The Generous Ethic of Deleuze

This paper argues that the affirmative philosophy of Gilles Deleuze opens for a generous ethic. Such ethic passes on new or different possibilities of life. The paper briefly outlines the basic ideas in Deleuze thinking that can be understood as generous. Then it suggests how paying attention is a prerequisite for practicing a generous ethics, that is, mainly being aware of what, how and why something happens. Finally, it exemplifies how--referring to Christopher Nolan＇s film Inception---we may practice a generous ethic.

Detour and Access,Deleuze and Guattari’s Researches on Chinese Immanent Becoming

This paper mainly discusses Gilles Deleuze and Félix Guattari’s researches on Chinese immanent becoming,they explain the theory of rhizome,the theory of becoming and the immanent philosophy from the relation between the grass and China,the line and Chinese Poetry Painting,the figure and chinese thougth,and display the others'visual angle from which they enter into Western philosophy by Chine.Meanwhile,by the intermediary of French sinologist Fran?ois Jullien,Deleuze and Guattari encounter the immanent transcendence of modern neo-confucianism on the plane of immanence.This shows the interleaving operation between Chinese thought and western philosophy,and presents the movements of the thoughts which become each other and fuse each other between Chinese thought and western philosophy.

The Aesthetics of Nature in Deleuze＇s Philosophy

In Critique of Pure Reason （1996）, Immanuel Kant says that the term ＂aesthetic＂ means ＂the science of the laws of sensibility＂ and suggests giving up usage of it to indicate ＂the critique of taste＂ which executes the criticism of the beautiful. It is well known that Gilles Deleuze was inspired by all genres of the arts, namely movies, paintings, music, and so on. However, this paper argues that what is more essential for Deleuzian philosophy is aesthetics as a science of sensibility. What motivated Deleuze, especially from the 1950s to the 1960s, seems to have consisted in discovering the weaknesses of the Kantian aesthetic in order to take it apart. In fact, one of the main themes in Difference and Repetition （1994） was to free ＂sensibility＂ itself from Kant＇s philosophical system. This theme subsisted in his writing even after the 1970s, and led him to develop a ＂natural philosophy＂ of sorts. This is because the supposition that ＂the sensibility itself＂ is independent from any human faculties gave him an opportunity to carefully consider the multiplicity and productivity of Nature itself. Finally, Deleuze created his own ＂ethology＂ that would capture the increasingly interrelated movements within Nature produced by heterogeneous elements. This paper describes the process of Deleuzian thought as outlined above, surveying his view of Kantian philosophy and the development of his natural philosophy as ＂the aesthetics of Nature.＂

Corpus, Body, and Sense in Nancy, Deleuze and Charles H. Long

This article investigates the role of the body in Jean-Luc Nancy＇s powerful essay Corpus, and critiques it from the standpoint of Agamben＇s biopolitics. For Nancy, the body becomes the privileged site of both existence and sense in a way that threatens to obscure the logic of exceptional decision that Agamben takes from Carl Schmitt. As an alternative to Nancy＇s understanding of the body, we can see in Deleuze a series of bodies that works in parallel to a series of sense or language, where sense and body do not get collapsed into each other. At the same time, contemporary continental philosophy resists the idealistic separation of thinking and embodiment. Deleuze calls this relation between sense and body a cut, but we could also consider a parallax, following Slavoj Zizek. Finally, African-American historian of religion Charles H. Long＇s work complements some of Deleuze＇s insights in a more explicitly postcolonial context.

Deterritorializing the Nation： Deleuzian Time, Space and Narrative in the Video Art of Lia Lapithi Shukuroglou

The purpose of this paper is to engage with Gilles Deleuze＇s work on time and space in cinema as a theoretical trajectory for exploring the video art of Lia Lapithi Shukuroglou. In Cinema 2： The Time-Image （1989）, Deleuze argues that post-Second World War cinema has been shaped by a historical transformation compelling it to create new signs and images. Centering on the post-war landscape of Cyprus in 1974, the moment of ＂historical transformation＂ in Deleuze is transposed to this national context; examining Lapithi＇s response to the crisis of historical time in its relation to physical spaces. It negotiates a contextualized reading of three videos and argues that they manifest Deleuzian ＂time-images＂. These texts react to the territorialization of real spaces by deterritorializing official national history. Using Martin Jones＇ study, Deleuze, cinema and national identity： Narrative time in national contexts （2006） Lapithi＇s time-images are interpreted as ＂unruly＂ as they resist a linear narrative and destabilize public time. Contrary to Martin Jones＇s view that time-images constitute a temporary deviation from flowing national time, the author argues that Lapithi excavates alternative temporalities in perpetuity; whilst proposing that in the context of Cyprus the deterritorialization of space by time postpones the nation＇s identity.

