Name: Gilles Deleuze
ISBN: 9780415246347

作者: Claire Colebrook
出版社: Routledge
副标题: Essential Guides for Literary Studies
出版年: 2001-10-28
页数: 184
定价: USD 24.95
装帧: Paperback
丛书: Routledge Critical Thinkers
ISBN: 9780415246347

豆瓣评分

8.6

29人评价

5星

55.2%
4星

24.1%
3星

20.7%
2星

0.0%
1星

0.0%

评价:

内容简介 · · · · · ·

This book not only introduces Deleuze's ideas, it also demonstrates the ways in which his work can provide new readings of literary texts.

作者简介 · · · · · ·

克莱尔·科勒布鲁克，她在爱丁堡大学教英语文学，著有《新文学史》(1997)和《伦理学与再现》(1999)。她也发表了大量关于德里达、海德格尔、伊里格瑞、布莱克和福柯的文章。

译者简介

廖鸿飞(豆瓣id：猫科动物)，男，2011年毕业于中国人民大学文学院；现为荷兰阿姆斯特丹大学文化分析研究院博士生，主攻电影与哲学研究。在国内外发表有若干中英文论文，在学术期刊及电影专业网站迷影网(cinephilia.net)上发表有大量翻译文章。

目录 · · · · · ·

Series Editor’s preface vii
Acknowledgements xi
WHY DELEUZE? 1
KEY IDEAS 9
1 Powers of thinking: philosophy, art and science 11
2 Cinema: perception, time and becoming 29
· · · · · · (更多)

原文摘录 · · · · · · ( 全部 )

他者不是像我们但有一些性格差异的人物。他者是另一个差异的可能性世界。 (查看原文)

袖手人约翰 2赞 2015-03-02 19:53:40

—— 引自第103页
电影的短循环即知觉-运动图式主宰了我们的知觉。 (查看原文)

大胃⃣麒⃣ 2015-12-01 17:25:57

—— 引自第40页

> 全部原文摘录

豆瓣成员常用的标签(共29个) · · · · · ·

Deleuze 哲学文学理论德勒兹 Gilles_Deleuze 评论 Gilles 文化研究、哲學理論

丛书信息

　　Routledge Critical Thinkers (共43册), 这套丛书还有《Hans-Georg Gadamer》,《Sigmund Freud (Routledge Critical Thinkers)》,《Gayatri Chakravorty Spivak》,《Paul Gilroy》,《Antonio Gramsci》等。

喜欢读"Gilles Deleuze"的人也喜欢 · · · · · ·

: Philosophy in Turbulent Times

: The Virtual Life of Film

: Cinema 2

: What Is Philosophy?

: Nietzsche and Philosophy

: Jacques Lacan

: The Event of Literature

: The Animal That Therefore I Am

: An Inoperative Community

: Kafka

我来说两句

短评 · · · · · · ( 全部 13 条 )

Gilles Deleuze的话题 · · · · · · ( 全部条 )

什么是话题

无论是一部作品、一个人，还是一件事，都往往可以衍生出许多不同的话题。将这些话题细分出来，分别进行讨论，会有更多收获。

Gilles Deleuze的书评 · · · · · · ( 全部 11 条 )

为什么读德勒兹

读某书的感受往往是一种命题作文，无论这样去做是否是一种职责所限，你都被限定在某种框架之内，尽管努力恢复思考的自由，尽量“降低”这种感悟与文本的直接关联，也就是去尽量成为一个自由的、合格的读者，而不是被文本的“所指”而框定的注释者。个人的感受至少对于个人应该... (展开)

1 2回应

Eco 2015-02-26 16:08:01 拜德雅丨重庆大学出版社2014版

导读德勒兹---电影部分

这篇书评可能有关键情节透露

关于概念的界定：（工欲善其事，必先利其器。概念就是解决问题的利器！）记得有时和人辩论，一些人常常端出这样的话来，首先，你要定义一下你的概念是什么？如果没有清楚的定义，在他们看来，讨论是没有必要的。必须承认，任何讨论需要一种共同的场域和背景来进行，但是，我... (展开)

