Deleuze and Guattari Encounters – serie

This title offers a clear and concise overview of and introduction to Deleuze's theories of cinema. "Cinema After Deleuze" offers a clear and lucid introduction to Deleuze's writings on cinema which will appeal both to undergraduates and specialists in film studies and philosophy. The book provides explanations of the many categories and classifications found in Deleuze's two landmark books on cinema and offers assessments of a range of films and directors, including works by John Ford, Sergei Eisenstein, Alfred Hitchcock, Michelangelo Antonioni and Alain Resnais. Richard Rushton also discusses contemporary directors such as Steven Spielberg, Lars von Trier, Martin Scorsese and Wong Kar-Wai in the light of Deleuze's theories and in doing so brings Deleuze's "Cinema" books right up to date. "Cinema After Deleuze" demonstrates why Deleuze is rightly considered today to be one of the great theorists of cinema. The book is essential reading for students in philosophy and film studies alike. "The Deleuze Encounters" series provides students in philosophy and related subjects with concise and accessible introductions to the application of Deleuze's work in key areas of study.Each book demonstrates how Deleuze's ideas and concepts can enhance present work in a particular field.

Deleuze and Guattari never identified as anarchists, nor do they seem to know much about its historical development or continued praxis. Yet their individual and collective work belies this apparent and wilful oversight through a steady consideration of revolutionary subjectivity and active political experimentation.Chantelle Gray argues that while we cannot — and should not — attempt to call them anarchists, their work resonates with core anarchist principles such as prefiguration, careful experimentation and emergent strategies aimed at creating a feeling that life is worth living. This involves paying attention to both joyous affects and sad passions, which necessitates the affirmation of all of chance and, from that, fabulating new modes of existence. By bringing together the philosophy of Deleuze and Guattari with the theory and practices of anarchism, this book demonstrates that fabulating the future is nothing short of a noetic act, making reasonable something which initially was senseless.

Deleuze and Guattari never identified as anarchists, nor do they seem to know much about its historical development or continued praxis. Yet their individual and collective work belies this apparent and wilful oversight through a steady consideration of revolutionary subjectivity and active political experimentation.Chantelle Gray argues that while we cannot - and should not - attempt to call them anarchists, their work resonates with core anarchist principles such as prefiguration, careful experimentation and emergent strategies aimed at creating a feeling that life is worth living. This involves paying attention to both joyous affects and sad passions, which necessitates the affirmation of all of chance and, from that, fabulating new modes of existence. By bringing together the philosophy of Deleuze and Guattari with the theory and practices of anarchism, this book demonstrates that fabulating the future is nothing short of a noetic act, making reasonable something which initially was senseless.

Deleuze and Guattari never identified as anarchists, nor do they seem to know much about its historical development or continued praxis. Yet their individual and collective work belies this apparent and wilful oversight through a steady consideration of revolutionary subjectivity and active political experimentation.Chantelle Gray argues that while we cannot - and should not - attempt to call them anarchists, their work resonates with core anarchist principles such as prefiguration, careful experimentation and emergent strategies aimed at creating a feeling that life is worth living. This involves paying attention to both joyous affects and sad passions, which necessitates the affirmation of all of chance and, from that, fabulating new modes of existence. By bringing together the philosophy of Deleuze and Guattari with the theory and practices of anarchism, this book demonstrates that fabulating the future is nothing short of a noetic act, making reasonable something which initially was senseless.

This study illuminates the complex interplay between Deleuze and Guattari’s philosophy and architecture. Presenting their wide-ranging impact on late 20th- and 21st-century architecture, each chapter focuses on a core Deleuzian/Guattarian philosophical concept and one key work of architecture which evokes, contorts, or extends it.Challenging the idea that a concept or theory defines and then produces the physical work and not vice versa, Chris L. Smith positions the relationship between Deleuze and Guattari’s philosophy and the field of architecture as one that is mutually substantiating and constitutive. In this framework, modes of architectural production and experimentation become inextricable from the conceptual territories defined by these two key thinkers, producing a rigorous discussion of theoretical, practical, and experimental engagements with their ideas.

