say something on the different authors and styles to make cinema
Mestrado
Mestre em Filosofia
Bowden, Sean. "La priorité ontologique des événements dans la "Logique du sens" de Gilles Deleuze". Paris 8, 2009. http://octaviana.fr/document/152360085#?c=0&m=0&s=0&cv=0.
The aim of this thesis is to examine the way in which Deleuze affirms the ontological priority of events over substances in his 1969 work, "The Logic of Sense". In particular, the thesis analyses the way in which Deleuze grounds this affirmation by establishing a complex and 'structural' relation between the works representative of several of the philosophers and intellectual movements which Deleuze privileges in "The Logic of Sense", namely, the Stoics, Leibniz, Albert Lautman, Gilbert Simondon, Structuralism and Psychoanalysis. We will show Deleuze constructs a concept of the ontologically primitive event by extracting from the works of these thinkers, on the one hand, a number of event-related problems and, on the other hand, a system of concepts which are capable, with several important qualifications, of resolving these problems, and thus functioning as the elements of a concept of the event on which, in the final analysis, every substance depends. We conclude that the process of associating, ordering and bringing into relation the worldly events characterizing things in general – that is, of discovering the laws which govern them and of constructing their corresponding concepts – is itself an event, always already underway, which is produced in an intersubjective and linguistic context. This 'sense-event' can be described in terms of a moving structure of relations between events. Within this structure, events of all orders and levels determine one another to determine things in general, and without reference to some already given substance which would fix this structure from outside
Raby, John. "Gilles Deleuze : musique, philosophie et devenir". Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20011/document.
According 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
Hortonéda, Jeanine. "Deux contemporains Michel Foucault et Gilles Deleuze : convergences, divergences, résurgences". Toulouse 2, 2009. http://www.theses.fr/2009TOU20115.
Foucault and Deleuze: two philosophers, two contemporaries with an unusual career whose meeting and mutual acknoledgement throws a glimmering ligth on each other's thinking. By comparing Foucault's and Deleuze's texts, one can find out how concepts –even philosophical practices– pass and transform from one to the other. Their asymmetrical respective publications put into relief perspectives on topical questions theoretical and political common commitments, particulary on the issue of relationships between politics and subjectivization practices; How the subject came into being through desire, and how the body harnesses its pleasures –caught between subjection to and desubjection from – give rise to an array of questions about what a life that would be free from the concept of subject, êthopoiétique, alêthurgique, in a word, a philosophical life can be. Two philosophers concerned with the event – even though Deleuze's notion of transformation does not coincide with Foucault's genealogical and archeological approach – who share the same sharp sense of criticism in order to provide a new vision of thought and foster the resurgence of an ethical questioning after the “dead of man” and the “dead of God”
Astier, Frédéric. "La philosophie orale de Gilles Deleuze et son rôle dans l'élaboration de son œuvre écrite". Paris 8, 2007. http://www.theses.fr/2007PA082865.
The audiocassette recordings of Gilles Deleuze at the University of Paris 8, 1979-1987 (177 courses, 400 hours) transport us, his listeners and readers, in the ebb and flow of the words lines and chapters of the philosopher. His classes were the moment at which he could sharpen an idea or elaborate a concept out of an abstraction, then create concrete examples that would captivate and address specialists and non-philosophers alike. A philosophical notion repeated in class would enrich itself with a multitude of artistic, political, and scientific references; anecdotes shaped lifestyles as well as conceptual approaches. These various points of view led to a form of experimentation. In the same movement, a new philosophical vocabulary and a pedagogical approach were invented. Far from the academic philosophy, the teachings of Gilles Deleuze at Vincennes resulted in an unprecedented encounter, an inauguration of creative reasoning and the virtual. According to a dialogical style of teaching, his oral philosophy was a prerequisite to his books and a laboratory necessary to the unfolding of the "affect of the concept". Oral philosophy is followed today by the movement towards "become-listener" thus linking with oral tradition, creative writing, the transmission of philosophical notions and living university research
Arsenie-Zamfir, Raluca. "Le corps dans la philosophie française contemporaine : Michel Henry et Gilles Deleuze". Dijon, 2006. http://www.theses.fr/2006DIJOL008.
