Although ‘modern’ mental health care comprises a variety of theoretical approaches and practices, the supposed identification of ‘mental illness’ can be understood as being made on the basis of a specific conception of subjectivity that is characteristic of ‘modernity’. This is to say that any perceived ‘deviation’ from this characteristically ‘modern self’ is seen as a possible ‘sign’ of ‘mental illness’, given a ‘negative determination’, and conceptualized in terms of a ‘deficiency’ or a ‘lack’; accordingly, the ‘ideal’‘therapeutic’ aim of ‘modern’ (...) mental health care can be understood as the ‘rectification’ of that ‘deficiency’ through a ‘re-instatement’ of the ‘modern self’. Although contemporary mental health care is increasingly becoming influenced by the so-called ‘death’ of the ‘modern self’, this paper will suggest that it is the work of the 20th century French philosopher, Gilles Deleuze, that is able to provide mental health care with a coherent determination of a ‘post-modern self’. However, a Deleuzian account of subjectivity stands in stark contrast to ‘modernity’s’ conception of subjectivity and, as such, this paper will attempt to show how this ‘post-modern’ subjectivity challenges many of the assumptions of ‘modern’ mental health care. Moreover, acknowledging the complexity and the perceived difficulty of Deleuze’s work, this paper will provide an account of subjectivity that can be understood as ‘Deleuzian’ in its orientation, rather than ‘Deleuze’s theory of subjectivity’, and therefore, this paper also seeks to stimulate further research and discussion of Deleuze’s work on subjectivity, and how that work may be able to inform, and possibly even reform, the theoretical foundations and associated diagnostic and therapeutic practices of psychiatry, psychotherapy, and mental health nursing. (shrink)

Badiou's Deleuze presents the first thorough analysis of one of the most significant encounters in contemporary thought: Alain Badiou's summary interpretation and rejection of the philosophy of Gilles Deleuze. Badiou's reading of Deleuze is largely laid out in his provocative book, Deleuze: The Clamor of Being, a highly influential work of considerable power. Badiou's Deleuze presents a detailed examination of Badiou's reading and argues that, whilst it fails to do justice to the Deleuzean project, it (...) invites us to reconsider what Deleuze's philosophy amounts to, and to reassess Deleuze's power to address the ultimate concerns of philosophy. Badiou's Deleuze analyses the differing metaphysics of two of the most influential of recent continental philosophers, whose divergent views have helped to shape much contemporary thought. (shrink)

This essay probes into the possibility of encountering the Deleuzian sense-event in four Tom Stoppard radio plays, Moon (1964), Boot (1964), Glad (1966) and Artist Descending A Staircase (1972). Itself an incorporeal – an occurrence of the interface – the wonderful and strange protagonist of Gilles Deleuze's 1969 Logic of Sense is approached in apophatic gestures, with a glimpse at the various vestiges it has left upon texts. Within this exercise in indirection, ‘empty forms’ present themselves as the texts’ (...) circulating words. Informed by and receiving infusions from two parallel flows of Deleuzian signifiers and signifieds, these entities are singled out as the texts’ pointers that open up a cleavage where the sense-event can issue forth. (shrink)

Starting from the famous statement by Deleuze and Guattari in What Is Philosophy? that ‘[i]mmanence can be said to be the burning issue of all philosophy’, this article explores their claim of an ontology of immanence and/as relational ontology in quantum terms. The theme of this special issue allows for a rereading of the terminology of different/ciation, which Deleuze developed in ‘The Method of Dramatization’ and Difference and Repetition, and I here relate it to the question of consistency (...) of the plane of immanence, such as it is emphasised in the later work of Deleuze and Guattari. The article exemplifies the significance that the early issue of ‘dramatization’ as different/ciating passage has on an adequate understanding of both ‘immanence’ and ‘becoming’, and it shows their in/seperability for a relational ontology as onto-ethology. By making the Deleuze-Guattarian immanence resonate with Barad's agential realism, the article zooms in on the specific quality of the ‘passage’ in order to do justice to the claim of a ‘mature’ philosophy that thinks immanence as immanent only to itself. (shrink)