Deleuze and Guattari never identified as anarchists, nor do they seem to know much about its historical development or continued praxis. Yet their individual and collective work belies this apparent and wilful oversight through a steady consideration of revolutionary subjectivity and active political experimentation.Chantelle Gray argues that while we cannot — and should not — attempt to call them anarchists, their work resonates with core anarchist principles such as prefiguration, careful experimentation and emergent strategies aimed at creating a feeling that life is worth living. This involves paying attention to both joyous affects and sad passions, which necessitates the affirmation of all of chance and, from that, fabulating new modes of existence. By bringing together the philosophy of Deleuze and Guattari with the theory and practices of anarchism, this book demonstrates that fabulating the future is nothing short of a noetic act, making reasonable something which initially was senseless.

This study illuminates the complex interplay between Deleuze and Guattari’s philosophy and architecture. Presenting their wide-ranging impact on late 20th- and 21st-century architecture, each chapter focuses on a core Deleuzian/Guattarian philosophical concept and one key work of architecture which evokes, contorts, or extends it.Challenging the idea that a concept or theory defines and then produces the physical work and not vice versa, Chris L. Smith positions the relationship between Deleuze and Guattari’s philosophy and the field of architecture as one that is mutually substantiating and constitutive. In this framework, modes of architectural production and experimentation become inextricable from the conceptual territories defined by these two key thinkers, producing a rigorous discussion of theoretical, practical, and experimental engagements with their ideas.

This new reading of Gilles Deleuze forges a link between his early and later works by decoding his hidden agenda for communism.Encoded in the idea of ‘the Third World’, Deleuze used his concept of communism as a bulwark against fascist politics and the liberal political economy. Inspired by May 68 and its aftermath, these concealed interpretations of Marx are now tacitly forgotten but can unlock a deeper understanding of Deleuze’s political project.Often regarded as an apolitical philosopher, the challenges that Deleuze mounted to structuralism are easy to overlook. By reinvigorating the communist aspect of his political project and linking his ideas to Alain Badiou, Jacques Rancière and Slavoj Žižek, Alex Taek-Gwang Lee reveals Deleuze’s objective: to rescue Marxism from the dogmatic status quo and revive its political agendas. This major undertaking situates his ideas alongside and sets out a new framework for reading the significance of Marxist thought in postwar France. Ultimately, this new understanding of Deleuze’s critique of global capitalism opens up his vision of materialistic politics as a means of shaping the people and the proletariat of the future.

This new reading of Gilles Deleuze forges a link between his early and later works by decoding his hidden agenda for communism. Encoded in the idea of ''the Third World'', Deleuze used his concept of communism as a bulwark against fascist politics and the liberal political economy. Inspired by May 68 and its aftermath, these concealed interpretations of Marx are now tacitly forgotten but can unlock a deeper understanding of Deleuze''s political project.Often regarded as an apolitical philosopher, the challenges that Deleuze mounted to structuralism are easy to overlook. By reinvigorating the communist aspect of his political project and linking his ideas to Alain Badiou, Jacques Rancière and Slavoj Žižek, Alex Taek-Gwang Lee reveals Deleuze''s objective: to rescue Marxism from the dogmatic status quo and revive its political agendas. This major undertaking situates his ideas alongside and sets out a new framework for reading the significance of Marxist thought in postwar France. Ultimately, this new understanding of Deleuze''s critique of global capitalism opens up his vision of materialistic politics as a means of shaping the people and the proletariat of the future.

