Difference and repetition deleuze pdf
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Are these statements equivalents or antonyms? Could a Deleuzian metaphilosophical definition of what it means to think with images be suitable to resolve this continental-analytic gap? This means opening the philosophical field to new ways of expression, to challenge what we think the philosophical praxis to be. With this article, my aim is to show the Deleuzian conditions for a film to think-whenever it creates sensations that persist, through employing a composition of affects and percepts that do not rely on the human sentiendum. A film provides us a possible world that is self-referential and autopoietic, but its thought should not be in the screenplay or in its dialogues verbal language though may exist in between images and sounds a montage is the assemblage of movement-images. Thus, as we will see, a filmmaker thinks in terms of audio-visual sensations. In this sense, Griffith, Chaplin and Godard think about movement, time and gesture because their close-ups, indices of equivocity and faux raccords , their ideas seen as pre-concepts, are violent toward our normal way of feeling and thinking by mere recognition : these ideas are unexpected and unexperienced until that moment.
Kant and Spinozism pp Cite as. As explained in the introduction, twentieth-century French philosopher Gilles Deleuze is included in this book due to his continuity, as a critic and interpreter of Kant, with Jacobi, Herder, and Maimon. In this respect, and in respect of several key ideas of his major work Difference and Repetition , Deleuze is the contemporary inheritor of Maimon. Unable to display preview. Download preview PDF. Skip to main content.
More precisely, through his critical readings, Deleuze detaches difference from four key moments in Read Online · Download PDF. Save. Cite this Item.
Difference and repetition
Originally published in France, it was translated into English by Paul Patton in Difference and Repetition was Deleuze's principal thesis for the Doctorat D'Etat alongside his secondary, historical thesis, Expressionism in Philosophy: Spinoza. The work attempts a critique of representation. In the book, Deleuze develops concepts of difference in itself and repetition for itself , that is, concepts of difference and repetition that are logically and metaphysically prior to any concept of identity. Some commentators interpret the book as Deleuze's attempt to rewrite Immanuel Kant 's Critique of Pure Reason from the viewpoint of genesis itself.
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Edinburgh: Edinburgh University Press, This is certainly true of DR, in which Deleuze attempts to prioritize the principle of difference over the principle of identity, all within the framework of a critique of the history of Western philosophy. Thankfully, however, Williams's reading of Deleuze is able to capture the originality of DR while liberating those of us who, like this author, are not completely au fait with the intricacies of Deleuzian thought, from some of the quandaries engendered by its inherent complexity. In writing this book, Williams's intention is to critically analyze the methodology and the arguments contained in Deleuze's book. Williams treats DR —uncontroversially, I think—as the "keystone" of Deleuze's work taken as a whole, and also as a book that is of deep significance to the broader history of philosophy. His introduction spells out the finer details of this broader significance of DR, in addition to offering some admirably concise explanations of the book's main themes and concerns.