In the wake of much previous work on Gilles Deleuze's relations to other thinkers (including Bergson, Spinoza and Leibniz), his relation to Kant is now of great and active interest and a thriving area of research. In the context of the wider debate between 'naturalism' and 'transcendental philosophy', the implicit dispute between Deleuze's 'transcendental empiricism' and Kant's 'transcendental idealism' is of prime philosophical concern. -/- Bringing together the work of international experts from both Deleuze scholarship and Kant (...) scholarship, Thinking Between Deleuze and Kant addresses explicitly the varied and various connections between these two great European philosophers, providing key material for understanding the central philosophical problems in the wider 'naturalism/ transcendental philosophy' debate. The book reflects an area of great current interest in Deleuze Studies and initiates an ongoing interest in Deleuze within Kant scholarship. The contributors are Mick Bowles, Levi R. Bryant, Patricia Farrell, Christian Kerslake, Matt Lee, Michael J. Olson, Henry Somers-Hall and Edward Willatt. (shrink)

Un análisis de la noción de filosofía en Heidegger y en Deleuze nos permite comprobar cómo ambos se ven llevados a un planteamiento estético, a una concepción poética del lenguaje o de la creatividad, para caracterizar a la filosofía misma. La distancia entre ambos reside, no obstante, en la insatisfacción que inevitablemente sufren las esperanzas de Heidegger al depositarlas en lo poético, mientras que Deleuze equipara el quehacer filosófico y el estético al consistir ambos en producción de sentido. (...) An analysis of the notion of philosophy in Heidegger and Deleuze allows us to verify how both are taken to an aesthetic exposition, to a poetic conception of the language or the creativity, in order to characterize to the philosophy. The distance between both resides, however, in the dissatisfaction which inevitably they undergo the hopes of Heidegger when depositing them in the poetic thing, whereas Deleuze compares the philosophical task and aesthetic when consisting the both of sense production. (shrink)

ABSTRACT This paper offers an interpretation of Deleuze’s concept of difference. Deleuze has sought to think difference without its traditional subordination to identity, trying to think difference for itself. In this regard, Deleuze concludes that difference is being itself in the famous thesis of the univocity of being. What would be the status of this claim? What elements make possible such a sounding ontological statement? In this paper, we shall answer these questions by interpretating the concept of (...) difference as a speculative one, arguing that difference is only thinkable, but not cognoscible. In order to do so, we analyze Deleuze’s critical engagement with Kant to demonstrate that there is a post-critical ontology in Deleuze’s thinking. (shrink)

El prejuicio más aciago de la filosofía es que su historia jalona rivalidades sangrientas, conflictos insuperables, superaciones radicales, reinicios absolutos, fines y clausuras. Se trata de una concepción pobre y desangelada de esta pasión que impulsa mi viaje por la tierra. El paisaje de lo trascendental se anima cuando se lo concibe como el trabajo conjunto de una saga de artistas embriagados por el pensamiento. Esto no quiere decir que se trate de una suave danza de almas bellas; por el (...) contrario, esa misma embriaguez lleva a enfrentamientos salvajes: hay interpretaciones en las que se nos va la vida, hay conceptos cuya importancia nos desvela, hay posturas que nos parecen escandalosas. Sin embargo, también cuando la danza se hace tan turbulenta que se parece más bien a una brutal pelea de box, lo que importa es esa violencia que fuerza a pensar, y no quién tiene razón. Discutimos porque pensamos juntos, nos respetamos cuando nos criticamos de forma salvaje. Así se construye el pensamiento común: en la tensión y no en la calma, en la pasión de la embriaguez que alterna afinidades radicales y diferencias que parecen irreconciliables.Este libro se propone sostener tal visión de la filosofía a través de un experimento crucial: mostrar que entrelazando a Hegel y a Deleuze podemos construir una potente ontología práctica, que tome la multiplicidad como prius, para dar cuenta del mundo y de la experiencia, donde se conjugan movimiento y devenir con identidades y persistencias. Con ese objetivo, a lo largo de estas páginas expondré a la multiplicidad como una fuerza capaz de determinarse en formas concretas y precisas. La alianza de Deleuze y Hegel nos brinda herramientas conceptuales preciosas para esa tarea: el primero nos ofrece esa ontología de la multiplicidad, mientras el segundo nos plaga de determinaciones sutiles hasta el agotamiento. Una lectura de Hegel desde una perspectiva deleuziana abre nuestros ojos a las miríadas de diferencias y al sutil recorrido incluso de lo más bajo (en su filosofía de la naturaleza hay un secreto slum naturalismo: un amor apasionado por la vileza y las formas más precarias de la existencia). Una lectura de Deleuze desde la perspectiva hegeliana abre nuestros ojos a la máquina de determinación y constitución de lo existente que se alimenta de los flujos y rizomas que lo han hecho célebre. (shrink)