This new reading of Gilles Deleuze forges a link between his early and later works by decoding his hidden agenda for communism. Encoded in the idea of ''the Third World'', Deleuze used his concept of communism as a bulwark against fascist politics and the liberal political economy. Inspired by May 68 and its aftermath, these concealed interpretations of Marx are now tacitly forgotten but can unlock a deeper understanding of Deleuze''s political project.Often regarded as an apolitical philosopher, the challenges that Deleuze mounted to structuralism are easy to overlook. By reinvigorating the communist aspect of his political project and linking his ideas to Alain Badiou, Jacques Rancière and Slavoj Žižek, Alex Taek-Gwang Lee reveals Deleuze''s objective: to rescue Marxism from the dogmatic status quo and revive its political agendas. This major undertaking situates his ideas alongside and sets out a new framework for reading the significance of Marxist thought in postwar France. Ultimately, this new understanding of Deleuze''s critique of global capitalism opens up his vision of materialistic politics as a means of shaping the people and the proletariat of the future.

This new reading of Gilles Deleuze forges a link between his early and later works by decoding his hidden agenda for communism.Encoded in the idea of ‘the Third World’, Deleuze used his concept of communism as a bulwark against fascist politics and the liberal political economy. Inspired by May 68 and its aftermath, these concealed interpretations of Marx are now tacitly forgotten but can unlock a deeper understanding of Deleuze’s political project.Often regarded as an apolitical philosopher, the challenges that Deleuze mounted to structuralism are easy to overlook. By reinvigorating the communist aspect of his political project and linking his ideas to Alain Badiou, Jacques Rancière and Slavoj Žižek, Alex Taek-Gwang Lee reveals Deleuze’s objective: to rescue Marxism from the dogmatic status quo and revive its political agendas. This major undertaking situates his ideas alongside and sets out a new framework for reading the significance of Marxist thought in postwar France. Ultimately, this new understanding of Deleuze’s critique of global capitalism opens up his vision of materialistic politics as a means of shaping the people and the proletariat of the future.

Music After Deleuze explores how Deleuzian concepts offer interesting ways of thinking about a wide range of musics. The concepts of difference, identity and repetition offer novel approaches to Western art music from Beethoven to Boulez and Bernhard Lang as well as jazz improvisation, popular and sacred music. The concepts of the ‘rhizome’, the ‘assemblage’ and the ‘refrain’ enable us to think of the specificity of musical works as the meeting of productive forces, for example in the contemporary opera of Dusapin and the experimental music theatre of Aperghis. The concepts of smooth and striated space form the starting point for musical and political reflections on pitch in Western and Eastern music. Deleuze’s notion of time as multiple illumines the distinctive conceptions of musical time found in Debussy, Messiaen, Boulez, Carter and Grisey. Finally, the innovative semiotic theory forged in Deleuze-Guattarian philosophy offers valuable insights for a semiotics capable of engaging with the innovative, molecular music of Lachenmann, Aperghis and Levinas.

Deleuze''s relationship with theology is a complex one. Indeed, there seem to be many possible objections to such an ''assemblage'' taking place. In the first book of its kind to engage with this seemingly problematic dialogue, Kristien Justaert shows the ways in which Deleuze''s thought can in fact advance issues in political and liberation theology in particular, while also exploring theimportant theological and spiritual aspirations contained in Deleuze''s philosophy itself, as part of his lifelong quest for the ''Absolute''. Justaert examines the theological components in Deleuze''s writings, investigating the theological potential of four notions that circle around the central Deleuzian concept of ''Life'': immanence, spirituality, creativity and politics. The book goes on to connect Deleuze with both established theologies and possible theologies for the future, identifying areas in which Deleuze can contribute to the dynamics of contemporary theology, and argues that aspects of Deleuze''s philosophy can enable theology to become more meaningful in a globalised world. This is the ideal introduction to Deleuzian theologies, and Deleuze''s own theology, for advanced undergraduate and postgraduate students.

Deleuze’s fondness for geography has long been recognised as central to his thought. This is the first book to introduce researchers to the breadth of his engagements with space, place and movement. Focusing on pressing global issues such as urbanization, war, migration, and climate change, Arun Saldanha presents a detailed Deleuzian rejoinder to a number of theoretical and political questions about globalization in a variety of disciplines. This systematic overview of moments in Deleuze’s corpus where space is implicitly or explicitly theorized shows why he can be called the twentieth century’s most interesting thinker of space. Anyone with an interest in refining such concepts as territory, assemblage, body, event and Anthropocene will learn much from the “geophilosophy” which Deleuze and Guattari proposed for our critical times.

