's Deleuze Studies Journal PDF

Deleuze stories is a discussion board for brand new paintings at the writings of Gilles Deleuze. It publishes serious paintings on Deleuze and his milieu. It additionally publishes translations of his paintings and the paintings of different authors that have been very important to him (e.g., Guattari and Simondon).

A daring interdisciplinary magazine, Deleuze experiences goals to problem orthodoxies, motivate debate, invite controversy, search new functions, suggest new interpretations, and specifically make new connections among students and ideas within the box. It does this via publishing a large choice of scholarly paintings on Gilles Deleuze, together with articles that attention at once on his paintings, but additionally serious stories of the sphere, in addition to new translations and annotated bibliographies. it really is attracted to publishing paintings on Deleuze whatever the disciplinary field.
ISSN: 1750-2241
E-ISSN: 1755-1684

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It is because of the manner in which his practice of philosophy is problematic or problem-driven that there is always movement in his thinking from one project to the next. ), societies of control as opposed to discipline or capture (in Foucault and ‘A Postscript on Societies of Control’), becoming-revolutionary, becoming-democratic (in What is Philosophy? 2 Some of the new concepts that appear in Deleuze’s later political philosophy imply an increasing awareness of normative political issues that were less prominent in earlier writings with Guattari.

Presents the emergence of philosophy as the result of an entirely synthetic and contingent encounter between the Greek milieu and the plane of immanence of thought. This encounter gave rise to a specific kind of thought defined in terms of its affinity with absolute as opposed to relative deterritorialisation. Relative deterritorialisation concerns the historical relationship of things to the territories into which they are organised: the manner in which these territories break down and are transformed or reconstituted into new forms.

Is it possible to think the work of art, not as it is for us, not as it has been lived through time, but in itself: not as effected relations but as relationality per se? Can we think the power to become or differ not as it is – as a being – but as pure potentiality? This is the power of the image as such: a singularity that we always encounter in some relation or connection, but that is not exhausted by its relations. The cinematic time-image takes those images that are normally bound up with causal, personal and affective series, and separates them from their usual or habitual connections.

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