13 found
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  1.  64
    The Exhausted.Gilles Deleuze & Anthony Uhlmann - 1995 - Substance 24 (3):3.
  2.  27
    Samuel Beckett and the Philosophical Image.Anthony Uhlmann - 2006 - Cambridge University Press.
    Beckett often made use of images from the visual arts and readapted them, staging them in his plays, or using them in his fiction. Anthony Uhlmann sets out to explain how an image differs from other terms, like 'metaphor' or 'representation', and, in the process, to analyse Beckett's use of images borrowed from philosophy and aesthetics. This is the first study to carefully examine Beckett's thoughts on the image in his literary works and his extensive notes to the philosopher Arnold (...)
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  3.  15
    Deleuze, Ethics, Ethology, and Art.Anthony Uhlmann - 2011 - In Nathan Jun & Daniel W. Smith (eds.), Deleuze and Ethics. Edinburgh University Press. pp. 164.
    In What is Philosophy? Deleuze and Guattari muse on that time of life when a philosopher feels compelled to reflect upon the question of the nature of her or his practice. The desire for such reflection, they argue, comes with age. It involves self-reflection, something that concerns one's disposition, and one's place in the world. As such it is properly an ethical process. The idea of reflection, however, is also fundamental to both thought itself and to artistic practice, or the (...)
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  4.  20
    To Have Done with Judgment: Beckett and Deleuze.Anthony Uhlmann - 1996 - Substance 25 (3):110.
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  5.  33
    Expression and Affect in Kleist, Beckett and Deleuze.Anthony Uhlmann - 2009 - In Laura Cull (ed.), Deleuze and Performance. Edinburgh University Press. pp. 54--71.
    This chapter examines the concepts of expression and affect in the works of Heinrich von Kleist, Samuel Beckett, and Gilles Deleuze. It suggests that Kleist, Beckett, and Edward Gordon-Craig belong a minor tradition of acting and explains that this minor tradition is one that aims to create a theatre which moves away from the inner world of an actor in favour of developing affects which express an external composite world. It also analyses Kleist's short story ‘On the Marionette Theatre’ and (...)
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  6.  43
    Image and Intuition in Beckett's "Film".Anthony Uhlmann - 2004 - Substance 33 (2):90.
  7.  57
    Beckett and Poststructuralism.Anthony Uhlmann - 1999 - Cambridge University Press.
    In Beckett and Poststructuralism, Anthony Uhlmann offers a reading of Beckett in relation to recent French philosophy, particularly the work of Foucault, Deleuze and Guattari, Levinas, and Derrida. Uhlmann offers a work of literary criticism that is also a piece of intellectual history, emphasising how Beckett develops a kind of critical thinking which differs from yet is just as powerful as that of philosophers who, along with Beckett, found themselves faced with sets of ethical problems which were thrown into sharp (...)
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  8.  4
    Editors’ Preface to Special Issue of Intellectual History Review on Spinoza and Art.Moira Gatens & Anthony Uhlmann - 2020 - Intellectual History Review 30 (3):359-361.
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  9.  2
    College of Fellows Roundtable Transcript.Dennis Schmidt, Chris Fleming, Diego Bubbio, Anthony Uhlmann & Jennifer Mensch - 2020 - Journal of Continental Philosophy 1 (1):117-185.
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  10.  17
    Arts et philosophie mêlés dans un Séminaire à Sydney.Anthony Uhlmann - 2005 - Rue Descartes 48 (2):119.
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  11. Deleuze, Leibniz, Proust, and Beckett : Thinking in Literature.Anthony Uhlmann - 2009 - In Mary Bryden & Margaret Topping (eds.), Beckett's Proust/Deleuze's Proust. Palgrave-Macmillan.
     
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  12.  18
    Representation and Presentation: The Deleuzian Image.Anthony Uhlmann - 2004 - Angelaki 9 (3):187 – 198.
  13.  1
    Spinoza on Art and the Cultivation of a Disposition Toward Joyful Living.Anthony Uhlmann & Moira Gatens - 2020 - Intellectual History Review 30 (3):429-445.
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