The Other in Deleuze and Husserl

Dialogue ◽  
2020 ◽  
pp. 1-28
Author(s):  
Hamed Movahedi
Keyword(s):  
Gilles Deleuze ◽  
The Other ◽  
Intersubjective Theory

ABSTRACT There is no consensus regarding whether Gilles Deleuze offers a cogent theory of the Other. Deleuze develops the notion of the Other-structure, but given his scarce remarks on this concept, his treatment of this issue is debated. This article argues that to elucidate Deleuze's philosophy of the Other, his notion of the Other-structure must be analyzed in parallel to Edmund Husserl's intersubjective theory. This comparison, made possible by Natalie Depraz's reading of the Husserlian alterity, reveals nuanced phenomenological traces in Deleuze's Other-structure and its implicated structural moments while substantiating his affirmation of the Otherless world, as an impetus to surpass phenomenology.

Simone de Beauvoir's Philosophy of Individuation

2017 ◽  
Author(s):  
Laura Hengehold
Keyword(s):  
Lived Experience ◽  
20Th Century ◽  
Sexual Difference ◽  
Gilles Deleuze ◽  
The Other ◽  
Simone De Beauvoir ◽  
Second Sex ◽  
Other Hand ◽  
The World

Most studies of Simone de Beauvoir situate her with respect to Hegel and the tradition of 20th-century phenomenology begun by Husserl, Heidegger, and Merleau-Ponty. This book analyzes The Second Sex in light of the concepts of becoming, problematization, and the Other found in Gilles Deleuze. Reading Beauvoir through a Deleuzian lens allows more emphasis to be placed on Beauvoir's early interest in Bergson and Leibniz, and on the individuation of consciousness, a puzzle of continuing interest to both phenomenologists and Deleuzians. By engaging with the philosophical issues in her novels and student diaries, this book rethinks Beauvoir’s focus on recognition in The Second Sex in terms of women’s struggle to individuate themselves despite sexist forms of representation. It shows how specific forms of women’s “lived experience” can be understood as the result of habits conforming to and resisting this sexist “sense.” Later feminists put forward important criticisms regarding Beauvoir’s claims not to be a philosopher, as well as the value of sexual difference and the supposedly Eurocentric universalism of her thought. Deleuzians, on the other hand, might well object to her ideas about recognition. This book attempts to address those criticisms, while challenging the historicist assumptions behind many efforts to establish Beauvoir’s significance as a philosopher and feminist thinker. As a result, readers can establish a productive relationship between Beauvoir’s “problems” and those of women around the world who read her work under very different circumstances.

scholarly journals Realities to be-come: on Cosmopolitics

2013 ◽  
Vol 16 (1) ◽  
Author(s):  
Michael Schillmeier
Keyword(s):  
Gilles Deleuze ◽  
The Other ◽  
Felix Guattari ◽  
Possible World ◽  
The Social ◽  
The World ◽  
Isabelle Stengers ◽  
Key Terms

To assume that all things we want to describe – humans and non-humans alike – can be done so properly only in terms of 'societies', requires a contrast – a momentum of cosmopolitics – to the very abstract distinctions upon which our classical understanding of sociology and its key terms rests: 'The social' as defined in opposition to 'the non-social', 'society' in opposition to 'nature'. The concept of cosmopolitics tries to avoid such modernist strategy that A. N. Whitehead called 'bifurcation of nature' (cf. Whitehead 1978, 2000). The inventive production of contrasts names a cosmopolitical tool which does not attempt to denounce, debunk, replace or overcome abstract, exclusivist oppositions that suggest divisions as 'either…or'-relations. Rather, as the Belgian philosopher of science Isabelle Stengers stresses, 'the contrast will have to be celebrated in the manner of a new existent, adding a new dimension to the cosmos' (Stengers 2011: 513). Cosmopolitics, then, engages with 'habits we experiment with in order to become capable of new experiences' (Stengers 2001: 241) and opens up the possibility of agency of the non-expected Other, the non-normal, the non-human, the non-social, the un-common. 'The Other is the existence of a possible world', as Gilles Deleuze and Felix Guattari (1994: 17-18) have put it. It is 'the condition for our passing from one world to another. The Other (...) makes the world go by.'