The cinematic apparatus and the transcendental subject -- Re-thinking representation : new lines of thought in feminist philosophy -- Cinematic assemblages : an ethological approach to film-viewing -- The slasher film : a Deleuzian feminist analysis -- The alien series : alien-becomings, human-becomings -- The molecular poetics of the assemblage : before night falls -- Conclusion : a feminist cinematic assemblage.

-- 2. Guattari, la structure et la machine.

The French philosopher Gilles Deleuze was one of the most innovative and revolutionary thinkers of the twentieth century. Author of more than twenty books on literature, music, and the visual arts, Deleuze published the first volume of his two-volume study of film, _Cinema 1: The Movement-Image_, in 1983 and the second volume, _Cinema 2: The Time-Image_, in 1985. Since their publication, these books have had a profound impact on the study of film and philosophy. Film, media, and cultural (...) studies scholars still grapple today with how they can most productively incorporate Deleuze's thought. The first new collection of critical studies on Deleuze's cinema writings in nearly a decade, _Afterimages of Gilles Deleuze's Film Philosophy_ provides original essays that evaluate the continuing significance of Deleuze's film theories, accounting systematically for the ways in which they have influenced the investigation of contemporary visual culture and offering new directions for research. Contributors: Raymond Bellour, Centre Nationale de Recherches Scientifiques; Ronald Bogue, U of Georgia; Giuliana Bruno, Harvard U; Ian Buchanan, Cardiff U; James K. Chandler, U of Chicago; Tom Conley, Harvard U; Amy Herzog, CUNY; András Bálint Kovács, Eötvös Loránd U; Patricia MacCormack, Anglia Ruskin U; Timothy Murray, Cornell U; Dorothea Olkowski, U of Colorado; John Rajchman, Columbia U; Marie-Claire Ropars-Wuilleumier, U Paris VIII; Garrett Stewart, U of Iowa; Damian Sutton, Glasgow School of Art; Melinda Szaloky, UC Santa Barbara. (shrink)

This article is essentially a brief reflection on time in the context of Donna Haraway's recent work When Species Meet (2008), and in particular her rejection of Deleuze and Guattari's notion of 'becoming animal' in their A Thousand Plateaus Capitalism and Schizophrenia (1987). The exception Haraway takes to Deleuze and Guattari's approach to human-animal relations is considered as indicative of wider fissures in contemporary critical theory that have failed to respond to the global crisis of the sixth earth (...) extinction event. Yet there are also points of confluence in their respective positions that provide the potential for a more coherent politics of eco-critique. (shrink)

This essay shows how real objects must be processes for Gilles Deleuze. These processes are determined by his account of time as a nine-fold manifold of processes deduced from Deleuze’s account of three interconnected syntheses of time in his Difference and Repetition . It will also be argued that Deleuze’s philosophy of time is speculative in a broad sense and that Deleuze’s account of the real is opposed to forms of abstraction which associate objects with conceptual, (...) perceptual or transcendental identity. In order to demonstrate the radical and systematic nature of Deleuze’s account of process, there is a discussion of a basic process underlying his manifold of time. This process is opposed to Markov chains, in order to set up an opposition to interpretations of Deleuze’s philosophy that deny its metaphysical and speculative approach in favour of scientific realism. (shrink)