Our thesis's subject is the body in the contemporary French philosophy, which we analyze starting from the writings of Michel Henry and Gilles Deleuze. The revalorization of the body's traditional concept opens a new prospect for philosophy, by conceiving the human as a nature's part and the corporeity as intensity and movement. We want to outline a philosophy of life where the body loses its geometrical contours with the profit of its capacities and its affects. The radicalism of this prospect is founded on the absolute immanence which offers the bases for the living body expressing itself by the relations with the others and with the events taking part in its constitution of meaning. Our purpose is also to revalue the order of the body practice in the world in terms of individually adjusted ethics. The living body appears therefore be fond of intensive materiality, enveloping affectivity and practices of objective control
Cooper, Melinda. "Nouvelle alliance, nouvelle naissance : la question de la genèse dans la philosophie de G. Deleuze et F. Guattari". Paris 8, 2000. http://www.theses.fr/2000PA081775.
Pérez, Valérie. "(Se) gouverner selon la nature et la vérité : lire "Emile ou de l'éducation" de Jean-Jacques Rousseau avec Foucault et Deleuze". Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080133.
This work is attempt to discuss Rousseau's problematisation of education, using concepts drawn from contem-porary French philosophy. However, if one examines the relation between Foucault and Emile by em-ploying the concept of alèthurgie, one cannot but be struck by the figure of the governor in Emile, who appears in the text to be the guarantor and the condition for the emergence of an idea of truth within the narrative- a truth which is natural, which governs the activities of men, and which is deeply in-volved in the process of education. In his 2012 lectures at the College de France, published under the title ‘The government of the living,’ Michel Fou-cault strove "to develop the concept of government by the truth" through an analysis of the power relations within Oedipus. In particular, Foucault ana-lysed the relation between truth, knowledge, and the exercise of governmen-tal power. In this work, I examine the relation between Foucault’s analysis and Emile Rousseau’s novel Emile. The relation between them may seem paradoxical: after all, Foucault is concerned with truth, and Emile is a work of fiction. The government of childhood can also be illuminated by the Deleuzian concept of Becoming. The Becoming does have something to tell us about childhood, the emancipation of the individual, and about education as a life-long project
Bolduc, Charles. "Le rôle de l'expérience dans la pratique philosophique de Gilles Deleuze". Thèse, Université de Sherbrooke, 2013. http://hdl.handle.net/11143/6443.
Deane-Freeman, Timothy. "Le Dehors Numérique : Deleuze et l'écran contemporain". Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100035.
The problem this thesis intends to address is that of a certain disconnect between the cinematic philosophy of Gilles Deleuze and the condition of the contemporary moving-image, which, in the years since Deleuze wrote on film, has been radically altered by its transformation into digital format(s). It is my central contention that a productive relationship between this philosophy and contemporary screen cultures is indeed possible, and potentially of great value, provided we can reread and extend certain key Deleuzian concepts.Pursuant to this goal, drawing on a concept deployed throughout Deleuze’s Cinema II: The Time-Image (1985), I argue that digital images can engender certain unique relations with an “outside” –an unarticulated presence beyond the frame, which serves to unground and problematise thought. The “outside” –developed from the literary philosophy of Maurice Blanchot– constitutes a genetic condition of thought, which sees the thinker confronted with that which is fundamentally un-thought, an unrecognisable terrain to which she must respond with creative, novel solutions. This model of thought, I argue, impels us away from habitudes and orthodoxies, forcing us to become radically open to contingency and change –a movement commensurate with what I will claim is the fundamental political orientation of Deleuze’s philosophy
Lai, Tsz Yuen. "Investigation on logic of the real: Lautman, Deleuze, Badiou and transcendental materialism". HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/503.
Jude, Ismaël. "Théâtre et philosophie chez Gilles Deleuze. La notion de dramatisation". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040062.
