德勒兹论文学

• 視力低下.com

  2022-03-05
  萨德和马索克通常被视为他们名字所代表的性倒错（perversions）的典型病例，但德勒兹认为他们都是权力与欲望的社会结构的伟大症状学家。这两位作家创造了各自的复本（double）世界，这个复本世界作为某种文化批评形式发挥作用并打开生命的新可能性。但德勒兹认为，二者所构想的世界彼此不可通约，并且，我们不能错误地将其理解为施虐受虐恋（sadomasochism）综合征。萨德的世界充满着理性的谵妄（delirium）、反讽的演示，以及重复的机械运动，而马索克的世界则充满着图像的幻想、幽默的教导和冻结的悬置。作为症状学家，萨德和马索克揭示和批判了不同的符征群，作为艺术家，他们将性倒错的要素转换成新世界的组成部分。
• Schliere

  2021-08-13
  Deleuze elaborates on the concept of visions and auditions, suggesting finally that literature’s vocation is always to push language to its outside, and in the process to open words to the world.
• Schliere

  2021-08-13
  The line of flight ultimately is the trajectory of a process of becoming-other, the course of a line that always “passes between.” The line of flight is both inside and outside language, and its presence is manifest in a constant tendency of language to move beyond itself.
• Schliere

  2021-08-13
  For Deleuze and Guattari, language is a form of action, and linguistic regularities are merely partial components of power structures that enforce regular patterns of practice. When writers subvert phonetic, syntactic and semantic conventions, they activate lines of continuous variation that are immanent within language and thereby disrupt the regular functioning of fixed power relations. Deleuze and Guattari see Kafka as a writer who “minorizes” the major configurations of power that play through words, exploiting the instabilities and anomalies of his linguistic situation and inventing new semantic usages of the speech-acts that circulate in his milieu. Far from being a private voice of despair, they claim, Kafka is a political writer who engages a collective function of language in an e...
• Schliere

  2021-08-13
  Deleuze and Guattari argue that Kafka’s concept is less one of a literature written by a linguistic or cultural minority per se, than one of a literature issuing from a minor usage of language, that is, from a manipulation of linguistic variables that sets them in disequilibrium.
• Schliere

  2021-08-13
  Kafka is a cultural physician, in that he diagnoses the diabolical powers of the future and prescribes lines of flight from those powers.
• Schliere

  2021-08-13
  Those tendencies are virtual rather than actual, but they are nonetheless real, for which reason The Trial is not simply a representation of the social machine of the Law but itself an experimentation on the real.
• Schliere

  2021-08-13
  This narrative of the Law is no mere fiction for Deleuze and Guattari, for they argue that in The Trial Kafka discloses the “diabolical powers of the future”—those of Nazism, Stalinism and bureaucratic capitalism
• Schliere

  2021-08-13
  Proust’s interpretation of signs is part of the unfolding of a chaosmos, one that includes its author within it, and that issues from a specific point of view, but that finally transcends the author and makes of him a mere component of the chaosmos-machine’s functioning. Proust is a great interpreter of signs and symptomatologist of cultural ills, but as cultural physician he is ultimately the constructor and construction of a giant literary machine.
• Schliere

  2021-08-13
  Yet the truth of artistic signs, Deleuze shows, is not that of an objective reality nor one of subjective associations, but the truth of a self-differentiating difference that unfolds itself and thereby creates a universe.
• Schliere

  2021-08-13
  Proust’s Recherche documents Marcel’s apprenticeship in signs, whereby the young man moves from the vapid signs of the world, through the deceptive signs of love and the sensual signs of involuntary memory, to the profound signs of art.
• Schliere

  2021-08-13
  The Proustian sign is a hieroglyph, an enigma that enfolds a hidden content that must be unfolded through interpretation.
• Schliere

  2021-08-13
  Deleuze refers to Proust’s A la recherche du temps perdu as “a general semiology, a symptomatology of worlds”
• Schliere

  2021-08-13
  Sade’s universe is one of rational delirium, ironic demonstration and reiterated mechanical movement, whereas Masoch’s is one of imaginary phantasy, humorous education and frozen suspension.
• Schliere

  2021-08-13
  But the worlds each constructs are incommensurable, Deleuze claims, and not to be understood in terms of the false syndrome of sadomasochism.
• Schliere

  2021-08-13
  Sade and Masoch are often viewed as specimens of the perversions associated with their names but Deleuze argues that each is a great symptomatologist of social structures of power and desire. Each fashions a double of the universe that functions as a form of cultural critique and that opens new possibilities for life.
• Schliere

  2021-08-13
  The cultural physician is not simply an interpreter of signs, but also an artist who joyfully eradicates cultural pathogens and invents new values that promote and enhance life.
• Schliere

  2021-08-13
  The writer for Deleuze is a Nietzschean physician of culture, both a symptomatologist who reads culture’s signs of sickness and health, and a therapist whose remedies promote new possibilities for life.
• Schliere

  2021-08-13
  Yet despite the ubiquity of literary concerns and citations in his works, nowhere does Deleuze directly offer a systematic “theory” of literature, nor is one easily extrapolated from his various literary studies. Much of Deleuze’s writing on literature is a thinking-alongside literary works, an engagement of philosophical issues generated from and developed through encounters with literary texts.
• 璇璇璇

  2021-05-19
  德勒兹思想中有许多广泛及一般的概念都可启发文学分析的创造性思维，其中包括符号与路线。德勒兹关于普鲁斯特的符号研究与一般的符号学分析相去甚远，对他而言，符号与其是一种符码，不如说是一个谜，是一次冒险的邀请，而不是个别意义的钥匙。对德勒兹而言，符号是一神秘图文（hieroglyph），一个隐藏内容的秘密，召唤一次新的理解。符号隐藏差异，与符号的真正遭遇才开启做为生产力道的差异。艺术作品做为符号的汇集，并非要求传统意义上的诠释，而是要求参与、启动及使用。从这一点看来，艺术作品是机器而非人工制品，其功能更甚于表意。而在伟大作品中符号所产生的是一个可能世界的敞开（unfolding），一个时空标准坐标之外的宇宙，有其自身的“他世界”（otherworldly）空间，及其自身的“不合时宜”（untimely）时间。普鲁斯特的多部头小说追溯叙述者的符号学程，引导他从社会生活的世俗符号，通过爱恋与非自主性回忆的符号，抵达艺术符号，并与艺术作品中转换所有显现的符号。此一符号学程提供了理解一般美学符号敞开的模式，而这一见解对于理解多数的文学类型即传统相当具有潜能。