This thesis explores how the novels of Virginia Woolf and Jean Rhys – To the Lighthouse, Between the Acts, After Leaving Mr Mackenzie and Wide Sargasso Sea – despite being set in times of wars and social change that influence personal lives, maintain an attachment to and love for life. This thesis proposes that Woolf and Rhys ‘locate’ this attachment to life in the moments and atmospheres of ‘strange intimacy’ – in sensual, affective, and oddly intimate moments and settings where (...) characters realise their bodily connection to the world of others, things, and places. This work suggests that this love for life is cultivated when life is seen as ‘a life’ and selves as ‘haecceities’ in the Deleuzian sense, and when we consider modern life as enchanted, not disenchanted. To examine the love for life and strange intimacies further, this thesis rethinks the works of Hélène Cixous in the light of contemporary theories of affect and new materialism that are inspired by Gilles Deleuze and Félix Guattari’s philosophies. This theoretical framework allows the examination of the complex ways in which intimacy, selfhood, and desire are portrayed in Woolf’s and Rhys’s modernist fiction. This thesis also demonstrates how post-structural feminism’s focus on radical alterity and its emphasis on and turn to materiality, the non-human, bodies, and affects, which are drawn together in the notion of écriture féminine, pre-figures the concerns of affect studies and new materialisms. The reading of Cixous’s, Deleuze and Guattari’s, and Bennett’s works performed in this thesis demonstrates how their theories of affect and the non-human help us to further our understanding of intimacy in the works of Woolf and Rhys and to reconsider the life-affirming, affective, and anti-Oedipal qualities of their modernism. Such an approach allows not only the discovery of a new understanding of Woolf’s and Rhys’s writings, but it contributes significantly to how we understand these theories and modernism in general. (shrink)

Concepts are traditionally pictured as discrete containers that bring together objects or qualities based on the possession of shared, uniform properties. This paper focuses on a contrasting notion of the concept which holds that concepts are defined by their capacity to reach out and connect with other concepts. Two theories in recent continental philosophy maintain this view: one from Ricoeur, the other from Deleuze and Guattari. Both are offered as attempts to bring art and philosophy into relation, but they differ (...) over how the process of connection is theorized. With Ricoeur, a concept is only a concept if it is inherently predisposed to connect with others, and open to being misapplied through metaphor, whereas, with Deleuze and Guattari, connection is left as the general notion of each and every concept being mutually consistent with other concepts, with the consistency attributed to the external action of “bridging.” The author demonstrates the impact of this difference on how the philosophers perceive the art–philosophy relation, and argues that Ricoeur is better placed to provide a theory of philosophical discourse that is open to the aesthetic. Ricoeur can show it through metaphor, while Deleuze and Guattari can only assert or state an art–philosophy relation through a series of technical claims. The significance of the showing–saying distinction is that it can demonstrate the depth with which conceptual connectivity is located within the philosophers’ respective ontologies, and can help to reveal the value of conceptual connectivity for that ontology. (shrink)

The analysis method and paradigm of film have become a controversial topic in the data-driven era. Film, is not only an attractive industry that can achieve filmmakers’ imagination but has become a perfect stimulus to understand human being’s mental activity. The core research in this study is to examine the impact of filmmaking experience and the role of narrative denoters from filmmakers’ construction to audiences’ interpretation. Based on previous studies and integrating cognitive approaches, the thesis re-explores the nature and essence (...) of film and proposes an alternative term - narrative denoter - which can be used as the indication of message exchanging between filmmakers and audiences. Using a released film that has a complete story to do the experiment, this study investigates the relationship between major, film interpretations, event segmentation, and audience’s preference. The result showed that filmmaking experience does not impact the interpretation of film; however the identification of the narrative denoter played an important role in film perception and cognition; apart from these, the audience’s preference did not correlate with film interpretation. With respect to this result, the narrative denoter can be indicator to demonstrate the message transitions from filmmaker to audience. Suggestions were made for future cognitive film studies on using the narrative denoters as a new analysis unit. (shrink)

