The Two-Fold Thought of Deleuze and Guattari: Intersections and Animations
Charles J. Stivale, a scholar in French literary and cultural studies, tries to articulate Deleuze and Guattari's philosophical concepts with practical studies on culture, analyzing films, cyberspace, and Cajun dance. Although he says that the goal of the book is to provide "an initial orientation" to Deleuze and Guattari's collaborative works, it is not a simple job at all for those innocent of Deleuzean concepts to follow the flow of his thought (ix). He provides short explications of the concepts and quotations from Deleuze and Guattari's books before his application, but only the readers, who are familiar with Delezean concepts, seem to be able to articulate
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He deals with "cyberpunk" fictions and Cajun music and dance practices. He considers that science fictions are privileged expression of the different modes of becoming, which evolves "from animal, vegetable, and mineral becomings to becomings of bacteria, viruses, molecules, and things imperceptible" (A Thousand Plateau, 248). Focusing on the process of becoming, he analyzes Rudy's, John Shirley's and William Gibson's fictions. Facing the recurring modes of the loss of the subject and of the intensity of participating in multiple subjectivities, he encounters the problematic of cyborg again. Juxtaposing shortly Donna Haraway's dream of cyborg image to three sets of images from the three fictions, he moves into what Deleuze and Guattari calls "becoming-woman." He considers "becoming-woman" a "particular means of access to 'an entire politics of becomings-animal, as well as a politics of sorcery, which is elaborated in assemblages that are either those of the family nor of religion nor of the State'"(135, quoted from A Thousand Plateau). This shift, actually a reduction of the problematic, seems improper. Stivale sticks to what really does not matter in the Deleuze and Guattari's logic. It is not only a matter of women-subjectivity but also overall problem of subjectivity. Later in this book, from the interview with Guattari, …show more content…
Reading the interview with Guattari is an excellent experience, by which we can see Guattari's politically radical stance and his view on Freud and Lacan. As an appendix, he provides a translation of Deleuze's unpublished essay, "How Do We Recognize Structuralism?" (1967) This way of conclusion reflects Stivale's intention of writing n-1 dimensions in order not to come up with one conclusion at the end of a long discussion of the
Haskins, James. "Geoffrey Holder and Carmen De Lavallade." Black Dance in America. N.p.: n.p., 1990. 130-37. Print.
In Highbrow, Lowbrow, Levine argues that a distinction between high and low culture that did not exist in the first half of the 19th century emerged by the turn of the century and solidified during the 20th century, and that despite a move in the last few decades toward a more ecumenical interpretation of “culture,” the distinction between high art and popular entertainment and the revering of a canon of sacred, inalterable cultural works persists. In the prologue Levine states that one of his central arguments is that concepts of cultural boundaries have changed over the period he treats. Throughout Highbrow, Lowbrow, Levine defines culture as a process rather than a fixed entity, and as a product of interactions between the past and the present.
At the University of Chicago, Dunham decided to study anthropology with a focus on African and Caribbean ritual dances. Here, she studied under many of the best anthropologists of the time, and in 1935, she was awarded a grant from the Julius Rosenwald Fund to study dance in any way she wished. So, she decided to use this money to travel to the islands of the West Indies and document the ritual dances of the people. She visited such islands as Jamaica, Trinidad, Martinique and Haiti; however, she found a special connection with the people of Haiti and the dances they performed, particularly in their Vodoun rituals. In 1936, Dunham received a bachelor of philosophy from the University of Chicago, and after gathering her research and materials from her work in the Caribbean, she submitted her thesis, Dances of Haiti: Their Social Organization, Classification, Form, and Function,” to the University of Chicago in 1938.
...illed with interesting scenes, people, and ideas, has a distinct theme that emerges by looking at both the women and their male counterparts. From their similarities to actresses to their depiction as ghosts, Toulouse-Lautrec’s women are superficial. It is the men’s obsession with this, however, that reveals the work’s complete theme. Namely, that it is the outward grandeur of a woman that charms men. This point is brought close to home as the viewer realizes that he joins the men in the painting with the same curious interest in the superficial. Toulouse-Lautrec’s masterpiece brings the theme of superficiality’s appeal full-circle by engulfing both the subjects and the audience.
Jefferson came into office on March 4, 1801 and left office on March 4, 1809. His first term’s vice president was Aaron Burr, and his second term’s vice president was George Clinton. He ran with the Democratic-Republican Party and heavily opposed the Federalist Party. Prior to his election, he had already held many positions in public office; vice president and secretary of state . Because he was preceded only by John Adams and George Washington, Jefferson played a large role in the formation of the character of the American President. For his first inaugural address, according to a reporter, “His dress was, as usual, that of a plain citizen without any distinctive badge of office.” This casual nature showed the American public that he was not a king, but a normal citizen who was there for the people, he was even known as the “Man of the People”. Many other American Presidents used that same style in order to appeal to the public.