This essay shows how real objects must be processes for Gilles Deleuze. These processes are determined by his account of time as a nine-fold manifold of processes deduced from Deleuze’s account of three interconnected syntheses of time in his Difference and Repetition. It will also be argued that Deleuze’s philosophy of time is speculative in a broad sense and that Deleuze’s account of the real is opposed to forms of abstraction which associate objects with conceptual, perceptual (...) or transcendental identity. In order to demonstrate the radical and systematic nature of Deleuze’s account of process, there is a discussion of a basic process underlying his manifold of time. This process is opposed to Markov chains, in order to set up an opposition to interpretations of Deleuze’s philosophy that deny its metaphysical and speculative approach in favour of scientific realism. (shrink)

들뢰즈의 『영화』는 여러모로 난해한 저작이다. 그 이유 중 하나는 들뢰즈가 베르그손의 이미지 이론을 매우 독특하게 변형시킨다는 데 있다. 이 연구는 『영화』 1권 1장에서 들뢰즈가 행하는 베르그손 독해를 면밀히 분석하여 양자의 근본적인 차이점들을 다음과 같이 드러낼 것이다. 첫째, 베르그손은 예술 장르로서 영화를 비판하지 않았다. 둘째, 베르그손은 미분법적 방식으로 실제적 운동을 이해하지 않았다. 셋째, 베르그손은 이미지와 운동을 대립시켰다. 들뢰즈는 이러한 논점들을 수용하지 않음으로써 자신의 이미지 존재론을 만들어내고 이를 영화에 적용한다. 그에 따르면, 영화의 이미지는 운동 이미지이며, 이 운동 이미지는 열린 전체의 질적인 변화와 (...) 닫힌 체계의 공간 이동 양자를 표현하는 매개항이다. 우리는 영화의 이미지에 대한 들뢰즈의 이 규정이 얼마나 타당한지 비판적으로 검토해볼 것이다. 우리가 보기에, 실재 이미지와 그에 대한 예술적 표상으로서의 영화 이미지는 구분되어야 한다. 들뢰즈의 논의는 이점을 분명히 하지 않음으로써 재현의 논리에 다시 사로잡힐 위험에 처한다. (shrink)

This paper is broadly concerned with Deleuze’s distinction between ‚la loi et les lois’ on the one hand, and jurisprudence on the other. Jurisprudence is the␣creative action of legal practice, the process by which it is forced to think constructively and anew. In such circumstances legal thought is akin to Deleuze’s concept of the event. I explore the distinction between law and jurisprudence by way of Deleuze’s comments on control societies, arguing that, under control, law ceases to (...) be a juridical hierarchy conforming to disciplinary modes to become a regulatory practice of interminable modulation. In order to begin to explore the relations and connections between law/jurisprudence and control, the paper will look to the semiotics of C.S. Peirce (who influenced Deleuze’s work on cinema). In particular it will argue that control operates predominantly through icons. As a consequence I argue that the proper ground of the sign, the event, is co-opted and, following from this, that control functions through the confusing of sense and meaning. (shrink)

This article proposes that Deleuze’s psychoanalytically inspired theory of humour and irony provides an underappreciated way to theorize acts of resistance that adopt a structurally perverse position towards a law or authority. In his books Coldness and Cruelty and Difference and Repetition, Deleuze explains that the law is susceptible to two kinds of subversive procedure. The first, which he calls irony and which he aligns with sadism, reveals a gap between the law and its principles. The second, which (...) he calls humour and which he aligns with masochism, exposes a gap between the law’s interdictions and their consequences. For Deleuze, humour and irony harbour the potential to overturn or overthrow the law. Drawing on Lacanian psychoanalytic theory and contemporary examples – alt-right ‘free speech’ demonstrations in the United States and protests surrounding Russia’ s 2012 parliamentary elections – the article argues that Deleuze overstates the transformative potential of perversion. Nevertheless, his account remains useful for showing the circuitous routes that some subjects take to enjoy their position within the law. Given the global rise in right-wing authoritarianism in recent years, this may prove to be an important insight. (shrink)

L’œuvre deleuzienne ne traite pas directement de l’éducation, pourtant sa pensée semble parfaitement transposable aux sciences de l’éducation puis­qu’elle remet fondamentalement en cause l’idée de transmission, l’idée du maitre détenteur d’un savoir absolu, du vrai comme produit d’une transcen­dance mystique. Si la notion d’éducation n’est pas un objet deleuzien, il est possible de la faire émerger en tirant les implications de la pensée de ce dernier en matière d’éducation, travail entrepris...