scholarly journals Clausewitz and la pensée 681*

2018 ◽  
Vol 1 (1) ◽  
pp. 49-59
Author(s):  
Éric Alliez ◽  
Maurizio Lazzarato
Keyword(s):  
Gilles Deleuze ◽  
Second World War ◽  
The Other ◽  
Constitutive Relationship ◽  
Felix Guattari ◽  
World War ◽  
Radical Critique ◽  
Revolutionary Movements ◽  
The One ◽  
Second World

Abstract In the aftermath of the Second World War, revolutionary movements remained dependent on Leninist theories and practices in their attempts to grasp the new relationship between war and capital. Yet these theories and practices failed to address the global “cold civil war” represented by the events of 1968. This article will show that in the 1970s this task was not undertaken by “professional revolutionaries” or in their Maoist discourse of “protracted war” and its “generalized Clauzewitzian strategy.” Rather, the problem was addressed by Michel Foucault, on the one hand, and Gilles Deleuze and Félix Guattari, on the other. Each produced a radical break in the conception of war and of its constitutive relationship with capitalism, taking up the confrontation with Clausewitz to reverse the famous formula such that war was not to be understood as the continuation of politics (which determines its ends). Politics was, on the contrary, to be understood as an element and strategic modality of the whole constituted by war. The ambition of la pensée 68, as represented by Foucault and Deleuze and Guattari, was not to make this reversal into a simple permutation of the formula's terms, but rather to develop a radical critique of the concepts of “war” and “politics” presupposed by Clausewitz's formula.

scholarly journals On Feeling Political: Negotiating (within) Affective Landscapes and Soundscapes

PhaenEx ◽  
2012 ◽  
Vol 7 (2) ◽  
pp. 96
Author(s):  
JEAN-THOMAS TREMBLAY
Keyword(s):  
Gilles Deleuze ◽  
Research Question ◽  
The Other ◽  
Political Life ◽  
Felix Guattari ◽  
The Political ◽  
Political Theorist ◽  
Alternative Approach ◽  
Lauren Berlant

This article generates an affective hermeneutics of the political. The research question, What is feeling political? is, at first, refined through the oeuvre of political theorist Simone Weil, whose focus on experience, involvement and attention highlights the role of sentience in political life. The inescapable normativity of Weil’s texts calls for an alternative approach to the question at hand, one that acknowledges the inevitability of the phenomenon of feeling political. In order to produce such an approach, the realm in which said phenomenon occurs is spatialized as an indefinite series of rhizomatic affective atmospheres in which the negotiation of one’s involvement, resistance, association, and isolation prompts a variety of orientations. The work of Lauren Berlant is subsequently considered as a means to stress the interplay between noise and ambience on one hand, and the notions of citizenship and community on the other. Ultimately, a reflection inspired by Gilles Deleuze and Félix Guattari emphasizes the humanist undertone of this investigation, reposing the question of feeling political as an ontological query.  

scholarly journals Mening med vrøvlet

Barnboken ◽  
2021 ◽  
Author(s):  
Claus K. Madsen ◽  
Lea Allouche
Keyword(s):  
Creative Thinking ◽  
Gilles Deleuze ◽  
Picture Book ◽  
The Other ◽  
Creative Development ◽  
The Third ◽  
Making Sense ◽  
First Case ◽  
The One ◽  
Acoustic Phenomenon

Making Sense of Nonsense: Readings of Children’s Poetry as Play and Creative Thinking Abstract: Nonsense and meaning are not necessarily conflicting concepts, but can be conceived of as a hendiadys, that is, not opposites, the one or the other, but as one and the other. The idea that meaning and nonsense are related and coexist is a premise for this article, which describes different structures of meaning in the nonsense poetry of Birgitte Krogsbøll and Kamilla Wichmann’s picture book Funkelgnister: Rim, råb og remser (2015, Glittersparks: Rhymes, Roars and Rigmaroles). By linking our analysis of Funkelgnister to Johan Huizinga’s theory of play as a prerequisite for culture, we reveal how the specific structures and logics of the poems generate meaning and thereby we disclose how children’s nonsense poetry is simultaneously meaningful and nonsensical, as a creative thinking akin to culture developed through play and playfulness. We describe how meaning can be sought in three directions, suggested by Gilles Deleuze: above, below and on the surface. In the first case, we consider nonsense as a seductive acoustic phenomenon. In the second, we focus on nonsense poetry as subversive. And finally, in the third case, we show how it is an event. In all, these different aspects demonstrate how nonsense poetry functions as play and challenges our understanding of what it means to read. Following Jurij Lotman’s understanding of pictorial language as creative thinking, we show how nonsense in Funkelgnister opens up a free space by utilizing an in-between, where meaning takes on different forms as signs and sounds, and how the inherent rejection of normative rules of reading in such a venture, initiates a production of meaning as metonymic activity. We thereby highlight how nonsense generates a ground for a creative development of meaning. 