In Against the Day, Pynchon is obsessed with twoness, double worlds, as well as dual realities, and like Deleuze’s concept of repetition, these duplications and twinships are not merely repetition of the same, rather they allow for creativity, reinvention, and becoming. Pynchon’s duplication of fictional and spectral characters intends to critique the notion of identity as does Deleuzian concept of repetition. Not attached to the representational concept of identity as the recurrence of the same, Pynchon’s duplications decenter the transcendental concept (...) in favor of a perpetual becoming and reproduces difference and singularity. Like Deleuze, Pynchon eschews an identity that is always guaranteed, and shows that the repetition of an object or a subject is not the recurrence of the original self-identical object or person. Moreover, Iceland spar, the mystifying calcite, with its doubling effect provides the reader with a view of a world beyond the ordinary, actual world, which is quite similar to what Pynchon’s novel does per se. (shrink)

It might sound rather convincing to assume that we owe the pleasure of reading the novel form to our elemental repository of physical perception, to our feelings. This would be true only if mere feelings could add up to something more than just emotions, to some deep understanding of the human. After all, a moment of epiphany, where we begin to realize things that dramatically disturb our normal state of mind, is not just emotional, nor indeed a simple moment. Despite (...) its root in the corporeal, a mo(ve)ment of affective realization reaches beyond the realm of the human and opens up the plane of virtual potentials. In this work, we intend to map out the points and relations of affective singularity that pervade the narrative of Toni Morrison’s Sula (1973). Also, we will discuss how these mo(ve)ments of sensation give form to Sula’s and Nel’s experiences and contribute to an affective transformation in morality and friendship. (shrink)

Gilles Deleuze, the notable post-modern philosopher, in his two-volume cinematic books Cinema 1: movement-image (1986) and Cinema 2: time-image (1989) recognizes two major periods in history of cinema (classic and modern) in terms of representing movement and time respectively. Referring to various films of modern cinema especially post-war European cinema like Italian neorealism, Cinema2 speaks about the possibility of direct presentation of time in cinematic works. Explaining Deleuze’s theories and his two formulations of direct presentation of time as ‘pure optical (...) situations’ and ‘sheets of the past’, in this essay we try to give an analysis of the two most important films of Iranian history of cinema: Still Life (1974) and Prince Ehtejab (1974). Finally, we will conclude that these films are not mere representation of preexisting philosophical concepts, rather in contrast to linguistic thought, they provide some kind of visual and non-linguistic philosophical meditations of time, cinema of time. (shrink)

Traditionally, kairos has been seen as a “timely” concept, and so invention is said to emerge fromthe timeliness of a cultural and historical situation. But what if invention was thought of as thepotential to shift historical courses through the injection of something new or alien into a situation?This essay argues that kairos has not been able to free itself from its historical constraints becauseit has been bound to a human sense of temporality. By evolving along patterns different from print,the apparatus (...) of the cinema developed in a way where it was not bound to illustrating movement ortimeas it occurs in human-centered experience. Following the work of Gilles Deleuze on cinema,this article argues that the outside of a human sense of time is an untapped source of invention,already present yet dormant within kairos. (shrink)

This article reflects on the successes and failures of a new Philosophy and Ethics course in a low socioeconomic context in Perth, Western Australia, with the eventual demise of the subject in the school at the end of 2010. We frame this reflection within Deleuzian notions of geophilosophy to advocate for a Philosophy and Ethics that is informed by nomadic thought, as this offers a critical freedom for students to transform themselves and their society and suggests practical ways both of (...) overcoming the prejudices which led to its demise and of student reluctance to engage in open discussion in class. We consider the demise of the course a ‘missed opportunity’ because it had so much potential to be transformative of student subjectivities in schools. (shrink)

Eleven top Deleuze scholars reclaim Deleuzian philosophy as moral philosophy Ethics plays a crucial, if subtle, role in Gilles Deleuze's philosophical project. Michel Foucault claimed that Anti-Oedipus was `a book of ethics, the first book of ethics to be written in France in quite a long time'. But what is the nature of the immanent ethics that is developed in Deleuze's thought? How does it differ from previous conceptions of ethics? And what paths does it open for future thought, given (...) the ethical challenges facing humanity in so many domains? Each of the eleven essays in this collection explores the ethical dimension of Deleuze's thought along a new and singular trajectory, and in so doing, attempts to reclaim his philosophy as an ethical philosophy. (shrink)

