My short essay on Irigaray’s relation to Nietzsche could be divided into the beginnings of six arguments: First, Nietzsche continues to hold a special place in Irigaray’s thinking. Second, Amante Marine is an important part of Irigaray’s elemental philosophy. Third, Irigaray’s insistence on depth over surface in Amante Marine points to two different ways Nietzsche has been taken up in French Philosophy, which could be characterized as the difference between surface and depth. Fourth, Irigaray’s Amante Marine anticipates the most recent direction in Nietzsche scholarship, which focuses on plants and the earth. Fifth, following Nietzsche, Irigaray suggests that we can learn lessons about sharing the earth from plants. And, finally, Irigaray’s elemental philosophy resonates with my own conception of earth ethics as responsiveness to other earthlings and our environment, which I develop in my recent book Earth and World.
{"title":"Reading Nietzsche with Irigaray: Not your garden-variety philosophy","authors":"Kelly Oliver","doi":"10.5195/JFFP.2019.877","DOIUrl":"https://doi.org/10.5195/JFFP.2019.877","url":null,"abstract":"My short essay on Irigaray’s relation to Nietzsche could be divided into the beginnings of six arguments: First, Nietzsche continues to hold a special place in Irigaray’s thinking. Second, Amante Marine is an important part of Irigaray’s elemental philosophy. Third, Irigaray’s insistence on depth over surface in Amante Marine points to two different ways Nietzsche has been taken up in French Philosophy, which could be characterized as the difference between surface and depth. Fourth, Irigaray’s Amante Marine anticipates the most recent direction in Nietzsche scholarship, which focuses on plants and the earth. Fifth, following Nietzsche, Irigaray suggests that we can learn lessons about sharing the earth from plants. And, finally, Irigaray’s elemental philosophy resonates with my own conception of earth ethics as responsiveness to other earthlings and our environment, which I develop in my recent book Earth and World.","PeriodicalId":41846,"journal":{"name":"Journal of French and Francophone Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46980947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In a new book titled Wild Things: Queer Theory After Nature, I develop a new critical vocabulary to access different, transdisciplinary ways of thinking about race, sexuality, alternative political imaginaries and queer futurity and extinction. Wildness in no way signals the untamed frontier, or the absence of modernity, the barbarian, the animalistic or the opposite of civilization. Rather, in a post-colonial and even de-colonizing vein, it has emerged in the last few years as a marker of a desire to return queerness to the disorder of an unsorted field of desires and drives; to the disorienting and disquieting signifying functions it once named and held in place; and to a set of activist and even pedagogical strategies that depend upon chance, randomness, surprise, entropy and that seek to counter the organizing and bureaucratic logics of the state with potential sites of ungovernability and abjection. Wildness signifies in my project in a number of different ways, but here I use the framework of “abjection” to explain some of the appeal of wildness and a few of the ways in which it expresses relations between the unnamable, the excessive, horror and death. Later on, I will turn to a set of performances and art projects that are deliberately auto destructive and that collectively imagine the end of the human.
{"title":"A Frightful Leap into Darkness: Auto-Destructive Art and Extinction","authors":"J. Halberstam","doi":"10.5195/JFFP.2018.853","DOIUrl":"https://doi.org/10.5195/JFFP.2018.853","url":null,"abstract":"In a new book titled Wild Things: Queer Theory After Nature, I develop a new critical vocabulary to access different, transdisciplinary ways of thinking about race, sexuality, alternative political imaginaries and queer futurity and extinction. Wildness in no way signals the untamed frontier, or the absence of modernity, the barbarian, the animalistic or the opposite of civilization. Rather, in a post-colonial and even de-colonizing vein, it has emerged in the last few years as a marker of a desire to return queerness to the disorder of an unsorted field of desires and drives; to the disorienting and disquieting signifying functions it once named and held in place; and to a set of activist and even pedagogical strategies that depend upon chance, randomness, surprise, entropy and that seek to counter the organizing and bureaucratic logics of the state with potential sites of ungovernability and abjection. Wildness signifies in my project in a number of different ways, but here I use the framework of “abjection” to explain some of the appeal of wildness and a few of the ways in which it expresses relations between the unnamable, the excessive, horror and death. Later on, I will turn to a set of performances and art projects that are deliberately auto destructive and that collectively imagine the end of the human.","PeriodicalId":41846,"journal":{"name":"Journal of French and Francophone Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43242083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper offers a Kristevan reading of Antoon's The Corpse Washer. Although this text focuses specifically on Arab/Muslim culture, which cannot be translated into a racial category, this reading is meant to show the pertinence of Kristevan psychoanalytic theory in a non-Western context. One might go about linking such psychoanalytic work on non-Western writing to “race” in two ways. Insofar as The Corpse Washer demonstrates the validity of Kristevan psychoanalytic theory for non-Western art/artists, it implies the universality of that theory, despite ethnicity, race, religion, etc. Or if we presuppose the universality of Kristevan psychoanalytic theory, we may think of such work as testing the assumption that psychoanalysis can traverse all such culturally constructed boundaries.