“It Could Have Been Said!”—On the Dialogical Space Between Machery and Deleuze

This paper aims to parallelize the theorizations of Pierre Macherey and Gilles Deleuze.First,the author,according to Macherey,must have left something unsaid in his text.The unsaid or the narrative rupture is responsible for the multiplicity of the voices in the text,enabling the text to exist.Above all,Macherey argues that the unsaid or the narrative rupture emerges from how the author chooses to represent ideology.That is,Macherey’s so-called unsaid or narrative rupture is actually what the author could have said;it is in fact a potentiality embedded in the text.On the other hand,when postulating his virtual(ity)/actual(ity)couplet,Deleuze asserts that the virtual(ity)is actually a potentiality that can be tapped.To be more precise,the virtual(ity)has its own reality,and once actualized,it will be transformed into something entirely new and different.Here,the dialogical space between Macherey and Deleuze is plain to see:Macherey’s so-called unsaid or narrative rupture is literally Deleuze’s so-called virtuality.When the unsaid is said,a virtuality is actualized.And a potentiality is thus tapped.By such a reading strategy,we readers are presented with an enactment of an alternative case scenario of the text,namely,how the text could have been made over.In the end,an example of this reading strategy is provided:Macherey argues that Marquis de Sade’s desire-ruled society is more oppressive.What de Sade has left unsaid is the problematic relationship between desire and oppression.And it is exactly the potentiality in his works.

情动理论与电影的纠缠

首先提出情动概念的是17世纪的斯宾诺莎,他区分了人类认知过程的“广延样态”和“思维样态”,即未被意识到的情感和已被意识到的观念。德勒兹将这一观念用于电影,提出了“情动—影像”的概念,并将其囿于电影镜头中“面容”的表达。面容又被分为张力的面容和反射的面容,对应着斯宾诺莎两种不同的“样态”。从电影的角度,德勒兹把情动—影像分成三个不同的层次:类型电影附加了“物”的特写;一般剧情电影对应人的面容;高度艺术化和实验性的作品则变成了“任意空间”的碎片。三个层次的两个端点便是面容的两分。今天,情动理论在电影研究中的使用,主要是对类型电影的分析,也有人综合德勒兹的“无器官身体”“生成”等理论,将其用作一般剧情电影的分析工具。

观众身体与博物馆的相遇——基于德勒兹身体美学理论的思考

本文基于德勒兹的身体哲学观点,探讨博物馆观众身体与博物馆空间之间的关系。作为公共文化场所的博物馆通过空间规划、展品控制等方式影响观众,观众作为“无器官的身体”又具有流动性和创造性。观众的“无器官的身体”用于抵抗博物馆空间对其的限制,博物馆为观众创造“无器官的身体”的体验空间,发挥观众在博物馆中的创造力,从而实现个人价值观的解放与重塑,推动观众对于历史和当今社会的思考。

论库尔塔格三部作品的“引用”现象——基于德勒兹“块茎”理论分析与阐释

当代匈牙利著名作曲家库尔塔格的音乐创作中存在一种独特的“引用”现象,可理解为库氏本人惯用的音乐创作手法。从形式上看,这种“引用”汇集了借用、拼贴、现成品挪用等一系列音乐创作手法,但其实质却隐含诸多与作曲家创作思维及理念休戚相关的复杂问题。库氏音乐创作中的“引用”现象在其室内乐作品中得到了充分体现,并得到法国哲学家吉尔·德勒兹的“块茎”理论对其分析与阐释。

