Download The Deleuze Dictionary (Revised Edition) by Adrian Parr PDF

By Adrian Parr

"Useful to someone wishing to raised comprehend the paintings of this significant French philosopher.... hugely recommended."— Choice

Dedicated to the paintings of Gilles Deleuze, a number one determine in continental philosophy, this dictionary defines and contextualizes a couple of hundred and fifty phrases on the subject of Deleuzian philosophy. It covers key phrases and ideas, significant affects, and the legacy of Deleuze on feminism, cinema, postcolonial concept, geography, and cultural reports. A ordinary reference for students, scholars, and teachers, this revised variation comprises multiplied entries on structure, cinema, and psychoanalysis—areas during which Deleuze's influence has grown— and new contributions from the widespread Deleuze students Rosi Braidotti, Claire Colebrook, Tom Conley, Eugene Holland, and Paul Patton.
(April 2011)

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Extra info for The Deleuze Dictionary (Revised Edition)

Example text

In short, the man that suffers is an animal, and the animal that suffers is a man. Deleuze talks of this in terms of a ‘religious’ aspect in Bacon’s paintings, but a religious dimension that relates to the brutal reality of the butcher’s shop. The understanding that we are all meat is not a moment of recognition or of revelation, but rather, for Deleuze, a moment of true becoming. The separation between the spectator and the spectacle is broken down in favour of the ‘deep identity’ of becoming.

Trying to articulate the changed relationship between artist, artwork and viewer that performance art inaugurated can at times be difficult but the Deleuzian concept of ‘becoming’ is especially useful here in that it allows us to consider art in terms of a transformative experience as well as conceptualise the process of subjectification performance art sustains. ‘Becoming’ points to a non-linear dynamic process of change and when used to assist us with problems of an aesthetic nature we are encouraged not just to reconfigure the apparent stability of the art object as ‘object’ defined in contradistinction to a fully coherent ‘subject’ or an extension of that ‘subject’ but rather the concept of art’s becoming is a fourfold becoming-minor of the artist, viewer, artwork and milieu.

Becoming is the pure movement evident in changes between particular events. This is not to say that becoming represents a phase between two states, or a range of terms or states through which something might pass on its journey to another state. Rather than a product, final or interim, becoming is the very dynamism of change, situated between heterogeneous terms and tending towards no particular goal or end-state. Becoming is most often conceived by deducing the differences between a start-point and end-point.

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