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.

“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.

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.

Dreaming Forward: Postidentity and the Generative Thresholds of Tourism

This manuscript from Hollinshead and Vellah calls for researchers in Tourism Studies and related Fields to reflect upon their own role in refreshing the social imaginaries of“after-colonialism”under the nomadisms of our time.Deleuzian in outlook,it positions the“post”of postcolonialism not as an end to colonialism’s imperatives but as a generative-portal through which new-seeds-of-”becoming”are discernable as the postidentities(rather than the“identities”)of populations are interpretable in multidirectional,non-hierarchical,and not easily-predictable ways.In provoking(after Deleuze)thought per rhizomatic processes(rather than via fixed concepts),the manuscript-critiquing these dynamic matters of“postidentity”-then harnesses the insights of(Leela)Ghandi’s on hybrid-nomadic-subjects,and of Venn on alternative-(com)possible-futures.Thereafter,these concerns of and about“after-colonialism”are critically contextualised within Aboriginal“Australia”,via the views of a pool of Indigenous intellectuals there,who synthesise the disruptive dialectics of belonging-cum-aspiration which they maintain that they and fellow Aboriginal people(of many sorts)face today.Throughout this manuscript,the agency and authority of tourism hovers in its sometimes-manifest/sometimes-latent generative power to project empowering postidentities for the world’s“host”or“visited”populations today.

A Shakespearean Critique of Emerson in Melville's Pierre:Metaphor as Smokescreen and Enthusiasm

This article is intended as a differential contribution to the study of Melville, still the central novelist of American literature in his complex, meditative negotiations of the various and often contradictory strands of the history of ideas that have impacted the United States since its founding generations: Calvinism, democratic ethics, Emersonian self-reliance, and even the skeptical mode of vision of American modernism(as characterized by writers of immigrant or Southern provenance such as O'Neill, or Faulkner), yet which Melville tellingly associates with Shakespeare and Hawthorne. Indeed, I take as a starting point Deleuze's assertion that Melville stands as the precursor to a crucial line of nihilistic thinking continuing in Nietzsche and culminating in literary modernism, and I explore the ramifications of this claim with reference to Melville's disastrous and often derided novel Pierre(1852), a bitter and digressive rumination on American life and letters following the critical and commercial failure of Moby Dick. A still controversial semi-narrative account of disavowed incest and class intolerance in the privileged, Northeastern milieu of Melville's early years, Pierre is also his most philosophical work up to that point, abundant in stylistic and structural experiment, most particularly in regard to what might connect fiction and literary language to contemporary philosophical discourses of idealism, metaphysics, and democratic ethics. Melville ultimately finds the crux of this connection in metaphor as that which links sensual, aesthetic, and cognitive experience to the abstract ideological commitments that govern our moral choices. Crucially, that link is neither simplistically causal nor necessarily positive.I argue that Melville slyly associates the incongruent literary styles that he deploys in Pierre with the differing, contesting philosophical world-views that the novel explicitly evokes(most notably the so-called "Transcendentalism" of Emerson). The vehicle for this experiment appears to be a rather surface-oriented view of literary style characterized by an extravagance of metaphoric density. It is this quality that, I argue, seems to divide Pierre into two distinct conceptual and stylistic parts: the fi rst is characterized by an exalted, ecstatic literary rhetoricrepresenting the confidence and self-reliance of the young hero, characterized by a rather Emersonian ‘organic unity' of nature and the mind's creative and poetic faculties that is meant to transcend all questions of literary taste. The style here is ‘enthusiastic,' as Melville characterizes his eponymous protagonist, thus relating Pierre to what cultural historians have noted as the chief quality of democratic optimism, Emersonian philosophy, and what Harold Bloom calls "The American Religion." The second, conveyed through what could be called a series of styles and variations whose only commonality is the critical reduction of and skepticism towards our "symbol-making capacity"(Sacvan Bercovitch), is associated with the novels' dark heroine Isabel, a spiritual seductress represented by uncanny, sensual imagery, and a lack of causal, narrative, temporal, or descriptive coherence. She represents all that is unutterable in human experience, up against which Pierre's impulsive self-reliance and selfdefi ned moral absolutism crashes. This second half of the book is fi tted with astonishing(and subsequently condemned) negativity towards received ethical and literary discourses of midcentury America: including a cryptic pseudo-philosophical tract on the incompatibility of time and(Christian) truth that parallels Deleuze's claims.In view of this contrast, metaphor in Pierre acts as a kind of smokescreen, calling attention to its own palpable richness as a desirable, aesthetic mode of experience, and yet concealing much more than it reveals, essentially misdirecting all communicants of language from actuality, including that which our socially determined and hierarchical language does not wish us to acknowledge, from the social abject(Isabel and the prurient discipline of working class sexuality) to the Freudian abject—away from what we might generally call knowledge of the world(which for Melville is invariably negative and tragic) but also, more ambiguously, from practical wisdom. Philosophically, the result is a sort of tragic reinterpretation(rather than rejection) of Emerson in a Shakespearean mode: for if a leisurely mode of satisfaction in reference to the spiritual authority of nature is initially satirized as the privilege of a landed gentry who neither know the world(in its material and social forces) nor themselves, nevertheless, the ultimate fruitlessness and irrelevancy of human endeavor in a fated and indifferent cosmos necessitates a tragic self-knowing, or emptying out of personal illusions, that paradoxically liberates the decisive individual action that Emerson prizes, even as such action(in Melville's novel) condemns the doer to social ostracism and extinction.

The Incommensurate/Illogical in Perelman/Marx: The Linguistic Pragmatics of American Humor

This article offers a preliminary analysis of the language of certain varieties of American comedy that arose out of the Vaudeville theater(from roughly 1910–1930)and,later,out of the culture of popular magazines from(roughly)the 1920s to the 1950s.The focus is on the exemplary and highly original comic language of S.J.Perelman(1904–1979),the Jewish prose humorist,and Perelman’s quasi-mentor,the legendary stage and screen comedian Groucho Marx(1890–1979),who was renowned for his improvisational wit.The article’s purpose is to explicate,with reference to important developments in 20th century linguistics and semiotics,some aspects of these highly original,self-conscious and indeed modernist verbal practices.It also tentatively explores the signif icance of these unconventional linguistic intuitions in regards to broader questions concerning the possibility of effective communication and,thus,the links between discourse and social ideology in a mid-century American context.The theoretical perspectives brought to bear on this subject include Grice’s theory of conversational implicature and Austin’s Speech Act Theory—both cornerstones of linguistic pragmatics—as well as Deleuze’s concept of a‘minor literature,’a theory of modernist literary practice substantially determined by earlier developments in semiotic theory and philosophical pragmatism.