The notion of “dramatisation” was formulated by Gilles Deleuze in his 1967 text Difference and Repetition, only later to be abandoned. This piece of research sets out to clarify the meaning of this concept by distinguishing its “dramatic” acceptance from its “scenic” one. Since Deleuze never explicitly expressed his theory of the stage this thesis project intends to determine from Deleuze’s texts, as well as from the authors to whom he himself referred, the hypothesis at work within the philosopher’s definition of this term. The statement of this hypothesis takes place in a problematic conceptual environment, as described in the works of Denis Guénoun and Esa Kirkkopelto. The notion of “dramatisation” derives its meaning through a critique of a particular understanding of “representation” within which Plato, Aristotle, Kant and Hegel are held captive, as well as through a certain construal of Kierkegaard and Nietzsche’s concept of repetition. Interpretations of Plato’s method of dichotomous division, Kant’s transcendental method and Nietzsche’s eternal return contribute in this thesis to articulating the way in which drama, the stage and repetition combine
Loiseau, Sylvain. "Sémantique du discours philosophique : du corpus aux normes : autour de G. Deleuze et des années 60". Paris 10, 2006. http://www.theses.fr/2006PA100119.
This thesis aims at describing the philosophical discourse through the properties of its texts. Discourse is intended as a norm determining, at the level of the text, all the levels of the description. Correlations between these levels are described by the mean of a deeply annotated corpus comprising texts by G. Deleuze. Accessing the empirical complexity of this corpus allows us to show the importance of discourse normativity, from the morphological level to the semantic macro-structures. We examine also the influence of the idiolect and its interaction with discursive normativity. The theoretical frame of a linguistic of the norms and the methodological frame of corpus linguistics allow to make the discourse an observable and to discuss the typological criteria which do not take it into account
Conry, Sébastien. "Spatialité des frontières : géophilosophie d'après Michel Foucault et Gilles Deleuze". Phd thesis, Université de Bourgogne, 2012. http://tel.archives-ouvertes.fr/tel-00841647.
Feola, Mauro Alexandre. "As potencias da imagem-tempo e o cinema utopico de Lars von Trier". [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278739.
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-09T04:59:07Z (GMT). No. of bitstreams: 1 Feola_MauroAlexandre_M.pdf: 31333485 bytes, checksum: 6b2c18e5197966deaba86bfec7b0eaf7 (MD5) Previous issue date: 2007
Resumo: Este trabalho procura descrever o que vem a se constituir como utópico no cinema contemporâneo, mais precisamente em alguns filmes que integram a obra cinematográfica do diretor escandinavo Lars von Trier. O foco maior da pesquisa é a análise de Dançando no Escuro. Porém, há que se destacar as análises feitas para Epidemic e Os Cinco Obstáculos. Os livros que o filósofo francês Gilles Deleuze escreveu sobre o cinema integram o arcabouço teórico que orienta a análise dos filmes citados. De todos os seus conceitos, a imagem-tempo e os seus diferentes tipos - imagens-sonho e imagens-cristal, principalmente - foram os instrumentos que nos guiaram para se chegar aos resultados finais desta pesquisa
Abstract: This work aims to describe what it might constitute as utopist in the contemporary cinema, more precisely in some of the films that take part of Scandinavian Lars von Trier's cinematography. This research has a major focus in Dancer in the Dark. However, it must be underlined that analyses have been dane for Epidemic and The Five Obstructions. The books about cinema written by the French philosopher Gilles Deleuze integrate the framework that directs the analyses for the cited films. Amongst Deleuze's concepts, time-image and its different types - mainly dream-images and crystal-images - have been the instruments that guided us to reach the final results of this research
Mestrado
Sociologia da Cultura
Mestre em Sociologia
Jeong, Boram. "Theory of subjectification in Gilles Deleuze : a study of the temporality in capitalism". Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080165.
This dissertation looks at time as a socially or psychologically imposed ‘structure’ that determines the ways in which past, present and future are weaved together in the subject. This inquiry presents (1) a critical role of temporality in the formation of the subject, (2) a specific temporality characteristic of contemporary financial capitalism, and (3) the pathologies of time found in the subjects of capitalism. The first two chapters provide an extensive analysis of Deleuze’s passive syntheses of time given in Difference and Repetition, which reveals the subject’s passive relation to time as a structure of ‘becoming.’ The following chapters examine how this ontological structure of time interacts with socio-economic temporalities in its production of the subject. I particularly focus on the temporal structure of debt, which has become a general condition of the subjects in the current economic system. I claim that the debt-based economy produces ‘melancholic subjectivity,’ characterized by a dominance of the past and the inhibition of becoming
Jacques, Carmen. "Bionomadologia". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/12186.
