By Ronald Bogue
Addressing the basic query of the connection among ethics and aesthetics in Deleuze's philosophy, this booklet presents transparent symptoms of the sensible implications of Deleuze's method of the humanities via designated research of the moral measurement of inventive job in literature, song, and film.Bogue examines Deleuze's "transverse means" of interrelating the moral and the cultured, the transverse means being either a style of suggestion and a convention of dwelling. one of the matters tested are these of the connection of track to literature, the political vocation of the humanities, violence in well known track, the ethics and aesthetics of schooling, using song and sound in movie, the function of the visible in literary invention, the functionality of the humanities in go cultural interactions, and the way forward for Deleuzian research as a method of forming an open, reciprocally self-constituting, transcultural international tradition.
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Additional resources for Deleuze's Way: Essays in Transverse Ethics and Aesthetics
In a brief remark about Viennese atonal music, Deleuze and Guattari observe that in the works of composers like Schoenberg, twelve-tone rows may deterritorialize tonality, but the other elements of music – rhythm, dynamics, attack, timbre – receive a relatively conventional treatment. What Deleuze and Guattari call for is an experimentation on all aspects of music, a “generalized chromaticism” (MP 123/97) that puts all musical constants in variation. Likewise, they support in literary creation a parallel experimentation on all aspects of language.
Kafka’s minor usage of German intensiﬁes the linguistic practices of Prague Jews, but in so doing it necessarily engages all the elements inherent in varying speech situations. ” passes through words, intonations, gestures, bodies, buildings and locales, and Kafka’s minor usage of that continuum sends reverberations through all those elements. Bene’s minor theater likewise intensiﬁes lines of variation inherent in the Italian language, and through the actors’ delivery and diverse sonic manipulations of their speech, deformations in the performance of language are induced, while the elements of gesture, costume and setting are denaturalized, transmuted and Minority, Territory, Music 27 recombined in unexpected arrangements.
It also entails a stabilization of inherently unstable elements and a valorization of elements in terms of a hierarchy of norms and deviations – correct vs incorrect usage; standard speech vs dialect, patois, jargon, slang; prestigious vs unprestigious discourse, and so on. A standard language does not exist by itself as a static, self-enclosed, rule-governed system; rather, it issues from multiple patterns of actions and entities organized in such a way as to restrict variation and regularize relations of force.