Desire is a key concept in Deleuzian philosophy. Deleuze's desire is quite different from that of other thinkers. Both in the West and in China, in the past as well in the present, desire is usually understood as something abnormal, avaricious and excessive, the opposite of rationality, to be controlled and suppressed in man. Deleuze's desire is much wider, referring not only to man, but also to animals, objects and social institutions. In Deleuze's view, desire is not a psychic existence, (...) not lack, but an active and positive reality, an affirmative vital force. Desire has neither object, nor fixed subject. It is like labour in essence, productive and actualisable only through practice. This paper discusses the formation, evolution and limitation of Deleuzian desire. (shrink)

Critical responses to Wide Sargasso Sea have seized upon Rhys's novel as an exemplary model of writing back. Looking beyond the actual repetitions which recall Brontë’s text, I explore Rhys's novel as an expression of virtual difference and becomings that exemplify Deleuze's three syntheses of time. Elaborating the processes of becoming that Deleuze's third synthesis depicts, Antoinette's fate emerges not as a violence against an original identity. Rather, what the reader witnesses is a series of becomings or masks, some of (...) which are validated, some of which are not, and it is in the rejection of certain masks, forcing Antoinette to become-Bertha, that the greatest violence lies. (shrink)

Gilles Deleuze (January 18, 1925–November 4, 1995) was one of the most influential and prolific French philosophers of the second half of the twentieth century. Deleuze conceived of philosophy as the production of concepts, and he characterized himself as a “pure metaphysician.” In his magnum opus Difference and Repetition , he tries to develop a metaphysics adequate to contemporary mathematics and science—a metaphysics in which the concept of multiplicity replaces that of substance, event replaces essence and virtuality replaces possibility. Deleuze (...) was also well-known for a number of important monographs he published in the history of philosophy (on Hume, Nietzsche, Kant, Bergson, Spinoza, Foucault, and Leibniz), as well as for his writings on the various arts, which include a two- volume study of the cinema, books on Proust and Sacher-Masoch, a monograph on the painter Francis Bacon, and a collection of essays on literature. Deleuze considered these latter works as pure philosophy, and not criticism, since he sought to create the concepts that correspond to the artistic practices of painters, filmmakers, and writers. In 1968, he met Félix Guattari, a political activist and radical psychoanalyst, with whom he wrote several works, among them the two-volume Capitalism and Schizophrenia , comprised of Anti-Oedipus (1972) and A Thousand Plateaus (1980). Their final collaboration was What is Philosophy? (1991). (shrink)

The analysis undertaken in this paper explores the significance of a central finding from a recent field study of home care case management practice: a notable feature of case management work is the preparation of an orderly, ordered space where care may be offered. However, out of their encounters with an almost endless variety of situations, out of people's diverse narratives of need, case managers seem able to pick out only limited range of recognized needs to which to respond and (...) demonstrate a series of responses themselves equally limited. Though this observation suggests a kind of efficiency that is currently highly valued within healthcare systems, it also underlines the system's inability to engage difference and variability in a meaningful way. This inability or limitation in effectively engaging difference is conceptualized here as, in some sense, a problem, and the nature of this problem is explored through the rhetorical process of problem setting. The central question becomes how might we develop and deploy an orderly and coherent system of care without essentializing people's experiences, without treating these experiences reductively, without, in a Foucaultian frame of reference, allowing what can be understood as similarity or resemblance among clients and situations to be folded back into sameness? As we encounter complexity, variability and difference in practice, how should we treat it? (shrink)

This paper articulates a feminist poststructural philosophy of education by combining the work of Luce Irigaray and Michel Foucault. This acts as an underpinning for a philosophy of desire (McWilliam, 1999) in education, or as a minor philosophy of education where multiple movements of bodies are enacted through theoretical methodologies and research. These methods include qualitative analysis and critical discourse analysis; where the conjunction Irigaray-Foucault is a paradigm for dealing with educational phenomena. It is also a rigorous materialism (Braidotti, 2005) (...) that opens up the way in which we think about philosophical bodies in education with language. This simultaneously creates gaps in our thinking about the problems associated with philosophical bodies in education, where the imagination may intercede and Eros can do his work, ‘For if Eros possessed all that he desires, he would desire no more’ (Irigaray, 1993, p. 22). (shrink)