This dissertation explores the possibilities of a bionomadology: a science located between the hard sciences, or State sciences, and the nomadic sciences, concepts which are understood in the way they are developed by Gilles Deleuze and Félix Guattari in the book A Thousand Plateaus. The threads of a bionomadology are, thus, spread out. The threads of a science that tries to undo the organizations and to unsettle the organisms. The threads of a science of metamorphoses and becomings. These threads work to interweave science with philosophy. It is there, in the point in which a nomadic science meets a philosophy of difference, that a bionomadology is developed. It is a science of life. A science of a life. The threads of this science are unfolded in a plane of immanence. A bionomadology tends to drag new things with it. It prefers to mingle what, apparently, is determined, to get mixed in a tangle of intensities. A truly living experience.
Pombo, Nabais Catarina. "L'esthétique en tant que philosophie de la nature : le concept de vie chez Gilles Deleuze : pour une théorie naturelle de l'expressivité : regards sur la littérature". Paris 8, 2007. http://octaviana.fr/document/140599770#?c=0&m=0&s=0&cv=0.
The discovery of a permanent displacement in Deleuze's approach to literature has taken us from an analytic semiotics of fictional statements to a pragmatics of collective assemblages of pronouncements, followed by a philosophy of the Nature of the machines of literary abstraction, and finally to an ethics of the fabler's spirit. The conducting line is created via the program of a transcendental empiricism which describes both the experience's genesis as the violence that a work of art produces vis-à-vis thought, and the work of art as the expression of a way of life. From Proust to Beckett, passing through Masoch, Kafka, Bene and Melville, we see different figures of a non-organic life of art emerging, which variously takes the names of "essence", "phantasm", "event", "assemblage", "becoming minoritarian", "people yet to come" and "soul"
Ferreyra, Julian. "Du capitalisme aux "rapports humains", une recherche sur la lutte pour l'existence dans la philosophie politique de Gilles Deleuze". Thesis, Paris 10, 2009. http://www.theses.fr/2009PA100024/document.
We aim to interpret the work of the French philosopher Gilles Deleuze (1935-1995) basing our analysis on two concepts that will allow us to trace a problematic itinerary: “capitalism” and “human relations”. The first of these concepts will let us carry out an analysis of the regime of functioning of the contemporary social form. Even if “capitalism” embraces the heritage of Karl Marx’s (Germany, 1818-1883) theory, it implies nevertheless deep differences of ontological root. It’s where Marx utilises the dialectical ontology of Georg Hegel (Germany, 1770-1831) that Deleuze will take the problem from a stand point more adequate to his ontology of difference: the one provided by his interpretation (heterodox enough) of the philosophy of Gottfried Leibniz (Germany, 1646-1716). We will examine the deep consequences of this replacement. However, the concepts of Leibniz, that where very efficient when it came to describing our world, must be abandoned when working on a constructive philosophy. The limitations of the point of view of Leibniz (requisite of converging series, of composibility, of divine choice, of the principle of the Best) block all modifications of the state of the matter. To do so, it is necessary to fit Leibniz’s “differential relation” into the larger frame of the ontology of Baruch de Spinoza (Holland, 1632-1677). This ontology will permit us to identify the difference between the historically contingent relation of capitalism and the relation that constitutes us, humans: what we will call “human relations”. What is adequate to these relations will be the criteria for the constitution of a new regime of social functioning that, instead of being based on the affects of sadness that imply our bondage, may be based in the active affections that allow the fulfilment of our power
Heuser, Ester Maria Dreher. "Pensar em Deleuze : violência às faculdades no empirismo transcendental". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/13270.