As you know he ran against john adams twice and won the second time. Although he did many amazing things, his greatest accomplishment was the purchase of the Louisiana territory. This was when Thomas Jefferson Purchased Territory from France for 15 million dollars. Which included lands extending between the Mississippi River and Rocky Mountains and the Gulf of Mexico to present-day Canada. He then sent Meriwether Lewis and William Clark on an expedition, to explore the unknown territory. They brought back valuable information on Indian tribes, uncharted areas, and rivers/mountains. Some of his other accomplishments were The founding of the University of Virginia and participating in the founding of the liberty of congress. Thomas decided to not run the third term. He chose his successor ,James madison. He then retired to his home at the Monticello. Jefferson spent his post-presidential years at Monticello, where he continued to pursue his many interests, including architecture, music, reading and gardening. This was the time he started building all the buildings. Jefferson died at age 83 at Monticello on July 4, 1826, the 50th anniversary of the signing of the Declaration of Independence. He was buried at the Monticello . He was a great president, father, and person. He still one of America's
Before Impressionism came to be a major movement (around 1870-1800s), Neoclassical and Romanticism were still making their impacts. Remembering last week’s lesson, we know that both those styles were different in the fact that one was based on emotion, while the other was practical and serious. However, one thing they both shared was the fact that the artists were trying to get a message across; mostly having to do with the effects of the French Revolution, and/or being ordered to do so. With Impressionism, there is a clear difference from its predecessors.
Jefferson’s beliefs in local self government created differences between himself and Alexander Hamilton which created the Federalists (Hamilton followers) and the Democrat Republican’s (Jefferson followers).
I will discuss Post Impressionism by using three works, A Sunday Afternoon on the Island of La Grande Jatte, Still Life with Basket of A...
This book is a note written by Roland Barthes to record the dialectical way he thought about the eidos(form, essence, type, species) of Photographs. Roland Barthes was a French literary theorist, philosopher, linguist in his lifetime, but surprisingly he was not a photographer. As Barthes had a belief that art works consists with signs and structures, he had investigated semiotics and structuralism. However, through Camera Lucida, he realized the limitation of structuralism and the impression to analyze Photography with only semiotics and structuralism. Barthes concludes with talking about unclassifiable aspects of Photography. I could sense the direction Barthes wanted to go through the first chapter ‘Specialty of the Photograph’. He tried to define something by phenomenology
...s the superiority of the former to the latter; in the second case, he greatly decreases the distance between the two groups and the level of superiority that Brazilians have over Europeans. Finally, his essay, as a whole, ultimately reinstates a great distance between the two groups, and Europeans reclaim superiority over Brazilians. Notably, in the first two cases, nature is also elevated above art, but art finally subjugates nature. Perhaps this is because Montaigne identifies with “Lycurgus and Plato… [who] could [not] believe that our society could be maintained with so little artifice and human solder” (153). Montaigne’s essay suggests that he relies on the artifice of his writing and interpretations to explore and define social groups, explore and establish social hierarchies, and maintain social order in a manner that ultimately favors him and his people.
Montaigne, Michel de. The Complete Essays of Montaigne. Trans. DonaldM. Frame. Stanford: Stanford UP, 1958.
In the introduction to “The Pure Products Go Crazy,” James Clifford offers a poem by William Carlos Williams about a housekeeper of his named Elsie. This girl is of mixed blood, with a divided common ancestry, and no real collective roots to trace. Williams begins to make the observation that this is the direction that the world is moving in, as Clifford puts it—“an inevitable momentum.” Clifford believes in that, “in an interconnected world, one is always to varying degrees, ‘inauthentic.’” In making this statement, Clifford is perhaps only partially accurate. In the western hemisphere, where Williams was located, perhaps it can be said directly that the influence of modern society has attributed to the lack of general ancestry, as one culture after another has blended with the next. Perhaps it can be said as well that, as Clifford puts it, “there seem no distant places left on the planet where the presence of ‘modern’ products, media, and power cannot be felt” (Clifford, 14). The intention of this paper is to contend first that there is essentially such a thing as “pure” culture, and contrary to Clifford’s belief, that there are “pure” unblended cultures that remain (while not altogether untouched by foreign influence), natural within themselves. It will be argued as well that the influence of modern society does not necessarily lead to a loss of cultural soundness itself, but rather that a presence of certain cultural practices within the respective cultures has attributed to the lasting “purity” of certain cultures. In this case, we will be discussing the cultures that exist in Haiti and Bali.
...t is Impressionism. We see that without Paris and its artists there would have been be no break from the traditions and regulations laid down by the L’École des Beaux-Arts and Le Salon. Without Paris the movement would not have gained the recognition that it did. It was aided by the industrial revolution, the Haussmann project, the growth of le café and the revenue from trade by Parisian art dealer Paul Durand-Ruel. We also note how Paris was highly influential in the subjects of impressionist paintings. We see how the camera and colour theory influenced their work as well as how the modern cityscape and social interactions consumed their creations. Even today Paris plays a role in Impressionism. Its museums house some of the greatest examples of period impressionist work on view, showing that nearly two centuries later Paris is still at the heart of Impressionism.
Through Duchamp’s embrace of irrationality, chance and play, his approach to art demonstrated that the conceptual side of an artwork was far more important than the physical product, and even more important to the audience. After the minimalistic movement, it was his ideas that furthered and supported artists of the time to adopt a new artistic movement. It is because of this, why society has recognised Marcel Duchamp as being a major influence on the development of Conceptual Art.