Deleuze and Feminist Theory by Ian Buchanan, Claire Colebrook

By Ian Buchanan, Claire Colebrook

Ever because Deleuze and Guattari provocatively declared that each one turning into needs to pass when it comes to a 'becoming-woman', their paintings has been the topic of extreme feminist interrogation. This ebook highlights the most important issues of this ongoing inquiry, focusing relatively at the implications of Deleuze's paintings for a in particular feminist philosophy. It brings jointly the paintings of a few of Deleuze's best commentators and today's most vital feminist thinkers, together with new paintings via Elizabeth Grosz, Rosi Braidotti, and Dorothea Olkowski. With chapters on movie, the colonial imaginary, wish and embodiment, this ebook is the 1st sustained exam of the influence of Deleuze on feminist suggestion.

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In the name of ‘realism’ and mimesis, invention is stifled. By means of advertisement 29 VERENA ANDERMATT CONLEY and slogans, becoming reduces images to clichés in a society completely under the spell of marketing. How to turn away from these conditions and actualise virtualities is taken up in the second of Deleuze’s two volumes on film entitled Time-Image. There Deleuze alludes to the revolutionary side of three women filmmakers, Chantal Akerman, Marguerite Duras and Agnes Varda. The repertoire is less ‘classical’ or ‘popular’ than, as with his choice of literature, anti-consumption.

There is no history but of the majority, or of minorities as defined in relation to the majority. (292) ‘Imperceptibility’ is thus not a function of invisibility or lack of importance; it is a function of a recomposition, a radical change in consistency, where the connecting ‘thread’ is not one of subjective identity: There is a mode of individuation very different from that of a person, subject, thing or substance. We reserve the term haecceity for it. A season, a winter, a summer, an hour, a date have a perfect individuality lacking nothing, even though this individuality is different from that of a thing or a subject.

Here, it is important to distinguish levels and to choose one’s discourse. Both Cixous and Deleuze make it clear: philosophy or writing cannot be confused with law, government, science or religion. These are real powers. Both philosophers and poets can write against power by carrying on a kind of guerilla warfare. Since people internalise the schemas of power, they can also lead a kind of guerilla warfare against themselves (Deleuze 1990a; Cixous 1991). But fiction or philosophy can only enter in negotiation with the discourses of real power.

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