“O que é pensar?”, eis a questão orientadora desta tese, que, pelas linhas de força da filosofia de Gilles Deleuze, responde-a: pensar é uma violência sobre as faculdades. Resposta inspirada, sobretudo, na obra Diferença e repetição, cujo tema kantiano do conflito entre as faculdades é o lugar de explicação desse leitmotiv que atravessa a filosofia de Deleuze e que pode violentar o pensamento sobre o ensino de filosofia na Educação Básica. Tratar da violência sobre as faculdades implica estabelecer uma doutrina das faculdades, o que, conforme Deleuze, só pode ser feito por meio de um empirismo transcendental. A tese defende que Deleuze produziu sua própria doutrina nas obras anteriores a Diferença e repetição, em seus escritos monográficos. Obras nas quais desenvolveu as bases do seu programa filosófico quando procurou engendrar a gênese do pensar, isto é, fazer a descrição genética das condições de efetividade da experiência, edificando uma teoria diferencial das faculdades. Desenvolvimento levado a termo na conjunção: com Nietzsche, Kant, Proust, Sacher-Masoch e na intersecção entre Filosofia e Arte e Ciência, formas do pensamento ou da criação que só existem mediante experiências-limites, quando o pensamento e as demais faculdades são abaladas por forças heterogêneas a elas, tornando-as sensíveis ao impensado. Em seu primeiro capítulo, Crueldade da cultura, a tese afirma que, pela teoria da vontade de potência, Deleuze criou um método genealógico que lhe permitiu determinar a origem ativa e reativa das faculdades e de seus usos, bem como autorizou a tese a dar visibilidade a uma genealogia das faculdades; além disso, esse capítulo trata da violência e da cultura na paidéia grega, a partir das obras filológicas de Nietzsche. Coação do sublime, o segundo capítulo da tese, apresenta a importância da teoria kantiana do sublime como referência central para a doutrina das faculdades de Deleuze; defende que o filósofo francês operou uma reversão do kantismo fazendo daquela teoria o acesso ao problema de uma gênese do pensamento, pois apenas o exercício discordante das faculdades que se dá no jogo dissonante entre elas a partir da experiência estética é capaz de engendrar o pensar no pensamento. O terceiro e quarto capítulos da tese, Força dos signos e A frieza da pornologia, respectivamente, mostram que Deleuze reinventou a herança da estética kantiana fazendo da obra literária de Marcel Proust e de Sacher- Masoch seus laboratórios para a criação da doutrina das faculdades, o coração do seu empirismo transcendental. Conceber o ensino de filosofia a partir do sentido produzido por Deleuze para esse problema – “O que é pensar?” – implica, portanto, privilegiar as relações agonísticas presentes nas três formas de pensamento e embaralhá-las de modo que delas se possam extrair novos movimentos de pensamento, de escrita e de possibilidades de existência.
Toledo, Liliane de Paula. "Reich e o enfoque de Deleuze e Guattari: o pensamento crítico em busca do desenvolvimento humano". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-10122009-104929/.
This research aims at examining intersections, resonances and differences among certain aspects of the thought of Wilhelm Reich and that of the founders of schizoanalysis, Gilles Deleuze and Félix Guattari. We have thus followed a trend in Brazilian researchs of establishing a dialogue between Reichs work and that of other authors, as well as between Reichian and schizoanalytic formulations present in other articles, dissertations and theses. Our focus dwells specifically upon the critical reasoning of the chosen authors a theme that may bring in contributions to academic investigations, since a whole field can be explored in that subject, and, as far as we can tell, it has not been explored yet. In methodological terms, we have listed up publications that mention the propositions of Reich, Deleuze and Guattari. Besides noticing that they go beyond national boundaries, we have also seen that this dialogue started more than 30 years ago, and was taken up after 1994. This material sums up to 24 texts, in which we can note two groups with distinct characteristics. In the first one, a short reference to Reich and to schizoanalysis is made, without a focused communication between them; in the second group of texts, on the contrary, a conceptual debate is sought for. We place this dissertation among the second group, since it constitutes a theoretical work, focusing on the discussion of ideas brought up by Reich, Deleuze and Guattari and also by researchers of their work. Summing up, insofar as a critical approach is concerned, we have observed the explicit cultural battle of Reich, equally highlighting the proposal of schizoanalysis in favor of dissent and the production of social transformation. However, if, on the one hand, we see this peculiar convergence, on the other hand, the study of Deleuze on difference comes as an influence in our dissertation in the sense of putting aside the craving for similarities, since recognizing distinctions establishes the possibility of intensive vibration. We aim, then, at pointing out undeniable divergences between the Reichian approach and that of Deleuze and Guattari, and to set forth multiple interferences. Thus, throughout the depuration of the topics in our work, we intend to give a place for the unusual formation of heterocompositions among the formulations of Reich and of Deleuze and Guattari. We show how such an exercise of communication establishes a rich field of correspondences and affectations, and, realizing the potential of this dialogue, we suggest themes for upcoming further studies.
