Of fundamental importance to literary critics and philosophers, Difference and Repetition develops two central concepts -- pure difference and complex ...
Praised for its rare combination of scholarly rigor and imaginative interpretation, _Nietzsche and Philosophy_ has long been recognized as one of the most important analyses of Nietzsche. It is also one of the best introductions to Deleuze's thought, establishing many of his central philosophical positions. In _Nietzsche and Philosophy_, Deleuze identifies and explores three crucial concepts in Nietzschean thought-multiplicity, becoming, and affirmation-and clarifies Nietzsche's views regarding the will to power, eternal return, nihilism, and difference. For Deleuze, Nietzsche challenged conventional philosophical (...) ideas and provided a means of escape from Hegel's dialectical thinking, which had come to dominate French philosophy. He also offered a path toward a politics of difference. In this new edition, Michael Hardt's foreword examines the profound influence of Deleuze's provocative interpretations on the study of Nietzsche, which opened a whole new avenue in postwar thought. (shrink)
Deleuze and Guattari differentiate between philosophy, science, and the arts - seeing each as a means of confronting chaos - and challenge the common view that philosophy is an extension of logic. The authors also discuss the similarities and distinctions between creative and philosophical writing. Fresh anecdotes from the history of philosophy illuminate this book, along with engaging discussions of composers, painters, writers, and architects.
Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters. In considering Bacon, Deleuze (...) offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, _Francis Bacon_ has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art. In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.” Illuminating Bacon’s paintings, the nonrational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. _Francis Bacon_ is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole. Gilles Deleuze was professor of philosophy at the University of Paris, Vincennes–St. Denis. He coauthored _Anti-Oedipus_ and _A Thousand Plateaus_ with Félix Guattari. These works, as well as _Cinema 1, Cinema 2, The Fold, Proust and Signs_, and others, are published in English by Minnesota. Daniel W. Smith teaches in the Department of Philosophy at Purdue University. (shrink)
This book, which presents Spinoza's main ideas in dictionary form, has as its subject the opposition between ethics and morality, and the link between ethical ...
The essays in this book present a complex theme at the heart of the philosophy of Gilles Deleuze, what in his last writing he called simply "a life." They capture a problem that runs throughout his work--his long search for a new and superior empiricism. Announced in his first book, on David Hume, then taking off with his early studies of Nietzsche and Bergson, the problem of an "empiricist conversion" became central to Deleuze's work, in particular to his aesthetics and (...) his conception of the art of cinema. In the new regime of communication and information-machines with which he thought we are confronted today, he came to believe that such a conversion, such an empiricism, such a new art and will-to-art, was what we need most. The last, seemingly minor question of "a life" is thus inseparable from Deleuze's striking image of philosophy not as a wisdom we already possess, but as a pure immanence of what is yet to come. Perhaps the full exploitation of that image, from one of the most original trajectories in contemporary philosophy, is also yet to come. (shrink)
New to this edition is Deleuze's essay "Pericles and Verdi," which reflects on politics and historical materialism in the work of the influential French ...
French journalist Claire Parnet's famous dialogues with Gilles Deleuze offer an intimate portrait of the philosopher's life and thought. Conversational in tone, their engaging discussions delve deeply into Deleuze's philosophical background and development, the major concepts that shaped his work, and the essence of some of his famous relationships, especially his long collaboration with the philosopher Félix Guattari. Deleuze reconsiders Spinoza, empiricism, and the stoics alongside literature, psychoanalysis, and politics. He returns to the notions of minor literature, deterritorialization, the critical (...) and clinical, and begins a nascent study of cinema. New to this edition is Deleuze's essay "Pericles and Verdi," which reflects on politics and historical materialism in the work of the influential French philosopher François Châtelet. An enduring record of Deleuze's unique personality and profound contributions to culture and philosophy, _Dialogues II_ is a highly personable account of the evolution of one of the greatest critics and theorists of the twentieth century. (shrink)
In this supplement to a work co-authored with André Cresson, David Hume, sa vie, son œuvre, left untranslated until now, Deleuze lays the groundwork for what he will later develop as an “ethics without morality.” Contrary to morality, ethics engenders its general rule for action out of the immanence that grants it the power to affect and to be affected, that is, to increase or decrease its capacity to compose new empowering relations between beings, and between beings and the world. (...) The power to act is synonymous with the capacity to imaginatively create relations, in order to exist. In this way, the imagination reveals its ontological significance. Here we discern Deleuze’s Humean impulse encountering a fundamental Nietzscheanism. The translator’s introduction attempts to make explicit his specific philosophical motive, at this point only formative but, eventually, foundational for his later thought. (shrink)
Perhaps the question “What is philosophy?” can only be posed late in life, when old age has come, and with it the time to speak in concrete terms. It is a question one poses when one no longer has anything to ask for, but its consequences can be considerable. One was asking the question before, one never ceased asking it, but it was too artificial, too abstract; one expounded and dominated the question, more than being grabbed by it. There are (...) cases in which old age bestows not an eternal youth, but on the contrary a sovereign freedom, a pure necessity where one enjoys a moment of grace between life and death, and where all the parts of the machine combine to dispatch into the future a trait that traverses the ages: Turner, Monet, Matisse. The elderly Turner acquired or conquered the right to lead painting down a deserted path from which there was no return, and that was no longer distinguishable from a final question. In the same way, in philosophy, Kant’s Critique of Judgment is a work of old age, a wild work from which descendants will never cease to flow.We cannot lay claim to such a status. The time has simply come for us to ask what philosophy is. And we have never ceased to do this in the past, and we already had the response, which has not varied: philosophy is the art of forming, inventing, and fabricating concepts. But it was not only necessary for the response to take note of the question; it also had to determine a time, an occasion, the circumstances, the landscapes and personae, the conditions and unknowns of the question. One had to be able to pose the question “between friends” as a confidence or a trust, or else, faced with an enemy, as a challenge, and at the same time one had to reach that moment, between dog and wolf, when one mistrusts even the friend. Gilles Deleuze was professor of philosophy at the University of Paris VIII, Vincennes-St.-Denis, until his retirement in 1987. Among his books translated into English are the two-volume Capitalism and Schizophrenia , the two-volume Cinema , The Logic of Sense , and Expressionism in Philosophy: Spinoza . Daniel W. Smith is a doctoral candidate in philosophy at the University of Chicago. He is at work on a study of the philosophy of Deleuze, and is translating Deleuze’s Francis Bacon: Logique de la sensation. Arnold I. Davidson, executive editor of Critical Inquiry, teaches philosophy at the University of Chicago and is currently Marta Sutton Weeks Fellow at the Stanford Humanities Center. (shrink)
The following text is not just unpublished. There is something intimate, secret, confidential about it. It consists of a series of notes - classed from A to H - that Gilles Deleuze had entrusted to me in order that I give them to Michel Foucault. It was in 1977. Foucault had just published La Volonté de savoir, the introduction to a Histoire de la Sexualité which challenged the play of categories through which the struggles of sexual liberation reflected itself. The (...) reception of the book, poorly understood, was contemporary with a sort of crisis in Foucault, already wholly bent to the task of bringing out of himself, and converting himself to, what would become the problematic of L'usage de plaisirs and the Souci de soi. Gilles Deleuze, sensitive to what he perceives as a suffering in his friend, thus writes up these notes: therein he gives the account of his convergences and divergences with Foucault. It is not a matter of a critique, even less of a polemic, but of an invitation, entirely imbued with the sincerity of friendship, to take up again a dialogue which had been interrupted. (shrink)