德勒兹思想与间性诗学

20世纪以来,间性的凸现已成为学界的理论共识,但是法国哲学家吉尔•德勒兹的间性思想却为学界所忽视。德勒兹基于差异哲学与生成思维对柏拉图以来的理性主义传统进行解构,创造了“块茎”“解域—再结域”“生成”“多元体”“装配”等大量原创性的间性诗学范畴。这些范畴十分注重相遇所建立的“与……”的关系,交叠着复杂互动的间性关系之张力。德勒兹的间性诗学范畴,一方面为分析渗透着同质文化与异质文化间性的移民文学、流散文学、族裔文学、非洲文学、华文文学等文学现象提供了理论利器,另一方面为思考当代文艺理论的拓展提供了新的范式与路径。

技术审视与资本主义批判——德勒兹控制社会理论研究

技术与社会、人类生活的关系是双向的,其既是权力结构的一部分,也是影响和改变这些结构的动力。随着数字化时代的到来,技术成为了构建社会控制体系的核心,整个社会形成了一个以技术为中心、以个体为对象的社会控制体系。德勒兹强调现代社会已经进入控制社会,这不仅反映在社会控制机制的变化上,还反映出权力关系的演变和社会结构的复杂性。他还认为不能简单地将控制社会为实现其影响力所建构的数字锁链视为技术发展的产物,而应深刻解析其背后隐藏的权力动态和资本主义公理。为了摆脱控制社会对于个体的规定和规范,他建构了“生成”这一反抗的新策略,呼吁个体重新建立与身体、社会和自由的关系。

“图形表”:德勒兹绘画现象学的核心概念

文字与图像、话语与图形、文本与视觉之间的关系问题在20世纪下半叶以来备受艺术理论界关注,德勒兹以联结理论和艺术实践的路径来关注这一重要问题。德勒兹哲学关注运动和差异,强调艺术的感觉保存能力,批判“语音中心主义”和“逻各斯中心主义”,其中,“图形表”(diagram)是贯穿其一生哲学和艺术写作的核心概念。本文认为,德勒兹的“图形表”的重要功能是解辖域化(deterritorialisation)。本文试图通过分析“图形表”的概念、内涵与功能,结合德勒兹对弗朗西斯·培根绘画的批评写作,深入剖析德勒兹的绘画现象学。

“相信此世”——在与克尔凯郭尔的对话之中重释德勒兹的“否定主义”

德勒兹与克尔凯郭尔之间的哲学对话,近来愈发成为研究界关注的一个热点。但其中也暴露出两个明显的问题,一是过于将克尔凯郭尔“德勒兹化”,进而忽视了绝对否定这个二者之间的关键区分;二是过于局限于文本的出处细节,而无法在二者之间找到深层的互通。纠偏和推进该项研究,需要首先围绕绝对否定这个要点辨析两位哲人关于生成-主体的不同理解,再进一步从否定性这个要点出发对德勒兹哲学本身进行一番重释。减损式的否定性操作充其量只具有局部和过渡的效应,但在两卷本《电影》中深入诠释的“相信此世”这个命题却逐步展现出绝对否定的潜藏契机。

回到自在的差异——德勒兹对黑格尔辩证法的三重批判

德勒兹对黑格尔辩证法持鲜明的批判态度,他认为在黑格尔那里,差异仅仅被理解为辩证的、思辨的差异,即绝对精神内部的自相矛盾,而这种自相矛盾又随着绝对精神的自我回归得到最终解决。通过回到自在的差异,他彻底颠覆了黑格尔辩证法的三重机制:表象主义、同一哲学和绝对体系,从而避免了在黑格尔的地基上反对黑格尔。首先,德勒兹追溯了以往哲学史对差异的表象主义把握,揭示出黑格尔式的辩证运动是由概念所表象的差异趋向最高同一性的运动,是取消了真实差异的虚假运动而非自在的差异运动,因而只是使自在的差异无法出场的无限大的表象运动。其次,黑格尔辩证法的否定性原则是绝对精神自我回归的原则,而不是差异之逃逸的去中心化原则。要真正使自在的差异现身,还需要进一步使自在的差异从黑格尔同一哲学的外部否定和中心化管理之下逃逸出去,不是以同一性否定差异,而是肯定差异自身的差异化力量。最后,在以柏拉图主义为肇始的绝对体系破产之后,黑格尔的绝对知识体系的地位也岌岌可危,重新向自在的差异敞开要求颠转柏拉图主义中原型与拟像的地位,认识到主动综合之下的被动综合,转变对自在的差异的态度。