Santini, Sylvano. "La réception pragmatique de Gilles Deleuze dans la théorie littéraire américaine". Thèse, Bordeaux 3, 2005. http://hdl.handle.net/1866/17235.
Hême, de Lacotte Suzanne Véronique. "Le cinéma et l'image de la pensée". Paris 1, 2009. http://www.theses.fr/2009PA010651.
Landaeta, Mardones Patricio Alfonso. "Implicancias políticas de la idea de geofilosofía de Deleuze y Guattari". Paris 8, 2012. http://www.theses.fr/2012PA083879.
Ce travail de recherche présente l'étude des enjeux politiques de l'idée de géophilosophie conçue par Gilles Deleuze et Félix Guattari. La clé de lecture qui nous permet de comprendre la dimension politique de celle-ci, nous la trouvons dans la relation "immanence et cité", rapport proposé spécifiquement dans la dernière collaboration des deux penseurs "Qu'est-ce que la philosophie ?". Chez Deleuze et Guattari, depuis sa naissance en Grèce, la cité offre un milieu inédit pour la pensée et la vie libre des citoyens. Afin de comprendre la valeur de ce milieu qui fait que la philosophie devient "géophilosophie", différentes disciplines sont étudiées : politique, histoire, philosophie, architecture, etc. La synthèse de cette étude peut se lire ainsi : si la cité émerge en tant que milieu ou atmosphère pour la philosophie, c'est parce que celle-ci rend possible l'hétérogénéité et le conflit tant pour la pensée que pour la vie pratique ou citoyenne. Cependant, en même temps, le conflit et l'hétérogénéité apparaissent aux yeux de la métaphysique (qui naît avec Platon) sous la figure de la menace qui doit être contenue ou bien expulsée de la cité afin de conserver l'ordre de la parole et des mouvements des âmes des individus, c'est-à-dire l'ordre qui doit régner dans l'espace de la "cité politique". A partir de ces remarques, nous analysons trois moments historiques : le monde grec, la Renaissance et la modernité, le monde contemporain. Le but est de comprendre la tension existant entre l' "ordre-organisme" et le "conflit-hétérogénéité". Spécifiquement, le fait qu'essaie de rendre compréhensible notre recherche, c'est d'une part le contrôle de l'hétérogénéité à travers le discours et la mise en place de l'organisme au moment de penser et planifier la cité et, d'autre part, l'expression du conflit en tant que devenir de l'immanence
This research presents a lecture of the political challenges of the idea of geophilosophy conceived by Deleuze and Guattari. The perspective that guides this thesis is lead by the relationship of "immanence and city" presented in "What is philosophy?" - the last piece of collaborative work by the two philosophers. In their own words, the city creates and offers a medium to the philosophical thought, a sort of "environment" or "atmosphere" since being developed in Greece, a radical immanence and heterogeneity through it a common place. Given this, to understand the value of this medium that converts philosophy in geophilosophy, multiple references will be presented and analysed. We can synthesize this approach in the following words: if the city appears for philosophy as a medium or atmosphere, it is because those make possible both heterogeneity and conflict, the fundamental elements of thought and citizen praxis. But at the same time, in front of Plato's Metaphysics, the conflict and heterogeneity emerges as a menace that must be controlled, domesticated or expelled of the perfect city to reach the conservation of the order of words and the order of movements of the souls of the individuals, the superior order that must govern the city. We decide to take this argument between these two approaches of the city and conflict to analyse three moments in history: the Greek world, the Renaissance and Modernity, and finally the contemporary world. The reason for this is found in what we think is important to be remarked: the tension between "order-organism" and "conflict-heterogeneity". Our research tries to understand and explain on the one hand the control of heterogeneity through the conception and practice of organism in philosophy and urbanism, on the other hand, the expression of conflict a singular becoming of immanence
Keleris, Argyrios. "Politique et esthétique du “mineur” dans le cinéma indépendant américain des années 1980 aux années 2010Lignes de fuite, tensions et originalité des formes créées dans leur rupture avec le système hollywoodien". Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080107.