{"title":"Kristeva's Severed Head in Iraq: Antoon’s The Corpse Washer","authors":"F. Restuccia","doi":"10.5195/JFFP.2018.858","DOIUrl":"https://doi.org/10.5195/JFFP.2018.858","url":null,"abstract":"This paper offers a Kristevan reading of Antoon's The Corpse Washer. Although this text focuses specifically on Arab/Muslim culture, which cannot be translated into a racial category, this reading is meant to show the pertinence of Kristevan psychoanalytic theory in a non-Western context. One might go about linking such psychoanalytic work on non-Western writing to “race” in two ways. Insofar as The Corpse Washer demonstrates the validity of Kristevan psychoanalytic theory for non-Western art/artists, it implies the universality of that theory, despite ethnicity, race, religion, etc. Or if we presuppose the universality of Kristevan psychoanalytic theory, we may think of such work as testing the assumption that psychoanalysis can traverse all such culturally constructed boundaries.","PeriodicalId":41846,"journal":{"name":"Journal of French and Francophone Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46023454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From the early centuries, the Evangelist John has been referred to as “the theologian.” And rightly so, for Christian theology, as we have come to know it, is inconceivable without his Gospel and especially its Prologue. Its words have provided the vocabulary for theological reflection thereafter, and it seems certain that, until the middle to the end of the second century, the annual celebration of Christ’s Passion, Pascha, was only celebrated by those who recalled how John had worn the distinctive headdress of the high priest in Jerusalem: the only disciple to remain at the foot of the cross, John was, for them, the high priest of the paschal mystery. It is thus perhaps not surprising that it was especially in John, and his words about the revelation of Christ, the Word and Life, that Michel Henry found a vision of Christianity that resonated with the phenomenology that he had been investigating from his initial magnum opus, The Essence of Manifestation, through to his final Christian trilogy: first, I Am the Truth: Towards a Philosophy of Christianity, then several years later, during which time he read Tertullian and most importantly Irenaeus, Incarnation: A Philosophy of Flesh, and finally, appearing in print posthumously, Words of Christ.
{"title":"Unveiling the Pathos of Life: The Phenomenology of Michel Henry and the Theology of John the Evangelist","authors":"J. Behr","doi":"10.5195/jffp.2018.861","DOIUrl":"https://doi.org/10.5195/jffp.2018.861","url":null,"abstract":"From the early centuries, the Evangelist John has been referred to as “the theologian.” And rightly so, for Christian theology, as we have come to know it, is inconceivable without his Gospel and especially its Prologue. Its words have provided the vocabulary for theological reflection thereafter, and it seems certain that, until the middle to the end of the second century, the annual celebration of Christ’s Passion, Pascha, was only celebrated by those who recalled how John had worn the distinctive headdress of the high priest in Jerusalem: the only disciple to remain at the foot of the cross, John was, for them, the high priest of the paschal mystery. It is thus perhaps not surprising that it was especially in John, and his words about the revelation of Christ, the Word and Life, that Michel Henry found a vision of Christianity that resonated with the phenomenology that he had been investigating from his initial magnum opus, The Essence of Manifestation, through to his final Christian trilogy: first, I Am the Truth: Towards a Philosophy of Christianity, then several years later, during which time he read Tertullian and most importantly Irenaeus, Incarnation: A Philosophy of Flesh, and finally, appearing in print posthumously, Words of Christ. ","PeriodicalId":41846,"journal":{"name":"Journal of French and Francophone Philosophy","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70740287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Last year I published an autobiographical text in the form of interviews with a young psychologist entitled Je me voyage. The title’s neologism gives a nod to my foreign status in the French language which has largely determined my psychosexual positioning in research and in writing; the psychic experience has been central to my life’s trajectory (which I will not elaborate on here.) In my familial context, culture constituted a world that made life liveable —and I experienced life, due to the importance accorded to language, as survival, as an intimate resistance and an inherent creativity in social time.