Ce texte a déjà paru sur Deleuze International en février 2009. Nous remercions Jean-Christophe Goddard de nous avoir autorisé à le reproduire ici. En introduction à L'art, l'éclair de l'être, paru en 1993, Maldiney consacre un texte à un article d'Oskar Becker initialement publié en 1929 et traduit et annoté en 1986 par Jacques Colette dans le n° 9 de la revue Philosophie. Le titre de l'article de Becker est « La fragilité du beau et la nature aventurière de (...) l'artiste. Une recherche ontologique dans le (...) - Philosophie – Nouvel article. (shrink)

This provocative study forges new and creative connections between Deleuzian philosophy and contemporary film studies.

Michel Foucault and Gilles Deleuze are regarded as French “Nietzscheans” par excellence. By drawing attention to the articulation of “difference” in contemporary thought, this paper attempts to go beyond the label ‘Nietzschean’ in an effort to discern two distinct philosophical trajectories inspired by Nietzsche. I suggest that Deleuze reads Nietzsche as an empiricist whose philosophy of nature critically undermines representational modes of thought from Plato to Hegel and beyond. Difference is therefore given in itself. Foucault, on the other (...) hand, reads Nietzsche primarily as a historian of culture, whose radical reflection on language pushes philosophy into new interpretative forms of analysis that seriously confronts the role of political power in the production of truth. Difference is thus invented and only known within the contours of these fabrications. While no judgement is made about the accuracy or otherwise of their respective interpretations of Nietzsche, this paper implicitly asks whether a Nietzschean genealogical ethos can inform those political struggles today for which the meaning of difference is contested. (shrink)

(2013). BOBBY BETWEEN DELEUZE AND LEVINAS, OR ETHICS BECOMING-ANIMAL. Angelaki: Vol. 18, No. 2, pp. 105-126.

Este artigo objetiva identificar e analisar as múltiplas presenças do filósofo francês contemporâneo Gilles Deleuze no arranjo teórico-conceitual da Teoria da Dança Imanente. A Teoria da Dança Imanente, criada pela pensadora do corpo e da dança Ana Flávia Mendes, pretende atribuir um caráter de pessoalidade, idiossincrasia e subjetividade à obra coreográfica que se insere nos terrenos discursivos do corpo, das artes performativas e da ontologia da arte. Os conceitos-cernes abordados nesta investigação estão aliançados aos pressupostos contemporâneos dos estudos do (...) corpo e da dança especialmente no elo entre corpo, cena e vida. Para tanto, perpassaremos os conceitos de Corpo Imanente, Corpo como sujeito rizomático, Corpo sem Órgãos e a concepção de imanência como vida, de Mendes, os quais encontram-se intimamente relacionados com o panorama filosófico deleuziano. (shrink)

_Eros and Economy: Jung, Deleuze, Sexual Difference_ explores the possibility that social relations between things, partially inscribed in their aesthetics, offer important insights into collective political-economic relations of domination and desire. Drawing on the analytical psychology of Carl Jung and the philosophy of Gilles Deleuze, this book focuses on the idea that desire or libido, overlaid by sexual difference, is a driving force behind the material manifestations of cultural production in practices as diverse as art or economy. Re-reading (...) the history of capitalism and aesthetics with an awareness of the forces of sexual difference reveals not just their integral role in the development of capitalist markets, but a new understanding of our political-economic relations as humans. The appearance of the energies of sexual difference is highlighted in a number of different historical periods and political economies, from the Rococo period of pre-revolutionary France, to the aesthetics and economics of Keynesian Bloomsbury, to our contemporary Postmodern sensibility. With these examples, Jenkins demonstrates that the very constitution of capitalist markets is affected by the interaction of these forces; and she argues that a conscious appreciation and negotiation of them is integral to an immanent, democratic understanding of power. With its unique application of Jungian theory, this book provides important new insights into debates surrounding art, aesthetics, and identity politics, as well as into the quest for autonomous, democratic institutions of politics and economics. As such, this book will appeal to researchers, academics and postgraduate students in the fields of Jung, psychoanalysis, political economy, cultural studies and gender studies, as well as those interested in the field of cultural economy. (shrink)