By Eleanor Kaufman
Gilles Deleuze is taken into account the most vital French philosophers of the 20th century. Eleanor Kaufman situates Deleuze with regards to others of his iteration, corresponding to Jean-Paul Sartre, Pierre Klossowski, Maurice Blanchot, and Claude Lévi-Strauss, and she or he engages the provocative readings of Deleuze via Alain Badiou and Slavoj Žižek.
Deleuze, The darkish Precursor is equipped round 3 topics that severely overlap: dialectic, constitution, and being. Kaufman argues that Deleuze's paintings is deeply fascinated about those suggestions, even if he advocates for the doubtless contrary notions of univocity, nonsense, and turning into. through drawing on scholastic inspiration and interpreting slightly opposed to the grain, Kaufman means that those often-maligned subject matters permit for a nuanced, even optimistic mirrored image on it appears adverse states of being, similar to severe inertia. This consciousness to the destructive or minor type has implications that reach past philosophy and into feminist concept, movie, American experiences, anthropology, and architecture.
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Extra resources for Deleuze, The Dark Precursor: Dialectic, Structure, Being
It should be noted that both Deleuze and Sartre are famously associated with the nonsolid. "27 Slime incarnates the reversaI of the directionality Sartre has been at pains to set up throughout Being and Nothingness, in which the for-itself is defined in its active relation to the more passive in-itself. Here, slime designates the "revenge of the in-itself," which, by this definition, is also the revenge of the solid. 28 Paradoxically, this revenge has been acted out aIl along in Being and Nothingness (not to mention the rest of Sartre's oeuvre) in the very materiality of the solid object examples he returns to aga in and again.
What is more serious: to speak of food or to eat words? In her alimentary obsessions, Alice is overwhelmed by nightmares of absorbing and being absorbed. She finds that the poems she hears recited are about edible fish. If we then speak of food, how can we avoid speaking in front of the one who is to be served as food? 25 This is the eerie interpellation of Lacan's sardine can, which looks at him aIl the same. It is the nightmare of the edible fish looking back from its state as an inanimate object, confronting the human perceiver both with the violence he or she would rather not take note of and with the fact that this violence, this cutting, has its own nonviolent quality as a verb, as an attribute, as an incorporeal event that operates, if it is perceived at aIl, at the limits of human perception.
It is obvious that this literary solution, and the problem to which it was a response, are both dependent on the radical split of the world into two parts: only in a world where things were so divorced from consciousness and from its language would it be necessary for them to leap into their opposite to be presented. 9 Sartre's great originality - in contrast to the more nuanced phenomenological writings of Simone de Beauvoir and Merleau-Ponty - is an almost vulgar penchant for defining two terms in the most extreme form of opposition.