{"title":"The Psychic Life: A Life in Time: Psychoanalysis and Culture","authors":"J. Kristeva","doi":"10.5195/JFFP.2018.860","DOIUrl":"https://doi.org/10.5195/JFFP.2018.860","url":null,"abstract":"Last year I published an autobiographical text in the form of interviews with a young psychologist entitled Je me voyage. The title’s neologism gives a nod to my foreign status in the French language which has largely determined my psychosexual positioning in research and in writing; the psychic experience has been central to my life’s trajectory (which I will not elaborate on here.) In my familial context, culture constituted a world that made life liveable —and I experienced life, due to the importance accorded to language, as survival, as an intimate resistance and an inherent creativity in social time. ","PeriodicalId":41846,"journal":{"name":"Journal of French and Francophone Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43873932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In her early work on Modernist poetry and avant-garde poetics, Julia Kristeva proposed a bifurcated view of the poetic text as simultaneously constituted by both a “genotext” and a “phenotext.” Reading the “genotext” of any given poem might start by “pointing out the transfers of drive energy that can be detected in phonematic devices (such as the accumulation and repetition of phonemes or rhyme) and melodic devices (such as intonation or rhythm)”; and, in her words, it would also need to take into consideration “the way semantic and categorial fields are set out in syntactic and logical features.” This essay seeks to demonstrate how Harryette Mullen’s Muse & Drudge might be analyzed at the level of its genotext, taking (arbitrarily) as its primary example the first of the book’s eighty poems to illustrate how a straightforwardly genotextual analysis might proceed. The essay contends that, by closely observing the genotext of Mullen’s poetry in Muse & Drudge, one may eventually arrive at a more comprehensive understanding of the “polyvocal” and “polymorphous” nature of the language and poetic design of the poems in this enigmatic collection.
{"title":"Reading the Genotext in Harryette Mullen’s Muse & Drudge: “Sapphire’s lyre styles…”","authors":"W. Scott","doi":"10.5195/JFFP.2018.856","DOIUrl":"https://doi.org/10.5195/JFFP.2018.856","url":null,"abstract":"In her early work on Modernist poetry and avant-garde poetics, Julia Kristeva proposed a bifurcated view of the poetic text as simultaneously constituted by both a “genotext” and a “phenotext.” Reading the “genotext” of any given poem might start by “pointing out the transfers of drive energy that can be detected in phonematic devices (such as the accumulation and repetition of phonemes or rhyme) and melodic devices (such as intonation or rhythm)”; and, in her words, it would also need to take into consideration “the way semantic and categorial fields are set out in syntactic and logical features.” This essay seeks to demonstrate how Harryette Mullen’s Muse & Drudge might be analyzed at the level of its genotext, taking (arbitrarily) as its primary example the first of the book’s eighty poems to illustrate how a straightforwardly genotextual analysis might proceed. The essay contends that, by closely observing the genotext of Mullen’s poetry in Muse & Drudge, one may eventually arrive at a more comprehensive understanding of the “polyvocal” and “polymorphous” nature of the language and poetic design of the poems in this enigmatic collection.","PeriodicalId":41846,"journal":{"name":"Journal of French and Francophone Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46642241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Without the maternal hold, without its herethical ethics and sublimation, without the stability (fragile as it may be) that this hold can bring, we are melancholically or defensively driven to commit the most heinous acts of atrocity and violence in the name of eternal life, development, and progress. For the most part, Kristeva has described the combination of personal loss and social, cultural, and historical pressures brought to bear on the vexed (but ultimately successful) sublimation of the maternal hold by artists like Giovanni Bellini. More recently, however, her attention has turned to other contemporary examples, in particular, Max Beckmann whose works, she claims, sublimate the loss of the maternal hold itself. They are examples of a Sacred Family, a Pietà, or a Dormition that have undergone a radical transformation. They are representations of a society, a culture, indeed a world, that is losing its maternal hold; a world that is losing both its herethical ethics, and the capacity to sublimate its apoptotic inheritance. Following Kristeva, I will put Eduardo Lalo’s book of poems and drawings Necrópolis (2014) in a tradition of representation of the maternal hold that is close to a thousand years old. This tradition goes from the confrontation with nothingness in Theophane the Greek’s Dormition (1392) to the modern matricide represented in Pablo Picasso’s Maternity Apple (1971).
