Philosophy and Kafka is a collection of original essays interrogating the relationship of literature and philosophy. The essays either discuss specific philosophical commentaries on Kafka’s work, consider the possible relevance of certain philosophical outlooks for examining Kafka’s writings, or examine Kafka’s writings in terms of a specific philosophical theme, such as communication and subjectivity, language and meaning, knowledge and truth, the human/animal divide, justice, and freedom.

Throughout the biological and biomedical sciences there is a growing need for, prescriptive ‘minimum information’ (MI) checklists specifying the key information to include when reporting experimental results are beginning to find favor with experimentalists, analysts, publishers and funders alike. Such checklists aim to ensure that methods, data, analyses and results are described to a level sufficient to support the unambiguous interpretation, sophisticated search, reanalysis and experimental corroboration and reuse of data sets, facilitating the extraction of maximum value from data sets (...) them. However, such ‘minimum information’ MI checklists are usually developed independently by groups working within representatives of particular biologically- or technologically-delineated domains. Consequently, an overview of the full range of checklists can be difficult to establish without intensive searching, and even tracking thetheir individual evolution of single checklists may be a non-trivial exercise. Checklists are also inevitably partially redundant when measured one against another, and where they overlap is far from straightforward. Furthermore, conflicts in scope and arbitrary decisions on wording and sub-structuring make integration difficult. This presents inhibit their use in combination. Overall, these issues present significant difficulties for the users of checklists, especially those in areas such as systems biology, who routinely combine information from multiple biological domains and technology platforms. To address all of the above, we present MIBBI (Minimum Information for Biological and Biomedical Investigations); a web-based communal resource for such checklists, designed to act as a ‘one-stop shop’ for those exploring the range of extant checklist projects, and to foster collaborative, integrative development and ultimately promote gradual integration of checklists. (shrink)

Gilles Deleuze has produced some of the most important--and most formidable--theory on cinema to appear in the last half-century. Deleuze on Cinema provides a thorough and reliable guide to Deleuze's thought on the art of film, elucidating in clear language the shape and thrust of Deleuze's arguments found in his influential books on cinema.

This is the first comprehensive introduction to Deleuze's work on literature. It provides thorough treatments of Deleuze's early book on Proust and his seminal volume on Kafka and minor literature. Deleuze on Literature situates those studies and many other scattered writings within a general project that extends throughout Deleuze's career-that of conceiving of literature as a form of health and the writer as a cultural physician.

Розкрито сутність поняття «рейтинг». Доведено значущість рейтингової оцінки для суб’єктів фінансового ринку, зокрема для страхових компаній, потенційних страхувальників, інвесторів та кредиторів.

Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

"Williams's masterful translation satisfies (at last!) a long-standing need. There are lots of good translations of Augustine's great work, but until now we have been forced to choose between those that strive to replicate in English something of the majesty and beauty of Augustine's Latin style and those that opt instead to convey the careful precision of his philosophical terminology and argumentation. Finally, Williams has succeeded in capturing both sides of Augustine's mind in a richly evocative, impeccably reliable, elegantly readable (...) presentation of one of the most impressive achievements in Western thought--Augustine's Confessions." --Scott MacDonald, Professor of Philosophy and Norma K. Regan Professor in Christian Studies, Cornell University. (shrink)

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

This article proposes a novel justification for privacy rights based on the relationship between privacy and the democratic devices of voting and deliberation. Through an epistemic conception of democracy, I show that privacy, defined as epistemic inaccessibility, justifies a reliance on the vote as the voluntary mechanism of revealing citizen preferences, even in the face of theoretically more responsive methods. Respecting the inaccessibility of citizens' views ensures that democratic governments remain reliant on, rather than merely responsive to, the wills of (...) their citizens. In addition, spaces of epistemic inaccessibility both motivate a basic form of deliberation between citizens and foster healthy deliberative practices by blunting the potentially corrosive effects of publicity. Privacy can thus be seen as a presupposition of core democratic institutions, and not just as an individual right possessed by members of a liberal‐democratic polity. This new conceptualization provides a powerful additional justification for privacy rights and suggests an alternative approach to enacting privacy‐protective measures. (shrink)

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

Focuses on Deleuze's style, his conception of the self, and his understanding of philosophy's relationship to the arts.

This book offers a critical introduction to the work of American philosopher D. G. Leahy (1937-2014). Leahy's fundamental thinking can be characterized as an absolute creativity in which all creating is 'live' -- a happening occurring now that manifests a supersaturated polyontological actuality that is essentially created by the logic that characterizes it. Leahy leaves behind the categorial presuppositions of modern thought, eclipsing both Cartesian and Hegelian subjectivities and introducing instead an essentially new form of thinking founded in a nondual (...) logic of creation. The new thinking delineates the absolute unicity of existence as a creative interactivity beyond all traditional dichotomies (such as one vs. many, unity vs. plurality, identity vs. change): a fully "digitized" actuality that is nothing but newness, which inherently implies nothing but change. Through this new form of thinking, change itself is revealed to be the very essence of reality and mind. Any reader looking for a quantum leap beyond the thrall of modern and postmodern fixations is invited to hear and apprehend this new thinking that refuses to be conditioned by paradigms, categories, species, genera, walls, bridges, boundaries, or abstractions: an essentially free thinking that embodies creative novelty itself. (shrink)