Cinema After Deleuze offers a clear and lucid introduction to Deleuze''s writings on cinema which will appeal both to undergraduates and specialists in film studies and philosophy. The book provides explanations of the many categories and classifications found in Deleuze''s two landmark books on cinema and offers assessments of a range of films, including works by John Ford, Sergei Eisenstein, Alfred Hitchcock, Michelangelo Antonioni, Alain Resnais and others. Contemporary directors such as Steven Spielberg, Lars von Trier, Martin Scorsese and Wong Kar-wai are also examined in the light of Deleuze''s theories, thus bringing Deleuze''s writings on cinema right up to date. Cinema After Deleuze demonstrates why Deleuze is rightly considered today to be one of the great philosophers of cinema. The book is essential reading for students in philosophy and film studies alike.

Recent political theory has shifted decidedly towards ontology, the 'science of being', and thus towards examining fundamental concepts of identity, difference, space, and time. This new focus has reinvigorated questions concerning the nature of power, meaning, truth and agency, inspiring novel approaches to individual and collective subjectivity, the emergence of political events and the relationship between desire and politics. In this new study, Nathan Widder shows how Deleuze's philosophy both inspires and presses beyond political theory's 'ontological turn'.Linking his thought to current political theory debates, Widder explains how Deleuze's philosophy and ontology of difference are cashed out through a micropolitics of creative and critical experimentation. He further demonstrates how Deleuze challenges ideas of identity and the subject that still dominate both political thought and practice today. Connecting Deleuze to key figures in both classical and contemporary political philosophy, from Plato and Aristotle to Hegel, Nietzsche, Lacan, and Foucault, this book will be of interest to students and scholars in political theory, philosophy, and related disciplines, looking to engage the emerging field of Deleuze studies.

Deleuze's relationship with theology is a complex one. Indeed, there seem to be many possible objections to such an 'assemblage' taking place. In the first book of its kind to engage with this seemingly problematic dialogue, Kristien Justaert shows the ways in which Deleuze's thought can in fact advance issues in political and liberation theology in particular, while also exploring theimportant theological and spiritual aspirations contained in Deleuze's philosophy itself, as part of his lifelong quest for the 'Absolute'. Justaert examines the theological components in Deleuze's writings, investigating the theological potential of four notions that circle around the central Deleuzian concept of 'Life': immanence, spirituality, creativity and politics. The book goes on to connect Deleuze with both established theologies and possible theologies for the future, identifying areas in which Deleuze can contribute to the dynamics of contemporary theology, and argues that aspects of Deleuze's philosophy can enable theology to become more meaningful in a globalised world. This is the ideal introduction to Deleuzian theologies, and Deleuze's own theology, for advanced undergraduate and postgraduate students.

Music After Deleuze explores how Deleuzian concepts offer interesting ways of thinking about a wide range of musics. The concepts of difference, identity and repetition offer novel approaches to Western art music from Beethoven to Boulez and Bernhard Lang as well as jazz improvisation, popular and sacred music. The concepts of the 'rhizome', the 'assemblage' and the 'refrain' enable us to think of the specificity of musical works as the meeting of productive forces, for example in the contemporary opera of Dusapin and the experimental music theatre of Aperghis. The concepts of smooth and striated space form the starting point for musical and political reflections on pitch in Western and Eastern music. Deleuze's notion of time as multiple illumines the distinctive conceptions of musical time found in Debussy, Messiaen, Boulez, Carter and Grisey. Finally, the innovative semiotic theory forged in Deleuze-Guattarian philosophy offers valuable insights for a semiotics capable of engaging with the innovative, molecular music of Lachenmann, Aperghis and Levinas.