{"title":"From Necrotic to Apoptotic Debt: Using Kristeva to Think Differently about Puerto Rico’s Bankruptcy","authors":"B. Trigo","doi":"10.5195/JFFP.2018.854","DOIUrl":"https://doi.org/10.5195/JFFP.2018.854","url":null,"abstract":"Without the maternal hold, without its herethical ethics and sublimation, without the stability (fragile as it may be) that this hold can bring, we are melancholically or defensively driven to commit the most heinous acts of atrocity and violence in the name of eternal life, development, and progress. For the most part, Kristeva has described the combination of personal loss and social, cultural, and historical pressures brought to bear on the vexed (but ultimately successful) sublimation of the maternal hold by artists like Giovanni Bellini. More recently, however, her attention has turned to other contemporary examples, in particular, Max Beckmann whose works, she claims, sublimate the loss of the maternal hold itself. They are examples of a Sacred Family, a Pietà, or a Dormition that have undergone a radical transformation. They are representations of a society, a culture, indeed a world, that is losing its maternal hold; a world that is losing both its herethical ethics, and the capacity to sublimate its apoptotic inheritance. Following Kristeva, I will put Eduardo Lalo’s book of poems and drawings Necrópolis (2014) in a tradition of representation of the maternal hold that is close to a thousand years old. This tradition goes from the confrontation with nothingness in Theophane the Greek’s Dormition (1392) to the modern matricide represented in Pablo Picasso’s Maternity Apple (1971).","PeriodicalId":41846,"journal":{"name":"Journal of French and Francophone Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45763300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the triumvirate of personalities and motives—from Wright and Baldwin to Coates—we encounter the essential elements of the “crisis” that configures black passage in the New World. These lines of kinship, both consanguineous and ineffable, travelling from father to son, from uncle to nephew, from one generation to the next, lend us a figurative rhythm that grasps the notion of the processional—the traversal of time and space that remains fundamentally mysterious, just as we can put our finger directly on the problem—black life is still as endangered and precarious as it ever was. If one regards such passage as a “crisis,” then it is precisely because it is riddled with turning points, sudden ruts and rifts in the road when the way seemed smooth and clear—those moments when decisions must be made—and from that perspective, African-American cultural apprenticeship offers, by definition, crisis not as a state of exception, but rather, as a steady state, given historical pressures that bear in on it and that become, as a result, intramural pressures. What I wish to do in these remarks is to clarify one of the questions engendered by this predicament, and that is to say, the riddle of identity and how it matters, but even more than an inquiry into the identitarian, I am searching for a protocol through intramural space.
{"title":"Time and Crisis: Questions for Psychoanalysis and Race","authors":"H. Spillers","doi":"10.5195/JFFP.2018.855","DOIUrl":"https://doi.org/10.5195/JFFP.2018.855","url":null,"abstract":"In the triumvirate of personalities and motives—from Wright and Baldwin to Coates—we encounter the essential elements of the “crisis” that configures black passage in the New World. These lines of kinship, both consanguineous and ineffable, travelling from father to son, from uncle to nephew, from one generation to the next, lend us a figurative rhythm that grasps the notion of the processional—the traversal of time and space that remains fundamentally mysterious, just as we can put our finger directly on the problem—black life is still as endangered and precarious as it ever was. If one regards such passage as a “crisis,” then it is precisely because it is riddled with turning points, sudden ruts and rifts in the road when the way seemed smooth and clear—those moments when decisions must be made—and from that perspective, African-American cultural apprenticeship offers, by definition, crisis not as a state of exception, but rather, as a steady state, given historical pressures that bear in on it and that become, as a result, intramural pressures. What I wish to do in these remarks is to clarify one of the questions engendered by this predicament, and that is to say, the riddle of identity and how it matters, but even more than an inquiry into the identitarian, I am searching for a protocol through intramural space.","PeriodicalId":41846,"journal":{"name":"Journal of French and Francophone Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42529175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Here I investigate the possibility of a phenomenological approach to Christianity, with the understanding that this would not be a matter of proposing an interpretation, but that such an “approach” would be able to lead directly to the heart of Christianity. I will say immediately that a phenomenology that would be able to undertake such a task is not the historical phenomenology that was born with Husserl. Only an ideal phenomenology that would become what is required would be able to respond to our investigation. This ideal phenomenology is a phenomenology of life.