Reconceptualist and post‐reconceptualist curriculum scholars have drawn upon the notion of a complicated curriculum conversation as a means to describe the imbricated, pluralist, and eclectic character of curriculum theorizing. Insofar as this curriculum conversation is accomplished via language however, it remains wed to a particular representational logic restricting what might be thought. This essay explores the question of what it means to theorize curriculum when the very idea of a complicated curriculum conversation begins to fall into cliché. Mobilizing the philosophical (...) thought of Gilles Deleuze, this essay analyzes three representational commitments of contemporary curriculum theorizing, addressing how each are inadequate for the theorization of difference or the instantiation of the radically new. Against the implicit commitment to conformity alive in the curriculum field, this essay posits an ethics of disidentification exemplified via Bruce McDonald's horror film Pontypool. It is via such a tactic of productive disidentification, this essay claims, that thought might be unfettered from the orthodoxies of common sense, becoming in this way more adequate for opening spaces unanticipated by contemporary representational regimes. (shrink)

In this paper I establish an alliance between the thought of Frantz Fanon and Gilles Deleuze's Philosophy of Difference. In light of Fanon's critique of Sartre's characterization of the place of the Negritude movement in terms of dialectic, I point to the inherent limitations of modern humanism's dialectical accounts for enabling genuine historical change. Alternatively, I appeal to Deleuze's distinction between history and becoming, and his concomitant idea of intensive becoming-revolutionary. I conclude that such an alliance with Deleuzian metaphysics holds (...) far greater promises for effecting Fanon's revolutionary project of the creation of a new humanity (and therefore, of a new ethics and a new politics) than his traditional assimilation to Phenomenology and Existentialism. (shrink)

This paper draws upon Deleuze and Guattari's ideas to suggest a different kind of reading of a narrative of a mother of a child with severe disability, and thus a different kind of ethical response to them. This reading gives readers the possibility of opening up experiences of parents and children with disability, rather than compartmentalising such stories. The reader becomes, is transformed, through reading these narratives and through engaging with the intensities which are recognised in the text, asking the (...) question ‘Does it work for me?’ This is what Gilles Deleuze calls ‘reading with love’. (shrink)

This article considers the academic writings and activism of the major Continental feminist philosopher Rosi Braidotti against the background of the growing religiously and racially biased anti-immigration sentiment in Europe. Special attention is paid to Braidotti’s recent response to the post-secular turn in feminism. The article contends that Braidotti’s work highlights and embraces the destabilising structural effects the intensified migration flows have on European identity. It argues that Braidotti charts new models of European subjectivity that would facilitate mutually affirmative and (...) trans-formative relationships between those (self-)perceived as Western feminists and those positioned as immigrant women. (shrink)

The body conceived of as a machinic assemblage becomes a body that is multiple. Its function or meaning no longer depends on an interior truth or identity, but on the particular assemblages it forms with other bodies. In this paper I draw on the work of Deleuze and Guattari to explore what happens to the drug using body when it is rethought as a machinic assemblage. Following an exploration of how the body of the drug user is put together and (...) stratified as a subject, and a careful manoeuvre through the bleak conception of the ‘drugged body’ provided by Deleuze and Guattari, I begin to map out some ethical alternatives. I argue that a body should, ultimately, be valued for what it can do (rather than what is essentially ‘is’), and that assemblages should be assessed in relation to their enabling, or blocking, of a body’s potential to become other. (shrink)

This thesis presents an examination of the giallo films of Dario Argento from his directorial debut The Bird with the Crystal Plumage to The Stendhal Syndrome'. In opposition to the dominant psychoanalytical approaches to the horror film generally and Argento's giallo specifically, this thesis argues that the giallo, both textually and meta-textually, actively resists oedipalisation. Taking up from Deleuze's contention in Cinema 1: The Movement Image that the cinematic-image can be consider the equivalent to a philosophical concept, I suggest that (...) Argento's giallo are examples of what Deleuze calls cinema of the "time-image": provoked and extended "philosophical" acts of imagining the world which opens up a theoretical space of thinking differently about questions of gender and genre in horror film, which takes us beyond the fixed images of thought offered by traditional psychoanalytical and feminist paradigms of horror. In the opening chapters of this thesis, I argue that the cinematic-image has to be thought "historically", and that it is only be understanding the emergence of the "giallo" in the 1960s within the wider picture of Italian national cinema, that we can understand Argento's films as specific cultural expressions of thought, which are not reducible to paradigms based upon analyses of the more puritan and fixed American horror film. In my subsequent discussion of Argento's "Diva" trilogy, I consider an assemblage of Deleuzian becoming and poststructuralist feminist thought as a mechanism through which to explore the increasingly feminised and feminist spaces of his later work. This thesis concludes by assessing Argento's critical and creative legacy in films such as Toshiharu Ikeda's Evil Dead Trap and Cindy Sherman's Office Killer. In these terms, a Deleuzian "approach", enables a set of readings, which open up the texts to a more productive consideration of their appeal, in a way which other more traditional approaches do not, and cannot, account for. The close textual and historical analysis demanded by Deleuze is both a reconsideration of the [feminist] politics of Argento's work, and a response to criticisms of misogynism. (shrink)