scholarly journals Life, Movement, and Thought: Directions for Performance Philosophy and Practice as Research

2019 ◽  
Vol 4 (2) ◽  
pp. 332-344
Author(s):  
Brian Schultis
Keyword(s):  
Gilles Deleuze ◽  
The Other ◽  
Eternal Truth ◽  
Directional Movement ◽  
Common Goals ◽  
The Common ◽  
Life Movement ◽  
Allegory Of The Cave

This essay addresses the common goals of but also the practical differences between the emerging fields of Performance Philosophy (PP) and Practice as Research (PaR).  It does so by describing them both as interposing effective and affective action into the process of thinking and knowing, thereby resisting what Gilles Deleuze calls the Dogmatic Image of Thought.  The dogmatic image is described as a directional movement based on Plato’s allegory of the cave, where those who would learn turn away from phenomenal becoming and move upward and outward towards eternal Truth.  This movement travels from a static unknowing to a static knowledge.  Both PP and PaR resist such movement by employing techniques which forestall arriving at either stasis.  Through their developments, PP and PaR have come to concentrate on resisting one of these points of stasis or the other – with PP concentrating on avoiding static knowing, and PaR concentrating on finding the proper expression to avoid static unknowing, even while presenting its findings in forms that may appear ephemeral. 

Between order and insurgency: Post-structuralism and the problem of justice

2020 ◽  
pp. 019145372093190
Author(s):  
George Sotiropoulos
Keyword(s):  
Political Theory ◽  
Michel Foucault ◽  
Gilles Deleuze ◽  
The Other ◽  
Main Argument ◽  
Other Hand ◽  
Material Texture ◽  
The One

Faced with the apologetic and exclusionary tendencies of liberal normativism, there is a marked trend in political theory to recover a more critical conception of justice, which does not adopt the dismissive attitude of traditional Marxism. In this context, the legacy of post-structuralism has been ambivalent. On the one hand, the work of thinkers such as Jacque Derrida, Michel Foucault and Gilles Deleuze has helped to shape the direction of the relevant discourse. On the other hand, post-structuralist critiques of political normativism have been often accused of leading to a subsumption of justice to power. Contributing to the ongoing discussion, my article explores the insights of Derrida, Foucault and Deleuze and assembles them into a coherent line of analysis. The main argument advanced is that post-structuralist thought provides a fertile basis for a critical concept of justice, which foregrounds the notion’s material texture without forfeiting its normative and ethical traits.

scholarly journals NIETZSCHE IR WITTGENSTEINAS: KINEMATOGRAFINĖS PARAŠTĖS

2012 ◽  
Vol 11 ◽  
pp. 58-78
Author(s):  
Jūratė Baranova
Keyword(s):  
Detailed Analysis ◽  
Gilles Deleuze ◽  
The Other ◽  
Philosophical Thinking ◽  
Stanley Cavell ◽  
Other Hand ◽  
Philosophical Aspect ◽  
Derek Jarman ◽  
Cinematic Experience ◽  
Good And Evil

