Suggests an open system of psychological exploration to cut through accepted norms of morality, language, and politics.

Deleuze and the Unconscious shows how these tendencies combine in Deleuze's work to engender a wholly new approach to the unconscious, for which active relations to the unconscious are just as important as the better known pathologies of ...

by MICHEL FOUCAULT Everyone knows that in France there are few logicians but many historians of science; and that in the 'philosophical establishment' - whether teaching or research oriented - they have occupied a considerable position. But do we know precisely the importance that, in the course of these past fifteen or twenty years, up to the very frontiers of the establishment, a 'work' like that of Georges Canguilhem can have had for those very people who were separ ated from, (...) or challenged, the establishment? Yes, I know, there have been noisier theatres: psychoanalysis, Marxism, linguistics, ethnology. But let us not forget this fact which depends, as you will, on the sociology of French intellectual environments, the functioning of our university institutions or our system of cultural values: in all the political or scientific discussions of these strange sixty years past, the role of the 'philosophers' - I simply mean those who had received their university training in philosophy department- has been important: perhaps too important for the liking of certain people. And, directly or indirectly, all or almost all these philosophers have had to 'come to terms with' the teaching and books of Georges Canguilhem. From this, a paradox: this man, whose work is austere, intentionally and carefully limited to a particular domain in the history of science, which in any case does not pass for a spectacular discipline, has somehow found him self present in discussions where he himself took care never to figure. (shrink)

Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters. In considering Bacon, Deleuze (...) offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, _Francis Bacon_ has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art. In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.” Illuminating Bacon’s paintings, the nonrational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. _Francis Bacon_ is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole. Gilles Deleuze was professor of philosophy at the University of Paris, Vincennes–St. Denis. He coauthored _Anti-Oedipus_ and _A Thousand Plateaus_ with Félix Guattari. These works, as well as _Cinema 1, Cinema 2, The Fold, Proust and Signs_, and others, are published in English by Minnesota. Daniel W. Smith teaches in the Department of Philosophy at Purdue University. (shrink)