德勒兹“影像自身”的真实性策略

德勒兹在他的电影理论中提出了一个“影像自身”的概念,这一概念立足于事物初始源起的状态,渐次生成发展成为“影像”,其真实性蕴含于这一过程之中。尽管真实性没有在电影理论中被正面论述,但却可以在德勒兹有关“生成”的理论中找到,并且,真实性的基因同样存在于德勒兹对于电影的分类之中,德勒兹将其作为电影分类的原则,因而成为世界上独一无二的电影分类。

“翻译间性论”:基于德勒兹和加塔利哲学概念的阐释

翻译是一种居间的活动,其中的任一要素均是间性的存在。传统翻译研究对间性的讨论建立在本体论视域上,探讨的主体间性、文本间性和文化间性仍未摆脱二元对立的认知束缚。后现代多元文化语境下,翻译中的各要素为同一时空中共生并在且相互联系的存在体。基于对法国后现代哲学家吉尔·德勒兹和菲利克斯·加塔利提出的“块茎”“辖域化-解辖域化-再辖域化”“层”“褶子”等概念中“间性”理论的分析,提出“翻译间性论”。研究发现,翻译中的间性具有多元性、动态性、联系性和生成性。间性视域下的翻译研究要打破惯常自上而下的分析方法,关注翻译在多元动态派生网中的连接、转换和生成过程以及其中多元异质因素的动态连结和联系制约。

Media Theory:The Turn from Humanism to Anti-Humanism

This article traces the shift in media theory from humanism to antihumanism,or from extensionism to assemblage theory and machinism.The suggestion is that the anti-humanistic orientation illuminates the human condition even better,especially in the post-industrial and digital ages when Kafkaesque absurdity characterizes human life.The article also points,if only in passing,to the relevance of interology to media-theoretic inquiry.

“生成之在”的建构——以德勒兹的重复哲学为视角

德勒兹的重复哲学以差异性逻辑颠覆同一性逻辑,体现了“重复”作为“生成之在”的生成性意义。作为一种以“重复”为基础,表达事物在保留核心元素之上反复缠卷的演化方式,中国文学的回旋诗学运用重复修辞呈现差异,在思维方式和文化内核上同样体现了生成论意义。以德勒兹的重复哲学为视角,“回旋”的反线性时间特质与德勒兹的时间理论相契合,视时间为差异瞬间的共存和循环,揭示了差异性世界的生成方式和生命的创造性本质。

创造生命的“逃逸线”--波伏瓦《形影不离》中的人物形象解读

法国哲学家德勒兹与伽塔利“逃逸线”理论中的三种“线”象征着波伏瓦的自传性小说《形影不离》中三位主人公的命运:帕斯卡如“克分子线”循规蹈矩,安德蕾如“分子线”左右摇摆,希尔维如“逃逸线”偏离正轨。它们相互干扰又相互交织,共同编织出20世纪初法国社会的文化图卷。三种人物形象在宗教信仰、人生道路和感情生活方面辖域化、相对解辖域化与绝对解辖域化的过程,揭示了主人公命运悲剧的社会根源,体现了波伏瓦对个人与社会关系问题的哲学性思考,即偏离正轨的反叛精神有助于破除父权制社会的中心主义与二元对立模式的枷锁。

译之“分裂”:论精神分裂分析与翻译模因论的融合

分裂与翻译理论与实践密不可分。学界多探讨译者“发挥之限”,鲜有对译者“存在之限”的深入探讨。译者存在之限在于主体内部差异的张力,这与精神分裂分析的要旨相当。此外,精神分析到精神分裂分析演化所展现的“意识分裂—欲望分裂—存在分裂—差异生产”的进路与译界从追求“对等”到力挺“生产”的倾向暗存勾连。本文抓取精神分裂分析成理之路径,证明译论与译者主体分裂之实,梳理翻译模因论与精神分裂分析在“进化”与“革命”两大逻辑以及“演化”与“欲望”两大概念的接洽之理,并以“装配”概念为切入论证译者研究“前/潜”描写的逻辑基础与实施可能。这可为翻译和译者进行再定位,拓展当代译论与精神分裂分析融合发展的概念路径,并为译者研究注入跨学科活力。