Search results for ""author gilles deleuze""

Gilles Deleuze was one of the most influential figures in twentieth-century philosophy, well known for his works on the philosophy of art and for his master-works, Difference and Repetition and - with Felix Guattari - A Thousand Plateaus and Anti-Oedipus. Cinema I is the first volume of Deleuze’s revolutionary work on the theory of cinema (concluded in Cinema II, also available in the Bloomsbury Revelations series). Drawing on the philosophy of Henri Bergson, Deleuze identified his work as “a logic of the cinema”, setting out to “isolate certain cinematographic concepts” philosophically. To do this, he brings together diverse examples from a variety of major filmmakers, including Ingmar Bergman, Charlie Chaplin, Sergei Eisenstein and Alfred Hitchcock, among many others.

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In this landmark text by one of the most influential philosophers of the twentieth century, Gilles Deleuze takes the paintings of Francis Bacon as his object of his study. The book presents a deep engagement with Bacon's work and the nature of art. Deleuze analyzes the distinctive innovations that came to mark Bacon's style: the isolation of the figure, the violation and deformations of the flesh, the complex use of color, the method of chance, and the use of the triptych form. Here Deleuze creates a number of his well-known concepts, such as the 'body without organs' and contrasts his own approach to painting with that of both the phenomenological and the art historical traditions. Deleuze links Bacon's work to Cezanne's notion of a 'logic' of sensation and, investigating this logic, explores Bacon's crucial relation to past painters such as Cezanne, Velasquez, and Soutine.

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Gilles Deleuze was one of the most influential figures in twentieth-century philosophy, whose master-works, Difference and Repetition and – with Felix Guattari - A Thousand Plateaus and Anti-Oedipus have become one of the most widely-influential bodies of work in contemporary thought. Cinema II is Deleuze’s second work on cinema, completing the reassessment of the art form begun in Cinema I. Influenced by the philosophy of Henri Bergson, Deleuze here offers a compelling analysis of the cinematic treatment of time and memory, thought and speech. The work draws on examples from major film makers, including Federico Fellini, Alfred Hitchcock and Orson Welles, among many others.

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El pliegue ha sido siempre una constante de todos los períodos artísticos, pero fue el Barroco el que lo condujo hasta sus propios límites. La condición inequívocamente barroca de la filosofía de Leibniz. La condición inequívocamente barroca de la filosofía de Leibniz, por ejemplo, encuentra su justificación en que, en ella, todo se pliega, se despliega y se repliega. Su tesis más célebre es la del alma entendida como una "mónada", sin puertas ni ventanas, que obtiene sus más claras percepciones de un sombrío fondo: una teoría que sólo puede entenderse por analogía con el interior de cualquier capilla barroca de aberturas imperceptibles para el que la observa desde dentro. Así pues, el alma está también llena de pliegues oscuros.Lanzándose a la ingente tarea de descubrir un neobarroco moderno, este libro se dedica a seguir la historia del pliegue infinito en todas las artes. En la poesía de Mallamrmé y la novela de Proust, pero también en la obra de Michaux, en la música de Boulez

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A posthumous collection of writings by Deleuze, including letters, youthful essays, and an interview, many previously unpublished.Letters and Other Texts is the third and final volume of the posthumous texts of Gilles Deleuze, collected for publication in French on the twentieth anniversary of his death. It contains several letters addressed to his contemporaries (Michel Foucault, Pierre Klossowski, François Châtelet, and Clément Rosset, among others). Of particular importance are the letters addressed to Félix Guattari, which offer an irreplaceable account of their work as a duo from Anti-Oedipus to What is Philosophy? Later letters provide a new perspective on Deleuze's work as he responds to students' questions.his volume also offers a set of unpublished or hard-to-find texts, including some essays from Deleuze's youth, a few unusual drawings, and a long interview from 1973 on Anti-Oedipus with Guattari.

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Since its publication in 1968, Difference and Repetition, an exposition of the critique of identity, has come to be considered a contemporary classic in philosophy and one of Gilles Deleuze's most important works. The text follows the development of two central concepts, those of pure difference and complex repetition. It shows how the two concepts are related, difference implying divergence and decentring, repetition being associated with displacement and disguising. The work moves deftly between Hegel, Kierkegaard, Freud, Althusser and Nietzsche to establish a fundamental critique of Western metaphysics, and has been a central text in initiating the shift in French thought - away from Hegel and Marx, towards Nietzsche and Freud.

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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 (1925–1995) 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.