Published in 1972, Anti‐Oedipus was the first of a number of collaborative works between the French philosopher, Gilles Deleuze, and the French psychoanalyst and political activist, Felix Guattari. As the first of a two‐volume body of work that bears the subtitle, Capitalism and Schizophrenia, Anti‐Oedipus is, to say the least, an unconventional work that should be understood, in part, as a product of its time – created as it was among the political and revolutionary fervour engendered by the events of (...) ‘May 1968’. However, this paper will suggest that Anti‐Oedipus – as a critique of psychoanalysis and the Oedipus complex, as well as being a study of the relationship between capitalism and schizophrenia – should also be understood in a less ‘time‐bound’ fashion. In particular, the paper will examine Deleuze and Guattari’s formulation of a concept of ‘desire’ and its employment in relation to subjectivity, time, capitalism, representation, and the radical ‘therapeutic’ practice that they refer to as ‘schizoanalysis’. Moreover, nearly 40 years after the events of May 1968 and against possible doubts concerning the contemporary relevance of psychoanalysis, it will be suggested that psychoanalysis and the Oedipus complex are to be understood as symptomatic of a wider ‘malaise’ that can be discerned within psychiatry, psychotherapy, and contemporary capitalist society itself, and that it is this that forms the broader target of the book’s critique. Accordingly, by providing an accessible and critical introduction to Anti‐Oedipus, the paper also hopes to stimulate further discussion and research regarding both the critique and the contribution that the work can make to contemporary psychiatry, psychotherapy, and mental health nursing generally. (shrink)

The French philosopher, Gilles Deleuze, is emerging as one of the most important and influential philosophers of the 20th century, having published widely on philosophy, literature, language, psychoanalysis, art, politics, and cinema. However, because of the ‘experimental’ nature of certain works, combined with the manner in which he draws upon a variety of sources from various disciplines, his work can seem difficult, obscure, and even ‘willfully obstructive’. In an attempt to resist such impressions, this paper will seek to provide an (...) accessible introduction to Deleuze's work, and to begin to discuss how it can be employed to provide a significant critique and reconceptualization of the theoretical foundations and therapeutic practices of psychiatry, psychotherapy, and mental health nursing. In order to do this, the paper will focus upon Deleuze's masterwork, and the cornerstone to his philosophy as a whole, Difference and Repetition; in particular, it will discuss how his innovative and challenging account of time can be employed to provide a conception of human life as a ‘continuity’, rather than as a series of distinct ‘moments’ or ‘events’. As well as discussing the manner in which his work can provide us with an understanding of how life is different and significant for each human being, this paper will also highlight the potential importance of Deleuze's work for logotherapy, for the recent ‘turn’ to ‘narrative’ as a psychotherapeutic approach and for contemporary mental health care's growing interest in ‘social constructionism’. As such, this paper also seeks to stimulate further discussion and research into the importance and the relevance of Deleuze's work for the theory and practice of psychiatry, psychotherapy, and mental health nursing. (shrink)

This paper sets out a series of critical contrasts between Alain Badiou and Gilles Deleuze's philosophies of the event. It does so in the context of some likely objections to their positions from a broadly analytic position. These objections concern problems of individuation and location in space-time. The paper also explains Deleuze and Badiou's views on the event through a literary application on a short story by John Cheever. In conclusion it is argued that both thinkers have good answers to (...) the objections, but that they diverge on the ontological commitments of their definitions of the event. (shrink)

