By Ronald Bogue
Addressing the fundamental query of the connection among ethics and aesthetics in Deleuze's philosophy, this publication offers transparent symptoms of the sensible implications of Deleuze's method of the humanities via specified research of the moral size of creative job in literature, tune, and film.Bogue examines Deleuze's "transverse manner" of interrelating the moral and the classy, the transverse manner being either a style of suggestion and a tradition of residing. one of the matters tested are these of the connection of song 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 move cultural interactions, and the way forward for Deleuzian research as a way of forming an open, reciprocally self-constituting, transcultural worldwide tradition.
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Additional resources for Deleuze's Way: Essays in Transverse Ethics and Aesthetics
62 and 75. Violence in Three Shades of Metal: Death, Doom and Black 37 the song, thereby giving musical embodiment to the extra-musical force of the bird’s territorial refrain. A musical becoming-other is not simply a matter of undoing ﬁxed refrains, however, for in becoming-other one engages a dimension of reality that is qualitatively distinct from ordinary experience. Deleuze and Guattari differentiate between two domains in the real world, an actual domain of commonsense spatiotemporal entities and processes, and a virtual domain of pure becoming and self-differentiating difference.
The essay appears in a volume titled Superpositions, which also includes the text of the drama Richard III, or the Horrible Night of a Man of War, by the Italian playwright and ﬁlmmaker Carmelo Bene. A signiﬁcant ﬁgure in the Italian theater, Bene has written and produced a number of plays based on earlier dramas, including Arden of Feversham, Othello, Macbeth and Lorenzaccio, as well as ﬁlms inspired by earlier works, such as Don Giovanni, Salome and One Less Hamlet. Bene’s Richard III takes Shakespeare’s history play as its point of departure, incorporating selected characters, scenes and lines from the original, but deforming them through extended textual additions, incongruous gestures and actions, surreal sets and props, and various devices for manipulating and denaturalizing the spoken word.
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. Yet Richard’s stammerings and groans, his constant staggering and stumbling, his prosthetic modiﬁcations of his body and his interactions with props and stage furniture, are not fully isolable from his words.
Deleuze's Way: Essays in Transverse Ethics and Aesthetics by Ronald Bogue