2 0回应

我 2020-06-24 17:55:46 拜德雅丨重庆大学出版社2014版

《导读德勒兹》关键概念摘要

【第一章】思想的权力：哲学、艺术与科学（P34）科学将世界确定为可以观测的“事物的状态”。哲学创造概念，这些概念不是对世界贴标签也不是再现世界，而是产生一种新的思考和回应问题的方式。艺术创造感受和感知。感受和知觉落实到具体的人或视角，但是感受和感知则是一种从... (展开)

0回应

独自退场 2019-07-02 06:24:55 拜德雅丨重庆大学出版社2014版

笔记：“人力所能及的最高是事物乃是惊异”

这篇书评可能有关键情节透露

读这类书的目的之一，是在迷茫时使人重返起点，再次加固与厘清基础与方向。所谓迷茫，比如当我也说文学不是再现，不是文献也不是历史，继而试图依赖这些概念去创作时，这显然并非我自己的东西，而只是道听途说、鹦鹉学舌，我甚至不明了它的发展进程，连基本含义都不甚了了，仅... (展开)

0回应

小陈 2018-08-16 21:42:02 拜德雅丨重庆大学出版社2014版

摘

德勒兹的关键概念在于哲学是一种创造性的使用，而非对定见再现性的。定见是思想的惰性和失败，世界的差异性因定见被缩减为“类我”的存在物，既是减弱了思想的积极性质，又加强了现代资本主义的偏见——我们都是“一样的”——能够在全球化的市场上彼此互动。定见从感知中抽象... (展开)

0回应

[已注销] 2015-01-22 21:49:23 拜德雅丨重庆大学出版社2014版

让思想飞一会

我是一个理科生。读了这么多年的书，思维已经习惯性地让我想要对任何一件事情找到源头和出处。否则就总觉得不安。我想大部分的人都应该持有理科生相比文科生更理性的态度，但，什么是理性？知道因果，亦或是自我安慰。在我看来，实验室的生存之道就是找出一个恰当的，在合理... (展开)

3 0回应

冲散他们的阵形 2019-12-04 23:53:04 拜德雅丨重庆大学出版社2014版

兴趣缺乏的懵逼

这篇书评可能有关键情节透露

碎片化扯淡，无意正确，就扫了一遍，看着无趣，或者说暂时无意深究。有脑洞的人真不会无聊，真能扯。啊，难受。感觉翻译有时还是不太好。不食人间烟火的飘渺。爱命运，后尼采？后弗洛伊德？强调生成，而非存在，差异的生成之流，无物常驻。影像、时间、生命来自差异神马的... (展开)

0回应

D4C 2017-11-16 22:00:53 拜德雅丨重庆大学出版社2014版

生成而非存在

#实体书#实在是感触很深，如何最大限度去思考和跳出预设，德勒兹给出来哲学上的回应，创造，生成概念。没有预先的脚本，标准，结构主义是认为事先有参考系实现再现构造，而在这里，拟像，仿真都是事实。我们应差异，而不是同一性，应该学会生成人-动物视角，人-女人视角看待生... (展开)

0回应

ウロボロス 2017-09-02 11:32:04 拜德雅丨重庆大学出版社2014版

初识德勒兹，零散的所得与所思

艺术、哲学：艺术不是再现现实，是对知觉与感觉的创造。科学才是着眼现实的，对功能的创造。哲学则创造概念去超越任何例子，从潜能的角度回应、统筹前两者的创造。潜能：德勒兹重视事物的潜能。艺术形式的价值不仅在于它所表现出来的，更在于它理论上能达到的一个极限，即潜... (展开)