What is the future of Philosophy of education? Or as many of scholars and thinkers in this final ‘future-focused’ collective piece from the philosophy of education in a new key Series put it, what are the futures—plural and multiple—of the intersections of ‘philosophy’ and ‘education?’ What is ‘Philosophy’; and what is ‘Education’, and what role may ‘enquiry’ play? Is the future of education and philosophy embracing—or at least taking seriously—and thinking with Indigenous ethicoontoepistemologies? And, perhaps most importantly, what is that (...) ‘Future’? These debates have been located in the work of diverse scholars: from the West, from Global South, from indigenous thinkers. In this collective piece, we purposefully juxtapose diverse takes on the future of these intersections. We have given up the urge to organise, place together, separate with subheadings or connect the paragraphs that follow. Instead, we let these philosophers of education and thinkers who use philosophical texts and ideas to sit together in one long read as potentially ‘strange and unusual bedfellows’. This text urges us to understand how these scholars and thinkers perceive our educational philosophical futures, and how the work and thinking they have done on thinking about what the future of that new key in philosophy of education may look like is embedded in a much deeper and richer literature, and personal experience. (shrink)

Cultural appropriation, as both concept and practice, is a hugely controversial issue. It is of particular importance to the arts because creativity is often found at the intersection of cultural boundaries. Much of the popular discourse on cultural appropriation focusses on the commercial use of indigenous or marginalized cultures by mainstream or dominant cultures. There is, however, growing awareness that cultural appropriation is a complicated issue encompassing cultural exchange in all its forms. Creativity emerging from cultural interdependence is far from (...) a reciprocal exchange. This insight indicates that ethical and political implications are at stake. Consequently, the arts are being examined with greater attention in order to assess these implications. This article will focus on appropriation in literature, and examine the way appropriative strategies are being used to resist dominant cultural standards. These strategies and their implications will be analyzed through the lens of Deleuze and Guattari’s notion of minor literature. (shrink)

Using C. Wright Mills' book The Sociological Imagination as a touchstone for its discussion, this article addresses the relations between the sociological problem, relevance and experience as they are and could potentially be understood within sociology. Beginning with the historical relation between sociology, science and literature — a relation which has been productively but differently complicated by poststructuralist and postconstructivist theories — this article asks: to what extent does the empirical offer a referent for the sociological problem? To what is (...) sociology obliged to be relevant? Arguing for the continued relevance of relevance, particularly in the light of recent reforms in higher education in the UK and the USA, the article explores how the sociological problem might be transformed — and perhaps, more importantly, might be transformative — if the basic commitments of a research project were not to historical social structures but to virtual structures. (shrink)

This article proposes a reading of the lives of teachers through a Deleuzian-Guattarian materialistic approach. By asking the question ‘what kind of life do teachers live?’ this article reminds us that teachers sometimes welcome the imposed policies, procedures and programmes, the consequences of which remove them from students. This desire is compared to another desire—the desire for children. Teachers are seen as machines rather than singular organisms, so that what helps a teacher in her becoming are her connections to students. (...) Activities are seen in terms of intensities and flows, rather than as actions which crystallise such flows. Roald Dahl's story of Matilda is used as a fictional example of the above. (shrink)

Bu makalede, çağdaş felsefede önemli bir yere sahip olan Gilles Deleuze’ün, metafiziğin krizini veya öznenin krizini edebiyat ile aşma girişimine ilişkin bir değerlendirme yapmak amaçlanmıştır. Deleuze için edebiyat, parçalanmış ve alt bileşenlerine bölünmüş öznenin, duygu - düşünce yoğunluğu ile yeni yaşam alanları yaratmasıdır. Başka bir deyişle birey, içine hapis olduğu bedeninden edebiyatın yarattığı duygu - düşünce yoğunluğu ile çıkar. Bu anlamda duygu - düşünce yoğunluğu, öznede hareketsizle hareketlinin; yaşananla yaşanmayanın; hayal ile gerçeğin buluşmasını sağlar. Edebiyat bu yönü ile bütünüyle “bir (...) yaşam olayı"dır. Deleuze’e göre edebiyat “.. asla tamamlanmayan, her zaman meydana gelmekte olan ve her yaşanabilir ya da yaşanmış malzemeyi aşan bir oluş meselesidir”. Daha da önemlisi edebiyat yarattığı oluşumlarla, düşüncede yer alan teorik ve pratik arasındaki yarılmayı ortadan kaldıran bir deneyimdir. Çünkü edebiyat, yaşamı tanımlamaktan ziyade onun sahip olduğu oluş ve gücü açığa çıkartan bir etkinliktir. Bu yüzden, sağaltıcı bir edim dâhilinde yaşamsal problemlere çözüm üretme çabasında olduğu söylenebilir. Bu çaba, daha çok “bir yaşam etiği” olarak tanımlanabilir. (shrink)