Kodėl ir kaip Friedrichas Nietzsche ir Ludwigas Wittgensteinas inspiravo Stanley Cavello ir Gilles’io Deleuze’o kino filosofijos tapsmą? Kuo artimos ir kuo skiriasi šios dvi kino filosofijos kryptys? Kuo skiriasi paties kinematografo sukurti Nietzsche’s ir Wittgensteino įvaizdžiai? Kodėl kinematografas išskirtinai domisi šiomis dviem filosofinėmis figūromis? Kadangi tarp pirmųjų dviejų klausimų ir paskutinių nėra aiškaus loginio ar priežastinio susietumo, tyrimą vadinsime kinematografinėmis paraštėmis.Pagrindiniai žodžiai: kino filosofija, Nietzsche, Wittgensteinas, Stanley Cavellas, Gilles’is Deleuze’as, Liliana Cavani, Derekas Jarmanas.NIETZSCHE AND WITTGENSTEIN: CINEMATIC MARGINSJūratė BaranovaSummaryThe article consists of two logically independent parts. The first one deals with the influence of Wittgenstein and Nietzsche on the philosophy of cinema of Stanley Cavell and Gilles Deleuze, presupposing that the first one was more influenced by the former and the other one by the latter. The article also expresses some attempts to compare the two philosophies of cinema. The author discerns one common aspect: in opposition to the analytical and phenomenological trend, they both do not question the nature of cinematic experience and the intentionalism / nonintentionalism dilemma. On the other hand, they expose two different attitudes towards the meeting of thought and emotion in cinema practice. A detailed analysis of the integration of Nietszchean ideas in Deleuze’s philosophy of cinema reveals several possibilities for philosophy and cinema to meet. Firstly, the interpreter is able to use philosophical concepts for the experimental explanation of cinema; secondly, one can see cinema and philosophy as one problemic tisssue; thirdly, it is possible to consider (reasonably or not) some philosophical insights as an intention of the cinema director. The other part of the article is devoted to the image of Nietszche and Wittgesntein in the art of cinema, created by Liliana Cavani and Derek Jarman. The analysis shows that not all movies about philosophers have something to do with philosophy itself. The author discusses the four movies created by Cavani (The Night Porter (1974), Beyond Good and Evil (1977), The Berlin Affair (1983), Francesco (1989)), and concludes that one cannot discern any philosophical aspect in the movie Beyond Good and Evil on Nietzsche’s biography. On the other hand, it doesnot mean that biographical movies have nothing to do with philosophy. Derek Jarman’s movie Wittgesntein (1993) demonstrates the possibility of a creative integration of philosophical thinking into the tissue of the experimental cinema.Keywords: philosophy of cinema, Nietzsche, Wittgenstein, Stanley Cavell, Gilles Deleuze, Liliana Cavani, Derek Jarman.

scholarly journals O cristal em decomposição em Morte em Veneza de Luchino Visconti

2020 ◽  
Author(s):  
Veronica Miranda Damasceno
Keyword(s):  
Gilles Deleuze ◽  
The Other ◽  
Fundamental Operation ◽  
Work Of Art ◽  
Past Time ◽  
The Past ◽  
Death In Venice ◽  
The One ◽  
Luchino Visconti ◽  
Do So

The constitution of the crystal image corresponds to the most fundamental operation of time. In order to do so, it is necessary for time to separate, arise or happen, in two decimetric spurts, of which one of them makes pass the whole present and the other conserves all the past. Time consists precisely in this split, it is the one we see in a crystal. Crystal is the perpetual foundation of time. According to the perspective of the French thinker Gilles Deleuze, in Death in Venice, Luchino Visconti gives us to see the crystalline images according to their own decomposition. This is present throughout his work. In this film, we can see this decomposition, for example, through the plague that devastates Venice or even through the revelation that something arrived too late. When the character of the musician sees the young Tadzio, he has the vision of what lacked in his work: sensual beauty. The too late conditions the work of art and conditions its success, for the sensuous and sensual unity of nature with man is the essence of art par excellence, inasmuch as it is of its nature to occur too late!

scholarly journals The Difference Between Science and Philosophy: the Spinoza-Boyle Controversy Revisited

Paragraph ◽  
2006 ◽  
Vol 29 (2) ◽  
pp. 115-138 ◽  
Author(s):  
Simon Duffy
Keyword(s):  
Twentieth Century ◽  
Seventeenth Century ◽  
Gilles Deleuze ◽  
The Other ◽  
Felix Guattari ◽  
Scientific Methodology ◽  
Major Work ◽  
Robert Boyle ◽  
British Scientist ◽  
The Difference

This article examines the seventeenth-century debate between the Dutch philosopher Benedict de Spinoza and the British scientist Robert Boyle, with a view to explicating what the twentieth-century French philosopher Gilles Deleuze considers to be the difference between science and philosophy. The two main themes that are usually drawn from the correspondence of Boyle and Spinoza, and used to polarize the exchange, are the different views on scientific methodology and on the nature of matter that are attributed to each correspondent. Commentators have tended to focus on one or the other of these themes in order to champion either Boyle or Spinoza in their assessment of the exchange. This paper draws upon the resources made available by Gilles Deleuze and Felix Guattari in their major work What is Philosophy?, in order to offer a more balanced account of the exchange, which in its turn contributes to our understanding of Deleuze and Guattari's conception of the difference between science and philosophy.

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