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"The rise of populism, cynicism, fanaticism and fundamentalism challenges us to reconsider the problem of ressentiment. Characterized by Nietzsche as the self-poisoning of the will through internalising trauma in the form of a postponed and imaginary revenge, the concept of ressentiment is making a comeback in political discourse. Unlike resentment, the feeling of injustice, ressentiment is an intrinsically polemical notion. It implies a political drama in which there is no inherent good sense in its application and no universal criterion. Drawing on psychoanalysis, political theory, media theory and philosophy, this book examines a wide variety of ideological contexts, offering an examination of the divergent senses in which the concept of ressentiment is used today."--Bloomsbury Publishing.
Resentment --- Psychological aspects. --- Nietzsche, Friedrich Wilhelm,
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"Though Gilles Deleuze and Felix Guattari were not strictly art historians, they reinvigorated ontological and formal approaches to art, and simultaneously borrowed art historical concepts for their own philosophical work. They were dedicated modernists, inspired by the German school of expressionist art historians such as Riegl, Wölfflin, and Worringer and the great modernist art critics such as Rosenberg, Steinberg, Greenberg, and Fried. The work of Deleuze and Guattari on mannerism and Baroque art has led to new approaches to these artistic periods, and their radical transdisciplinarity has influenced contemporary art like no other philosophy before it. Their work therefore raises important methodological questions on the differences and relations among philosophy, artistic practice, and art history. In 'Art History after Deleuze and Guattari' international scholars from all three fields explore what a 'Deleuzo-Guattarian art history' could be today"--Page 4 of cover.
art history --- Art --- philosophy of art --- Deleuze, Gilles --- Guattari, Felix --- Aesthetics --- Deleuze, Gilles, --- Guattari, Félix, --- Guattari, Félix --- kunsttheorie --- Buren, Daniel --- Maldiney, Henri --- Michelangelo --- Schiele, Egon --- Tintoretto --- Art and philosophy. --- Art criticism --- Philosophy and art --- Philosophy --- History. --- Guattari, Felix, --- Deleuze, G. --- Delëz, Zhilʹ, --- Dūlūz, Jīl, --- Delezi, Jier, --- دولوز، جيل --- Guattari, F. --- Guattari, Pierre-Félix, --- Gvattari, Feliks, --- kunsttheorie. --- Deleuze, Gilles. --- Guattari, Felix. --- Schiele, Egon. --- Maldiney, Henri. --- Tintoretto. --- Michelangelo. --- Buren, Daniel. --- Kröller-Müller Museum (Otterlo). --- mecenaat. --- Kröller-Müller, Hélène. --- Van der Leck, Bart.
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In recent years the humanities, social sciences and neuroscience have witnessed an 'affective turn, ' especially in discourses around post-Fordist labor, economic and ecological crises, populism and identity politics, mental health, and political struggle. This new awareness would be unthinkable without the pioneering work of Gilles Deleuze, who replaced judgment with affect as the very material movement of thought: every concept is an affective experience, a becoming. Besides entirely active affects, the highest practice of thought, there is no thought without passive affects or passions. Instead of a calm and rational philosophy of passions, Deleuzian thought is therefore inseparable from "isolated and passionate cries" that deny what everybody knows and what nobody can deny: "every true thought is an aggression." This inseparability of reason and passion is by no means an anti-intellectualist or irrationalist stance. Rather, it is critical, since it protects reason from its self-imposed stupidity (betise) by relating it to the unthought forces that condition it. And it is clinical, because thought becomes possessed by a power of selection. The purely active, i.e. free-floating, unrecorded desire, is never enough to produce a consistent relation to the future, which is why we need the passions to give us an initial orientation, to force and enable us to think. Passions are the beliefs, perceptions, representations, and opinions that attach us to the world; they make up the very material of which our lives and thoughts are composed. Instead of truth as the ultimate criterion of judgment, the only principle according to which affective becomings can be selected and evaluated is the extent to which they proliferate joy. Spinoza and Marx show how the recruitment of desire traditionally takes place through the tyrants and priests who inspire sad passions in us. Similarly, the work of Deleuze and Guattari on capitalism and schizophrenia can be read as an encyclopedia of the passions that constitute the affective infrastructure of the socius of contemporary capitalism. If it takes a lot of inventiveness or imagination to be able to diagnose our present becomings, this is because becomings are always composites of joyful and sad passions. Capitalism could not exist if it did not also inspire happiness, love, courage, and perhaps even beatitude. That is why, today, we witness "the spectacle of the happily dominated" (Frederic Lordon) of the self-entrepreneur, the managerial class, the flex worker, the citizen-consumer, the bean-roasting hipster, and the self-managed team. It is within this field of contradictory and heterogeneous passions that the authors of this volume pursue the diagnosis of our past and present becomings. Their contributions add up to a systematic taxonomy of the passions and indicate their importance for a thinking that reaches beyond itself.
Social sciences --- Emotions (Philosophy) --- Philosophy. --- Deleuze, Gilles, --- Gilles Deleuze --- affect studies --- philosophy --- ontology --- phenomenology
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This collection brings together a series of creative responses to the recent speculative turn in Continental philosophy. The contributors include philosophers, art historians, architects and art practitioners. It takes a generous definition of art to include architecture, cinema, dance and new media.
Art --- Philosophy
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