Deleuze’s fondness for geography has long been recognised as central to his thought. This is the first book to introduce researchers to the breadth of his engagements with space, place and movement. Focusing on pressing global issues such as urbanization, war, migration, and climate change, Arun Saldanha presents a detailed Deleuzian rejoinder to a number of theoretical and political questions about globalization in a variety of disciplines. This systematic overview of moments in Deleuze’s corpus where space is implicitly or explicitly theorized shows why he can be called the twentieth century’s most interesting thinker of space. Anyone with an interest in refining such concepts as territory, assemblage, body, event and Anthropocene will learn much from the “geophilosophy” which Deleuze and Guattari proposed for our critical times.

This is a clear and concise overview of and introduction to Deleuze in the field of politics. "Political Theory After Deleuze" provides an accessible introduction to Deleuze in the field of politics by putting his thought directly into dialogue with contemporary debates in political theory. The book focuses particularly on Deleuze's contribution to emerging debates in political theory. As these developments are a response to the inadequacies many theorists find with traditional dominant approaches, the book speaks to those traditional approaches as well. The book is not an exegesis of Deleuze's ideas on politics or political theory, but rather a re-reading of the field from a Deleuzian perspective. Nathan Widder shows how Deleuze offers a distinctive contribution to debates in political theory that are trying to rethink the nature of pluralism, individual and collective subjectivity, power relations and the state, the emergence of political events, and the role of desire in politics.Deleuze already figures in many of these debates and this book makes his contribution more accessible to a student audience and facilitates communication between the emerging field of Deleuze Studies and political theory as it is currently taught. "The Deleuze Encounters" series provides students in philosophy and related subjects with concise and accessible introductions to the application of Deleuze's work in key areas of study. Each book demonstrates how Deleuze's ideas and concepts can enhance present work in a particular field.

Music After Deleuze explores how Deleuzian concepts offer interesting ways of thinking about a wide range of musics. The concepts of difference, identity and repetition offer novel approaches to Western art music from Beethoven to Boulez and Bernhard Lang as well as jazz improvisation, popular and sacred music. The concepts of the ‘rhizome’, the ‘assemblage’ and the ‘refrain’ enable us to think of the specificity of musical works as the meeting of productive forces, for example in the contemporary opera of Dusapin and the experimental music theatre of Aperghis. The concepts of smooth and striated space form the starting point for musical and political reflections on pitch in Western and Eastern music. Deleuze’s notion of time as multiple illumines the distinctive conceptions of musical time found in Debussy, Messiaen, Boulez, Carter and Grisey. Finally, the innovative semiotic theory forged in Deleuze-Guattarian philosophy offers valuable insights for a semiotics capable of engaging with the innovative, molecular music of Lachenmann, Aperghis and Levinas.

This title presents a clear and concise introduction to Gilles Deleuze's complex relationship with the various fields of theology. Deleuze's relationship with theology is a complex one. Indeed, there seem to be many possible objections to such an 'assemblage' taking place. In the first book of its kind to engage with this seemingly problematic dialogue, Kristien Justaert shows the ways in which Deleuze's thought can in fact advance issues in political and feminist theology in particular, while also exploring the important theological and spiritual aspirations contained in Deleuze's philosophy itself, as part of his lifelong quest for the 'Absolute'. Justaert examines the theological components in Deleuze's writings, examining the influence of such modern thinkers as Spinoza and Leibniz and showing that the concepts of univocity, expression and creativity give Deleuze's metaphysics a distinctly theological character.The book goes on to connect Deleuze with established theologies, identifying areas in which Deleuze can contribute to the dynamics of contemporary theology, and argues that aspects of Deleuze's philosophy can enable theology to become more meaningful in a globalised world. This is the ideal introduction to Deleuzian theologies, and Deleuze's own theology, for advanced undergraduate and postgraduate students. "The Deleuze Encounters" series provides students in philosophy and related subjects with concise and accessible introductions to the application of Deleuze's work in key areas of study. Each book demonstrates how Deleuze's ideas and concepts can enhance present work in a particular field.