0回应

有一些书评被折叠了为什么被折叠？

评论被折叠，是因为发布这条评论的帐号行为异常。评论仍可以被展开阅读，对发布人的账号不造成其他影响。如果认为有问题，可以联系豆瓣电影。

fenglong88 2014-12-06 16:41:35

走向德勒兹，接触后现代

对于德勒兹的思想我是比较陌生的，在超星的学术视频上看孟建伟教授讲《现代西方哲学》课程时，孟教授把德勒兹定位为法国哲学史家。而在《地图与疆域》这本小说中，德勒兹的名字也伴随着法国的文学、哲学、绘画而经常出现。对于欧洲人来说，他们接触这类这类本文化范围内的思想... (展开)

1 0回应

> 更多书评 11篇

展开收起
第73页

Hidfeel (Never being.. ever be)

The drama that lays out the concept of the cogito has three features. First, it assumes a ‘conceptual persona’ Second, the concept creates, connects or is ‘intensive and ordinal’ Third, transcendence, or an outside to thinking, is produced through this drama.
2019-06-26 11:19

The drama that lays out the concept of the cogito has three features. First, it assumes a ‘conceptual persona’ Second, the concept creates, connects or is ‘intensive and ordinal’ Third, transcendence, or an outside to thinking, is produced through this drama.
引自第73页

推荐

回应 2019-06-26 11:19
展开收起
第72页

Hidfeel (Never being.. ever be)

Deleuze and Guattari describe the history of philosophy as the construction of ‘planes of transcendence’ whereby we create some foundation or ground for our thinking
2019-06-26 11:17

Deleuze and Guattari describe the history of philosophy as the construction of ‘planes of transcendence’ whereby we create some foundation or ground for our thinking
引自第72页

推荐

回应 2019-06-26 11:17
展开收起
第71页

Hidfeel (Never being.. ever be)

In contrast to transcendence as an ‘ethics of knowledge’ where we seek to obey some ultimate truth, Deleuze described his own philosophy as an ethics of amor fati: as love of what is (and not as the search for some truth, justiﬁcation or foundation beyond, outside or transcendent to what is) (Deleuze 1990: 149).
2019-06-26 11:17

In contrast to transcendence as an ‘ethics of knowledge’ where we seek to obey some ultimate truth, Deleuze described his own philosophy as an ethics of amor fati: as love of what is (and not as the search for some truth, justiﬁcation or foundation beyond, outside or transcendent to what is) (Deleuze 1990: 149).
引自第71页

推荐

回应 2019-06-26 11:17
展开收起
第66页

Hidfeel (Never being.. ever be)

Confronting inhuman, machinic or disconnected forces beyond our recognition is, for Deleuze, active thinking: a thinking that is not deﬁned by an image it creates of itself, but that reforms itself over and over again, eternally.
2019-06-26 11:16

Confronting inhuman, machinic or disconnected forces beyond our recognition is, for Deleuze, active thinking: a thinking that is not deﬁned by an image it creates of itself, but that reforms itself over and over again, eternally.
引自第66页

推荐

回应 2019-06-26 11:16

展开收起
第12页

Hidfeel (Never being.. ever be)

Plato may have used literary metaphors but he did so in order to establish a philosophical truth above and beyond this world; scientists may use fictions or narra- tives, such as the ‘big bang’ but they do so in order to make the world we live in functional and manageable. Literature is the power of fiction itself: not making a claim about what the world is, but about the imag- ination of a p...
2019-06-22 23:26

Plato may have used literary metaphors but he did so in order to establish a philosophical truth above and beyond this world; scientists may use fictions or narra- tives, such as the ‘big bang’ but they do so in order to make the world we live in functional and manageable. Literature is the power of fiction itself: not making a claim about what the world is, but about the imag- ination of a possible world. Art is not about representation, concepts or judgement; art is the power to think in terms that are not so much cognitive and intellectual as affective (to do with feeling and sensible experience).
引自第12页

推荐

回应 2019-06-22 23:26
展开收起
第16页

Hidfeel (Never being.. ever be)

In opinion, then, we move from a particular experience and use it to form some whole that reduces difference and complexity.
2019-06-22 23:45

In opinion, then, we move from a particular experience and use it to form some whole that reduces difference and complexity.
引自第16页

推荐

回应 2019-06-22 23:45
展开收起
第20页

Hidfeel (Never being.. ever be)