The objective of this thesis is to study the American independent cinema from the point of view of the difference which it founds with the Hollywood cinema, as a line of flight which deteritorialises the latter, while creating for itself new forms of expression and content. That supposes to consider its relation with the Hollywood cinema as one between two plans of immanence emerged on the same level of individuation inside a broader plan of immanence, that of the North-American cinema. And, at the same time, it supposes to consider the difference between these under-plans in what it implies for a cinema-thought, namely a thought in terms of blocks of movement-images and time-images, facing the particular tensions which characterize the American society. Within this framework, the principal distinction that should be considered is that which passes between: on the one hand, the Hollywood cinema and its various ways (genres, organico-active régime) “of saving” the difference, by representing it; and of representing it by bringing it back to the requirements of only one great form in direct affinity with what I define as a dream of continuity and of coherence of American society; and, on the other hand, the independent cinema and its various ways of testifying to a rebellious core which deteritorialises the predetermined direction towards which the actions and the situations of the Hollywood cinema converge. What is beyond or below Hollywood organic representation and that the independent cinema tears off from the latter is a space of wandering and intensive distribution between forces of power and forces of resistance
Shin, Ji Young. "Éthique et esthétique chez Gilles Deleuze : sources, principes et actualité en comparaison avec l'éthique taoïste". Lyon 3, 2005. https://scd-resnum.univ-lyon3.fr/in/theses/2005_in_shin_jy.pdf.
Martin, Jean-Clet. "Variations : essai sur le concept deleuzien de multiplicité". Paris 8, 1992. http://www.theses.fr/1992PA080700.
Gilles deleuze's work asks the problem of multiplicities. Our work will try to follow this logic able to produce new rules at every stage of his development. Research hs been extended to several fields such as mathematics, physics, aesthetics, technology, history to consider all these aspects as the leaves of a multimlicity. It is the concept which enables to show a path from one plane to another according to specific ways which have to be created
Bardet, Marie. "Philosophie des corps en mouvement : entre l'improvisation en danse et la philosophie de Bergson : étude de l'immédiateté". Paris 8, 2008. http://octaviana.fr/document/136508049#?c=0&m=0&s=0&cv=0.
This encounter between philosophy and dance -in redefining a theoretic-practical field- offers an opportunity to seize corporeities at play in dance from both sensitive and representational points of view, through its relationship with gravity. By splitting the weight in and amongst bodies, North American dance groups of the sixties and seventies (like The Judson Dance Theatre and The Grand Union) have called into question the author's function amid group members. Ever since then, improvisation has singularly expressed some of the many ways taken by that dehierarchization. And it has done so through a gravitational experience that allows both to criticise the myth of authenticity towards oneself, and to come to terms with the problem of composition and immediacy. Working closely with the danced movements of Julyen Hamilton, the present time of improvisation as attention is rethought in consonance with Bergson’s philosophy of duration. And departing from the common question of intuitive posture, a detailed and critical consideration of immediacy and immediate composition is undertaken in terms of qualitative differentiation, heterogeneity and assemblage. Finally, the shifts introduced by improvisation in the field of possibility renew the need for a philosophy of actualisation and becoming. At the same time, this shifts contest the grounds of representation in the edge of arts and politics that has livened up the latest philosophical debates (Deleuze, Rancière). And they force to think and rethink the separation "écart" set up in immediate production and composition