When is the future? Is it to come or is it already here? This question serves as the frame for three further questions: why is utopia a bad concept and in what way is fabulation its superior counterpart? If the object of fabulation is the creation of a people to come, how do we get from the present to the future? And what is a people to come? The answers are that the future is both now and to come, now (...) as the becoming-revolutionary of our present and to come as the goal of our becoming; utopia is a bad concept because it posits a pre-formed blueprint of the future, whereas a genuinely creative future has no predetermined shape and fabulation is the means whereby a creative future may be generated; the movement from the revolutionary present toward a people to come proceeds via the protocol, which provides reference points for an experiment which exceeds our capacities to foresee; a people to come is a collectivity that reconfigures group relations in a polity superior to the present, but it is not a utopian collectivity without differences, conflicts and political issues. Science fiction formulates protocols of the politics of a people to come, and Octavia Butler's science fiction is especially valuable in disclosing the relationship between fabulation and the invention of a people to come. (shrink)

In What Is Philosophy?, Deleuze and Guattari attribute to Leibniz and Raymond Ruyer a vitalism of ‘a force that is but does not act’. This is a judicious characterisation of Leibniz's vitalism, but not Ruyer's. In The Fold, Deleuze presents Ruyer as a disciple of Leibniz, but if Leibniz's monads have no doors or windows, Ruyer's are nothing but doors and windows, nothing but liaisons actively forming themselves. For Ruyer, there is only one force, a consciousness-force, matter-form in sustained, non-localisable (...) self-formation. In Deleuze's reading of Leibniz's concept of the vinculum substantiale, Deleuze comes close to presenting a notion of force like that of Ruyer's, in that the vinculum inextricably interfolds monads and bodies, but ultimately the separation of the forces of monads from those of bodies prevails in a fashion incompatible with Ruyer's conception of force. Deleuze and Guattari make use of Ruyer's understanding of consciousness and the brain as the auto-overflight of an absolute surface in their concluding remarks on philosophy and the arts in What Is Philosophy?, but they depart from Ruyer in their characterisation of the relation of force to those two domains, ultimately because they reject Ruyer's advocacy of a universal, goal-directed finalism. (shrink)

R.I.G Hughes offers the first detailed and accessible analysis of the Hilbert-space models used in quantum theory and explains why they are so successful.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

This is the first comprehensive introduction to Deleuze's work on literature. It provides thorough treatments of Deleuze's early book on Proust and his seminal volume on Kafka and minor literature. Deleuze on Literature situates those studies and many other scattered writings within a general project that extends throughout Deleuze's career-that of conceiving of literature as a form of health and the writer as a cultural physician.

Michel Tournier's novel Friday is the subject of an important essay of Deleuze's, in which he presents the concept of the ‘a priori Other’. Alice Jardine and Peter Hallward have offered critiques of Deleuze via readings of this essay, but neither takes into consideration the full significance of Tournier's novel or Deleuze's commentary. Jardine and Hallward provide divergent and only partial perspectives on Deleuze. If there are several Deleuzes, each defined by a critical point of view, there is also a (...) single Deleuzian problem that informs the Tournier essay and Deleuze's thought as a whole. (shrink)

Thomas Mann's Doctor Faustus traces the life of the composer Adrian Leverkühn, whose career culminates in the compositions Apocalipsis cum figuris and The Lamentation of Doctor Faustus. Mann treats Apocalipsis as the endpoint of a dangerous modernism allied to fascism, and The Lamentation as its partial antidote. From Deleuze and Guattari's perspective, however, Apocalipsis is a positive musical becoming-other and The Lamentation a regression. Crucial to the contrasting interpretations of Apocalipsis are two very different conceptions of modernity and fascism, that (...) of Deleuze and Guattari providing a means of valorising becoming as a mode of aesthetic and political invention and redefining modernism and fascism. (shrink)

Addressing the essential question of the relationship between ethics and aesthetics in Deleuze's philosophy this book provides clear indications of the practical implications of Deleuze's approach to the arts through detailed analyses of the ethical dimension of artistic activity in literature, music, and film.

In Dialogues, Deleuze contrasts French and Anglo-American literatures, arguing that the French are tied to hierarchies, origins, manifestos and personal disputes, whereas the English and Americans discover a line of flight that escapes hierarchies, and abandons questions of origins, schools and personal alliances, instead discovering a collective process of ongoing invention, without beginning or determinate end. Deleuze especially appreciates American writers, and above all Herman Melville. What ultimately distinguishes American from English literature is its pragmatic, democratic commitment to sympathy and (...) camaraderie on the open road. For Deleuze, the American literary line of flight is toward the West, but this orientation reflects his almost exclusive focus on writers of European origins. If one turns to Chinese-American literature, the questions of a literary geography become more complex. Through an examination of works by Maxine Hong Kingston and Tao Lin, some of these complexities are detailed. (shrink)