The article explores the need to eat as a biological and social practice among children in a preschool in Norway. The children in this preschool are aged from one to two years of age, and some of them have just started there. Different events from mealtimes relate to Derrida's concept of touch and Grosz's notion of bodies in‐place and out‐of‐place. How food touches the children and the practitioners is further discussed through a consideration of body/place relations, which are both material (...) and reflect pedagogical discourses. Its overall context is not only touching the food in a concrete sense, but also food as touch seen as a philosophical concept. Analyzing touching relations around the table including movements in materiality, bodies and discourses of eating may empower the youngest children in a preschool setting. (shrink)

In the paper, I argue that the existing model of cultural-legal transplantation predicates on a binarism of overseas/local culture. Seeing the limitation of such a binary model, I aim to develop a transplantation/osmosis mechanism by elaborating the model of ‘cultural simularity’. I will also use the proposed model to examine how the Euro-American discourses of justice infiltrates/interacts with the Han-Chinese culture.

A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective of the (...) values of its participants. Its impetus involves ‘feminist imperative(s)’ to help in the sense articulated by Elizabeth Grosz: to provoke thought, challenge, and problematize. (shrink)

This paper both welcomes and explores the recent article in Nursing Philosophy by Dave Holmes and Denize Gastaldo. Holmes and Gastaldo's paper introduced us to Deleuze and Guattari's philosophical concepts of ‘arborescent thought’ and ‘rhizomatic thought’, respectively. These concepts were used to illuminate and critique certain aspects of contemporary nursing theory and educational practice. Arborescent thought is held to stifle and constrain the development of the discipline of nursing, while rhizomatic thought is presented as a more fitting way forward across (...) a diversity of knowledges and methods of inquiry. We are thus urged to engage in a metamorphosis from an arborescent way of thinking to a rhizomatic one. The paper below, while applauding the introduction of these concepts into nursing thought, raises some questions as to their proposed utility and relationship as given in the paper by Holmes and Gastaldo. This is done in a spirit of collaboration, motivated by a desire to further explore the philosophy of Gilles Deleuze (and Felix Guattari). (shrink)

Judith Butler argues that every category of personal identity, such as gender, the body, nationality, sexuality, or ethnicity, is predicated in part on a crisis between what that identity affirms and what it excludes. How this crisis manifests itself in everyday life is key to understanding how identities are reinforced, negotiated, subverted, or rejected on both social and individual levels. In this paper I consider three films directed by Kurosawa Kiyoshi between 2001 and 2006, arguing that they are especially competent (...) in not only representing ontological tensions of this kind within their narratives, but also in manifesting these tensions so that they are made viscerally available to the viewer as affect. To understand how this is achieved, I draw on the work of Susan Sontag, Judith Butler, and Gilles Deleuze and Félix Guattari, among others, to articulate how a stylistic system, or aesthetic, is developed across these films, and what techniques contribute to its production. I find that key components... (shrink)

Although ‘modern’ mental health care comprises a variety of theoretical approaches and practices, the supposed identification of ‘mental illness’ can be understood as being made on the basis of a specific conception of subjectivity that is characteristic of ‘modernity’. This is to say that any perceived ‘deviation’ from this characteristically ‘modern self’ is seen as a possible ‘sign’ of ‘mental illness’, given a ‘negative determination’, and conceptualized in terms of a ‘deficiency’ or a ‘lack’; accordingly, the ‘ideal’‘therapeutic’ aim of ‘modern’ (...) mental health care can be understood as the ‘rectification’ of that ‘deficiency’ through a ‘re-instatement’ of the ‘modern self’. Although contemporary mental health care is increasingly becoming influenced by the so-called ‘death’ of the ‘modern self’, this paper will suggest that it is the work of the 20th century French philosopher, Gilles Deleuze, that is able to provide mental health care with a coherent determination of a ‘post-modern self’. However, a Deleuzian account of subjectivity stands in stark contrast to ‘modernity’s’ conception of subjectivity and, as such, this paper will attempt to show how this ‘post-modern’ subjectivity challenges many of the assumptions of ‘modern’ mental health care. Moreover, acknowledging the complexity and the perceived difficulty of Deleuze’s work, this paper will provide an account of subjectivity that can be understood as ‘Deleuzian’ in its orientation, rather than ‘Deleuze’s theory of subjectivity’, and therefore, this paper also seeks to stimulate further research and discussion of Deleuze’s work on subjectivity, and how that work may be able to inform, and possibly even reform, the theoretical foundations and associated diagnostic and therapeutic practices of psychiatry, psychotherapy, and mental health nursing. (shrink)

