Discern(e)ments: Deleuzian Aesthetics/Esthétiques deleuziennes

327 Pages·2004·31.985 MB·English

by  Joost de Bloois (editor), Sjef Houppermans (editor), Frans-Willem Korsten (editor)

Discern(e)ments
Deleuzian Aestbetics/
Estbetiques oeleuzie1111es
FAUX TITRE
251
Etudes de langue et litterature franc;aises
publiees sous la direction de
Keith Busby, M.J. Freeman,
Sjef Houppermans, Paul Pelckmans
et Co Vet
Discern(e)ments
De[euzian Aestbetics/
Estbetiques oeleuziennes
Eoitors/ eoiteurs
Jo ost ~e Bloois, Sjef Houppermans,
Frans-Willem Karsten
AMSTERDAM - NEW YORK, NY 2004
Cover illustration: Emile Verheule, Chemical Plant, Albania
The paper on which this book is printed meets the requirements of
'ISO 9706: 1994, Information and documentation -Paper for documents -
Requirements for permanence'.
Le papier sur lequel le present ouvrage est imprime remplit !es prescriptions
de "ISO 9706: 1994, Information et documentation -Papier pour documents
-Prescriptions pour la permanence".
Transferred to digital printing 2007
ISBN: 978-90-420-1812-9
©Editions Rodopi B.V., Amsterdam -New York, NY 2004
Printed in The Netherlands
TABLE OF CONTENTS
Acknowledgments Vll
Preface IX
OUTLINES
Thomas Poell Movement and time in cinema 1
Isabelle Ginoux De l'histoire de la philosophie consideree comme
un des beaux-arts: le portrait conceptuel selon Deleuze 23
Pascal Chabot Deleuze et l'enigme de la creation artistique 51
Peter van Ziljhout Aesthetic Experiences 61
SENSATION/FIGURE
Sjef Houppermans PUI(T)S: Deleuze et Beckett 81
Eric Al/iez The BwO Condition Or, The Politics of Sensation 93
Joos! de Bloois Bartleby, du Scribe: 'personage conceptuel' et
'figure esthetique' dans la pensee de Gilles Deleuze 113
Maaike Bleeker The A,B,C's of differance: Jan Ritsema and the
Relationality of Theatrical Presence 131
vi Contents
Patricia Pisters 'Touched by a Cardboard Sword':
Aesthetic Creation and Non-Personal Subjectivity in
DANCER IN THE DARK & MOULIN ROUGE 151
Catherine Lord Becoming Still, Still Moving: Theoretical
Pleasure in Sally Potter's ORLANDO 171
Mary Bryden "Etre traitre a son propre regne": Deleuze's
Aesthetic of Betrayal 187
GEO-AESTHETICS
Kai Mikkonen Catamorphosis, Becoming and Minor Literature:
David Malouf's Remembering Babylon as a Deleuzian
Experiment in the Culturally Hybrid 205
a
Christa Stevens De la societe repetee une mondialisation
imprevisible: les discours insulaires de Gilles Deleuze et
d'Edouard Glissant 223
Alain Franc;:ois L'esthetique chez Deleuze: une theorie politique
des sensations 23 7
Sasha Vojkovic Hong Kong Cinema and the Art of Countering
Territorial Regimes: Women Warriors, Wicked Eunuchs and
Soccer Players from Shaolin 257
Frans-Willem Korsten Space and the Sense of History: Gilles
Deleuze Meets Baroque Playwright Joost van den Vandel 277
Bibliography 297
About the authors 307
ACKNOWLEDGMENTS
This volume finds its origins in a conference held at Utrecht Univer
sity in June 2000, entitled Infraction, Encounter, Contagion. Although
the lion's share of the contributions were written especially for the
present volume, it could not have been published without the stimu
lating atmosphere it originated in. Therefore, we would like to thank
all of those who participated in the conference, in particular Maria
Puig de la Bellacasa (Free University of Brussels), Raymond van de
Wiel (Utrecht University), Wietse Marievoet (Catholic University of
Louvain), Didier Debaise (Free University of Brussels/Darwin
College, Cambridge), Marianne Fraaije (Groningen University),
Malene Busk (University of Amsterdam) and Michele Breut (Utrecht
University). We would also like to thank the Research Institute for
History and Culture (OGC) of Utrecht University for providing the
necessary material and immaterial support for the conference.
Furthermore, Discern(e)ments would not have seen the light of
day without the discerning eye of Kristine Steenbergh.
Joost de Bloois
SjefHouppermans
Frans-Willem Karsten
Utrecht-Leiden, Winter 2003/2004

PREFACE
Discern(e)ments: the title of this bilingual collection is at least two
fold.
The essays collected in this volume try to discern exactly what is at
stake in Deleuzian1 philosophy of art. Discern(e)ments seeks to tie and
untie the knot of the aesthetic within the complex of Deleuzian
thought. Discern(e)ments traces the reception of Deleuzian thinking in
various disciplines (literary, music, theater studies and art theory) and
its use-value in each of them. Discern(e)ments also is the common
denominator for the dynamics between structure and becoming that
punctuates Deleuzian philosophy of art. Discern(e)ments sketches and
erases boundaries between traditions and methods. And perhaps fore
most Discern(e}ments seeks to map out future discernments in
Deleuzian aesthetics.
Our starting position is the current station of the study of Deleuzian
aesthetics. The first monograph to be published on Deleuzian philo
sophy of art, was that of Mireille Buydens (1990), a contemporary of
What is Philosophy? Since then, the interest in Deleuzian thinking in
general and Deleuzian aesthetics in particular has not ceased to grow.
The boom in cultural and media studies has certainly been a great spur
to the study and development of Deleuzian thinking on art. At the
same time, outside the stratosphere of the academic world, Deleuzian
conceptions of art have not remained unaccounted for: at the cross
roads of a new century, confirming or disallowing Foucault's pro
phetic statement, Deleuze-inspired avant-garde bricolage - both
musicaly and literary - seems largely to parallel the Sartrian turtleneck
pullovers of the 1950s. Also Thomas Hirschorn's vandalized Deleuze
monument (1999) and the festive coronation of Deleuze's philosophy
of art at Tate Modern (2001) - entitled Immanent Choreographies:
Deleuze and Neo-Aesthetics - should not go unmentioned.
1 Here, as often, Deleuzio-Guattarrianism is contracted in the sole proper
name ofDeleuze ...