The formation of a language responds to a way of approaching the world, so that language is an action, or a constant question and creation in response to experience. So words are dependent upon tasks or paths (dif- ferentiations) through which we approach what is other than ourselves; a word gives order to a sense which pre-exists it. .The actual words ‘happiness’ or ‘bonheur’ are different...
2019-06-23 00:04

The formation of a language responds to a way of approaching the world, so that language is an action, or a constant question and creation in response to experience. So words are dependent upon tasks or paths (dif- ferentiations) through which we approach what is other than ourselves; a word gives order to a sense which pre-exists it.
引自第20页
.The actual words ‘happiness’ or ‘bonheur’ are different but evoke the same sense or meaning. Sense is virtual and is activated whenever such words are used, meant or thought.
引自第20页

推荐

回应 2019-06-23 00:04
展开收起
第35页

Hidfeel (Never being.. ever be)

Of course, we can never have a concept that does not occur through some sort of materiality or sensibility. We always have to have a word or sound from which we think the movement of concepts. Similarly, art does always have some sort of order, synthesis or meaning. (Deleuze was not arguing that art was just meaningless affect.) Indeed, art works by taking us back from composites of experience ...
2019-06-26 11:01

Of course, we can never have a concept that does not occur through some sort of materiality or sensibility. We always have to have a word or sound from which we think the movement of concepts. Similarly, art does always have some sort of order, synthesis or meaning. (Deleuze was not arguing that art was just meaningless affect.) Indeed, art works by taking us back from composites of experience to the affects from which those synthesised wholes emerge. In cinema this is done in two ways, through the movement-image and the time-image.
引自第35页

推荐

回应 2019-06-26 11:01

展开收起
第73页

Hidfeel (Never being.. ever be)

The drama that lays out the concept of the cogito has three features. First, it assumes a ‘conceptual persona’ Second, the concept creates, connects or is ‘intensive and ordinal’ Third, transcendence, or an outside to thinking, is produced through this drama.
2019-06-26 11:19

The drama that lays out the concept of the cogito has three features. First, it assumes a ‘conceptual persona’ Second, the concept creates, connects or is ‘intensive and ordinal’ Third, transcendence, or an outside to thinking, is produced through this drama.
引自第73页

推荐

回应 2019-06-26 11:19
展开收起
第72页

Hidfeel (Never being.. ever be)

Deleuze and Guattari describe the history of philosophy as the construction of ‘planes of transcendence’ whereby we create some foundation or ground for our thinking
2019-06-26 11:17

Deleuze and Guattari describe the history of philosophy as the construction of ‘planes of transcendence’ whereby we create some foundation or ground for our thinking
引自第72页

推荐

回应 2019-06-26 11:17
展开收起
第71页

Hidfeel (Never being.. ever be)

In contrast to transcendence as an ‘ethics of knowledge’ where we seek to obey some ultimate truth, Deleuze described his own philosophy as an ethics of amor fati: as love of what is (and not as the search for some truth, justiﬁcation or foundation beyond, outside or transcendent to what is) (Deleuze 1990: 149).
2019-06-26 11:17

In contrast to transcendence as an ‘ethics of knowledge’ where we seek to obey some ultimate truth, Deleuze described his own philosophy as an ethics of amor fati: as love of what is (and not as the search for some truth, justiﬁcation or foundation beyond, outside or transcendent to what is) (Deleuze 1990: 149).
引自第71页

推荐

回应 2019-06-26 11:17
展开收起
第66页

Hidfeel (Never being.. ever be)

Confronting inhuman, machinic or disconnected forces beyond our recognition is, for Deleuze, active thinking: a thinking that is not deﬁned by an image it creates of itself, but that reforms itself over and over again, eternally.
2019-06-26 11:16

Confronting inhuman, machinic or disconnected forces beyond our recognition is, for Deleuze, active thinking: a thinking that is not deﬁned by an image it creates of itself, but that reforms itself over and over again, eternally.
引自第66页

推荐

回应 2019-06-26 11:16