By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is ‘a melody that sings itself’. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective consciousness. (...) A Chinese painter-poet within the ‘mountain-water’ genre would consider mountains as performance of events, a concert of vibration of light, shape and sound, movement and rest. Insofar as art is to create energy transfer, Chinese artists of mountains aim at concerting with nature as organised by rhythms and conspecifics, unfolding contrapuntal melodies with all kinds of counterpoints. As Deleuze and Guattari's notion of refrains are the three forces or tempos of chaos, earth and world confronting/converging one another, this paper endeavours to find out, first, how Deleuze and Guattari's geological, organic and alloplastic stratifications can be put alongside mountains, animals, plants and arts, and second, how this notion can contribute to our new appreciation of the way Chinese mountains in arts can give out music. (shrink)

This paper draws on data undertaken with very young children within the context of Norwegian kindergartens. Specifically, the paper focuses on non-human and human movements. Mine included, that are undertaken in time and space. Following I argue that as the researcher I am always already entangled in inquiry and that there is no beginning. As a consequence, I cannot offer an account concerning movements that are predicated on humanist notions of linearity. Moreover, by immersing myself in process ontology, my efforts (...) are not directed at using a presumed mastery where I both recognize and use a priori categories in order to render data intelligible and/or to reduce data to common sense. Rather, by paying careful attention to human and non-human bodies, and by being sensitive to and immersing myself within affect and movement, I draw attention to elements within the kindergarten which while, present are very often ignored by researchers and in so doing I disrupt traditional approaches to qualitative research. By effectively positioning myself in a post-human logic both the researcher and the research are open to different potentialities, potentialities where through thinking-feeling the peculiarities and differences of the empirical can be taken into account. (shrink)

How can Deleuzians make his philosophy as accessible as possible to political theorists and democratic publics? This essay provides principles to enter Deleuze's political vision, namely, to research the etymology of words, to discover the image beneath concepts, to diagram schemata using rigid lines, supple lines and lines of flight, and to construct rules that balance experimentation and caution. The essay then employs this method to explicate a fecund sentence about politics in A Thousand Plateaus and presents a case why (...) Deleuze deserves greater visibility in the political theory canon. (shrink)

This paper contributes to the discussion on methodological decolonisation in business ethics research by illustrating how local epistemologies can shape methodology. Historically, business ethics research has been dominated by Western methodologies, which have been argued to be restrictive and limit contextually relevant theorising in non-Western contexts. Over the past decade, scholarship has called for more diversity in research methods and epistemologies. This paper regards arguments founded along neatly divided universalist versus contextualised methodologies as a false dilemma. Instead, we explore how (...) _ubuntu_, a sub-Saharan African epistemology, can contribute as a complementary epistemology and methodology to interpretivism when conducting business ethics research in sub-Saharan Africa. The paper discusses four aspects—research agenda, access, power relations, and context-sensitive methods—that highlight practical ways in which _ubuntu_ epistemology, with its communitarian and relational underpinnings, can enhance business ethics research. We illustrate that methodological decolonisation can be achieved by fusing relevant elements of local epistemologies and methodologies and conventional methodologies to generate context-relevant research approaches. (shrink)

En el presente artículo nos proponemos delimitar la metafísica occidental como onto-teología desde de la lectura de Heidegger y su vinculación con la cuestión del nihilismo a partir de la sentencia de Nietzsche “Dios ha muerto” para mostrar, luego, cómo Deleuze, también apoyado en la filosofía nietzscheana, postula una filosofía de la inmanencia y la diferencia de fuerzas como alternativa a un modo de pensar nihilista, reelaborando nociones claves de la filosofía nietzscheana, como fuerza, devenir, voluntad, eterno retorno y diferencia.