{"title":"Christianity: A Phenomenological Approach?","authors":"M. Henry","doi":"10.5195/jffp.2018.836","DOIUrl":"https://doi.org/10.5195/jffp.2018.836","url":null,"abstract":"Here I investigate the possibility of a phenomenological approach to Christianity, with the understanding that this would not be a matter of proposing an interpretation, but that such an “approach” would be able to lead directly to the heart of Christianity. I will say immediately that a phenomenology that would be able to undertake such a task is not the historical phenomenology that was born with Husserl. Only an ideal phenomenology that would become what is required would be able to respond to our investigation. This ideal phenomenology is a phenomenology of life.","PeriodicalId":41846,"journal":{"name":"Journal of French and Francophone Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41556777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the idea of film as a possible means for articulating original philosophical concepts, in Gilles Deleuze’s sense of concepts. The first of two parts, critically re-examines current ideas about film as philosophy in relation to Deleuze’s ideas on philosophy and cinema/art. It is common within the field of film-philosophy to trace back its central argument that film/cinema is capable of expressing original philosophy, to Deleuze’s cinema books. In and around these books, however, Deleuze did not express such an idea and rather underlined sharp formal differences between cinematic thinking and philosophy (however much he also described and implied proximities and similarities). Cinematic thinking takes the form, he argues, of blocks of movement/duration whereas philosophy is defined as the art of creating concepts. Still, could a close critical scrutiny of and some creativity with Deleuze’s thought allow for taking a step he did not take? The second part of the article takes on the speculative question of whether it is possible to create a notion from within Deleuze’s thought as a whole, that allows for at least the theoretical possibility of articulating original philosophical concepts – as Deleuze defines them (as a particular kind of multiplicity) – in and through film, and what this would mean for our understanding of the concrete form of concepts. The article examines Deleuze’s concept of concepts (how he defines their internal logic and by which formal means he implies that they can be articulated), his descriptions of complicating intersections between philosophy and art, some partly conflicting statements on Godard over the years, aspects of his analyses of filmic thinking in Cinema 2 that can be seen to provide preliminary components for articulating concepts in and through film, and it discusses the place and function of words and texts in such filmic articulations. If the aim of the first part is to clarify Deleuze’s positions on film and philosophy (often muddled in current film-philosophical writings) the aim of the second part resonates with the Deleuzian/Nietzschean quest for formal renewal of philosophy. The overall aim is to re-problematize and provide subtle new means for conceiving of and discussing the notion of film as philosophy.
{"title":"Deleuze, Concepts, and Ideas about Film as Philosophy: A Critical and Speculative Re-Examination","authors":"J. Nilsson","doi":"10.5195/JFFP.2018.834","DOIUrl":"https://doi.org/10.5195/JFFP.2018.834","url":null,"abstract":"This article explores the idea of film as a possible means for articulating original philosophical concepts, in Gilles Deleuze’s sense of concepts. The first of two parts, critically re-examines current ideas about film as philosophy in relation to Deleuze’s ideas on philosophy and cinema/art. It is common within the field of film-philosophy to trace back its central argument that film/cinema is capable of expressing original philosophy, to Deleuze’s cinema books. In and around these books, however, Deleuze did not express such an idea and rather underlined sharp formal differences between cinematic thinking and philosophy (however much he also described and implied proximities and similarities). Cinematic thinking takes the form, he argues, of blocks of movement/duration whereas philosophy is defined as the art of creating concepts. Still, could a close critical scrutiny of and some creativity with Deleuze’s thought allow for taking a step he did not take? The second part of the article takes on the speculative question of whether it is possible to create a notion from within Deleuze’s thought as a whole, that allows for at least the theoretical possibility of articulating original philosophical concepts – as Deleuze defines them (as a particular kind of multiplicity) – in and through film, and what this would mean for our understanding of the concrete form of concepts. The article examines Deleuze’s concept of concepts (how he defines their internal logic and by which formal means he implies that they can be articulated), his descriptions of complicating intersections between philosophy and art, some partly conflicting statements on Godard over the years, aspects of his analyses of filmic thinking in Cinema 2 that can be seen to provide preliminary components for articulating concepts in and through film, and it discusses the place and function of words and texts in such filmic articulations. If the aim of the first part is to clarify Deleuze’s positions on film and philosophy (often muddled in current film-philosophical writings) the aim of the second part resonates with the Deleuzian/Nietzschean quest for formal renewal of philosophy. The overall aim is to re-problematize and provide subtle new means for conceiving of and discussing the notion of film as philosophy.","PeriodicalId":41846,"journal":{"name":"Journal of French and Francophone Philosophy","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47519764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：