This is a clear and concise overview of and introduction to Deleuze's theories of cinema. "Cinema After Deleuze" offers a clear and lucid introduction to Deleuze's writings on cinema which will appeal both to undergraduates and specialists in film studies and philosophy. The book provides explanations of the many categories and classifications found in Deleuze's two landmark books on cinema and offers assessments of a range of films and directors, including works by John Ford, Sergei Eisenstein, Alfred Hitchcock, Michelangelo Antonioni and Alain Resnais. Richard Rushton also discusses contemporary directors such as Steven Spielberg, Lars von Trier, Martin Scorsese and Wong Kar-Wai in the light of Deleuze's theories and in doing so brings Deleuze's Cinema books right up to date. "Cinema After Deleuze" demonstrates why Deleuze is rightly considered today to be one of the great theorists of cinema. The book is essential reading for students in philosophy and film studies alike. "The Deleuze Encounters" series provides students in philosophy and related subjects with concise and accessible introductions to the application of Deleuze's work in key areas of study.Each book demonstrates how Deleuze's ideas and concepts can enhance present work in a particular field.

Music After Deleuze explores how Deleuzian concepts offer interesting ways of thinking about a wide range of musics. The concepts of difference, identity and repetition offer novel approaches to Western art music from Beethoven to Boulez and Bernhard Lang as well as jazz improvisation, popular and sacred music. The concepts of the 'rhizome', the 'assemblage' and the 'refrain' enable us to think of the specificity of musical works as the meeting of productive forces, for example in the contemporary opera of Dusapin and the experimental music theatre of Aperghis. The concepts of smooth and striated space form the starting point for musical and political reflections on pitch in Western and Eastern music. Deleuze's notion of time as multiple illumines the distinctive conceptions of musical time found in Debussy, Messiaen, Boulez, Carter and Grisey. Finally, the innovative semiotic theory forged in Deleuze-Guattarian philosophy offers valuable insights for a semiotics capable of engaging with the innovative, molecular music of Lachenmann, Aperghis and Levinas.

Deleuze's fondness for geography has long been recognised as central to his thought. This is the first book to introduce researchers to the breadth of his engagements with space, place and movement. Focusing on pressing global issues such as urbanization, war, migration, and climate change, Arun Saldanha presents a detailed Deleuzian rejoinder to a number of theoretical and political questions about globalization in a variety of disciplines. This systematic overview of moments in Deleuze's corpus where space is implicitly or explicitly theorized shows why he can be called the twentieth century's most interesting thinker of space. Anyone with an interest in refining such concepts as territory, assemblage, body, event and Anthropocene will learn much from the “geophilosophy” which Deleuze and Guattari proposed for our critical times.

Cinema After Deleuze offers a clear and lucid introduction to Deleuze's writings on cinema which will appeal both to undergraduates and specialists in film studies and philosophy. The book provides explanations of the many categories and classifications found in Deleuze's two landmark books on cinema and offers assessments of a range of films, including works by John Ford, Sergei Eisenstein, Alfred Hitchcock, Michelangelo Antonioni, Alain Resnais and others. Contemporary directors such as Steven Spielberg, Lars von Trier, Martin Scorsese and Wong Kar-wai are also examined in the light of Deleuze's theories, thus bringing Deleuze's writings on cinema right up to date. Cinema After Deleuze demonstrates why Deleuze is rightly considered today to be one of the great philosophers of cinema. The book is essential reading for students in philosophy and film studies alike.

Philosophy After Deleuze provides a concise and accessible introduction to Deleuze in relation to philosophical inquiry. The book shows how Deleuze's work contributes to contemporary debates in each of the major areas of philosophy: metaphysics, ethics, aesthetics, and political philosophy. Hughes begins by examining Deleuze's style, aiming to explain and justify Deleuze's often complex and challenging use of language by placing it within a discussion of the ends and methods of philosophical inquiry. He goes on to examine each of the major fields of philosophy through Deleuze's key concepts, showing how Deleuze challenges, articulates and contributes to contemporary debates in a way that has practical applications for anyone doing philosophy today. This is the ideal introduction to Deleuze for any student of philosophy.