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This brilliant exposition of the critique of identity is a classic in contemporary philosophy and one of Deleuze's most important works. Of fundamental importance to literary critics and philosophers,Difference and Repetition develops two central concepts-pure difference and complex repetition-and shows how the two concepts are related. While difference implies divergence and decentering, repetition is associated with displacement and disguising. Central in initiating the shift in French thought away from Hegel and Marx toward Nietzsche and Freud, Difference and Repetition moves deftly to establish a fundamental critique of Western metaphysics.

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Spinoza's theoretical philosophy is one of the most radical attempts to construct a pure ontology, with a single infinite substance, and all beings as the modes of being his substance. 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 and ontological propositions. His ethics is an ethology, rather than a moral science. Attention has been drawn to Spinoza by deep ecologists such as Arne Naess, the Norwegian philosopher; and this reading of Spinoza by Deleuze lends itself to a radical ecological ethic. As Robert Hurley says in his introduction, "Deleuze opens us to the idea that the elements of the different individuals we compose may be nonhuman within us. One wonders, finally, whether Man might be defined as a territory, a set of boundaries, a limit on existence." Gilles Deleuze, known for his inquiries into desire, language, politics, and power, finds a kinship between Spinoza and Nietzsche. He writes, "Spinoza did not believe in hope or even in courage; he believed only in joy and in vision ...he more than any other gave me the feeling of a gust of air from behind each time I read him, of a witch's broom that he makes one mount. " Gilles Deleuze (1925-1995) was a French philosopher whose writings influenced many philosophical disciplines such as literary theory, post-structuralism, and postmodernism. He also taught philosophy at the University of Paris at Vicennes. Robert Hurley was a translator for many French philosophers including Michael Foucault (History of Sexuality), Gilles Deleuze, and George Bataille (Theory of Religion).

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A Thousand Plateaus is the second part of Deleuze and Guattari's landmark philosophical project, Capitalism and Schizophrenia - a project that still sets the terms of contemporary philosophical debate. Written over a seven year period, A Thousand Plateaus provides a compelling analysis of social phenomena and offers fresh alternatives for thinking about philosophy and culture. Its radical perspective provides a toolbox for ‘nomadic thought' and has had a galvanizing influence on today's anti-capitalist movement.

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The collaboration of the philosopher Gilles Deleuze and the psychoanalyst Felix Guattari has been one of the most profoundly influential partnerships in contemporary thought. Anti-Oedipus is the first part of their masterpiece, Capitalism and Schizophrenia. Ranging widely across the radical tradition of 20th-century thought and culture that preceeded them - from Foucault, Lacan and Jung to Samuel Beckett and Henry Miller - this revolutionary analysis of the intertwining of desire, reality and capitalist society is an essential read for anyone interested in postwar continental thought.

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Negotiations traces the intellectual journey of a man widely acclaimed as one of the most important French philosphers. A provocative guide to Deleuze by Deleuze, the collection clarifies the key critical concepts in the work of this vital figure in contemporary philosphy, who has had a lasting impact on a variety of disciplines, including aesthetics, film theory, psycho-analysis, and cultural studies.Gilles Deleuze

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At last available in paperback, this book anticipates and explains the post-structuralist turn to empiricism. Presenting a challenging reading of David Hume's philosophy, the work is invaluable for understanding the progress of Deleuze's thought.

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Called by many France's foremost philosopher, Gilles Deleuze is one of the leading thinkers in the Western World. His acclaimed works and celebrated collaborations with Felix Guattari have established him as a seminal figure in the fields of literary criticism and philosophy. The long-awaited publication of What Is Philosophy? in English marks the culmination of Deleuze's career. Deleuze and Guattari differentiate between philosophy, science, and the arts, seeing as 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 the book, along with engaging discussions of composers, painters, writers, and architects. A milestone in Deleuze's collaboration with Guattari, What Is Philosophy? brings a new perspective to Deleuze's studies of cinema, painting, and music, while setting a brilliant capstone upon his work.

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Logic of Sense is one of Deleuze’s seminal works. First published in 1969, shortly after Difference and Repetition, it prefigures the hybrid style and methods he would use in his later writing with Felix Guattari. In an early review Michel Foucault wrote that Logic of Sense ‘should be read as the boldest and most insolent of metaphysical treatises’. The book is divided into 34 ‘series’ and five appendices covering a diverse range of topics including, sense, nonsense, event, sexuality, psychoanalysis, paradoxes, schizophrenia, literature and becoming and includes fascinating close textual readings of works by Lewis Carroll, Sigmund Freud, Seneca, Pierre Klossowski, F. Scott Fitzgerald, and Émile Zola. Logic of Sense is essential reading for anyone interested in post-war continental thought.

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