By Claire Colebrook

This publication not just introduces Deleuze's principles, it additionally demonstrates the ways that his paintings grants new readings of literary texts.

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Additional info for Gilles Deleuze (Routledge Critical Thinkers)

Example text

In day-to-day life we find ourselves simply rejecting a novel or person because they are ‘boring’; we act as though boredom were a simple object that we can identify. But great art disengages affects such that we are no longer capable of simply identifying and delimiting the feelings of boredom, or fear or desire. It is the task of art to dislodge affects from their recognised and expected origins. Pinter’s plays are presentations of affect precisely in those milieus where they are least expected: such as the menace or terror of marriages and bourgeois life (The Lover) or the hostility and violence of acts of charity and hospitality (The Caretaker).

There is no single world, which is then variously represented by science, art or philosophy. There is the world of science: of functions, laws and ‘states of affairs’. Philosophy creates a world or ‘plane’ of concepts’; art creates a world of affects and percepts. We have seen that for Deleuze, opinion creates a generalised ‘subject’ and assumes a common world, moving directly from affect to concept. Deleuze and Guattari argue that the very existence of 1111 2 3 4 5111 6 7 8 9 10111 11 2 3111 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 3911 opinion is political: ‘It abstracts an abstract quality from perception and a general power from affection: in this sense all opinion is already political’ (Deleuze and Guattari 1994: 145).

Not all films play with the very force of images, but the power or potential to free images from a fixed point of view is what makes cinema cinema. Cinema has its own way of creating differences. Just as human life can transform itself through thinking, so cinema transforms itself through the use of images. Seeing the Universal of the cinematic image would mean seeing how images can be different, irreducible to any common form. Creating concepts that allow us to think the Universal is, for Deleuze, crucial to the very ethics of life.

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