Repetition Difference and Knowledge in the Work of Samuel Beckett Jacques Derrida and Gilles Deleuze ab 71.95 € als gebundene Ausgabe: . Aus dem Bereich: Bücher, English, International, Gebundene Ausgaben,
Repetition Difference and Knowledge in the Work of Samuel Beckett Jacques Derrida and Gilles Deleuze ab 71.95 EURO
Intrinsic Paradox in Translation examines the paradoxical nature of translation by reading Nietzsche, Benjamin, and Deleuze. Pei-Yun Chen argues that the notion of repetition has been repressed and the notion of difference has not been sufficiently elaborated in contemporary translation studies. Translation is a fight in order to make violent equating, translation is also flight, refusing to be grasped and petrified. Both the warring and fleeing traits constitute translation. Starting with the symptomatic reading of contemporary translation studies, Chen moves through such notions as Nietzsche's will to power and eternal return, Benjamin's afterlife and form, Deleuze's different/ciation, the virtual, and simulacrum in order to make contribution to speculative theorizing of translation. Bringing together three important thinkers and contemporary translation studies, Chen offers a cross-disciplinary approach that will interest not only those who study translation theory, but also anyone who hopes to explore philosophical discourses from the perspective of translation.
Gilles Deleuze, (18 January 1925 4 November 1995) was a French philosopher of the late 20th century. From the early 1960s until his death, Deleuze wrote many influential works on philosophy, literature, film, and fine art. His most popular books were the two volumes of Capitalism and Schizophrenia: Anti-Oedipus (1972) and A Thousand Plateaus (1980), both co-written with Félix Guattari. His books Difference and Repetition (1968) and The Logic of Sense (1969) led Michel Foucault to declare that "one day, perhaps, this century will be called Deleuzian."(Deleuze, for his part, said Foucault's comment was "a joke meant to make people who like us laugh, and make everyone else livid.")
The term musical form is often loosely used to refer to particular musical genres or styles (Scholes 1977), which may be determined by factors such as harmonic language, typical rhythms, types of musical instrument used as well as historical and geographical origins. In the vocabulary of art-music, however, it has a more extended meaning, referring to the type of "architectural" structure on which the music is built. Scholes (1977) explained musical form as a series of strategies designed to find a successful mean between the opposite extremes of unrelieved repetition and unrelieved alteration. Middleton (p. 145) also describes form, presumably after Gilles Deleuze s Difference and Repetition (1968, translated 1994), through repetition and difference. Difference is the distance moved from a repeat, a repeat being the smallest difference. Difference is quantitative and qualitative how far different and what type of difference. Musical form may be contrasted with content (the parts) or with surface (the detail), but there is no clear line dividing them.
Repetition, Difference, and Knowledge dialogues with novels, theatre, philosophy, and literary theory in order to explore how three thinkers - Samuel Beckett, Jacques Derrida, and Gilles Deleuze - employ repetition as a means with which to radically unsettle some of the most fundamental notions of the human experience (among them, time, presence, originality, and being). Due to its interdisciplinary scope and its focus on repetition as an epistemological concept, this book will attract a broad audience of academic specialists across the humanities from the fields of literary criticism, philosophy, French studies, and poststructural studies. Its simplicity of style, deliberate avoidance of complex jargon, and clarity of argument - particularly when dealing with complicated theoretical ideas and texts - also makes it an invaluable tool for use in both graduate- and undergraduate-level literature and philosophy courses. Repetition, Difference, and Knowledge provides experienced and beginning scholars alike with greater insight into the works of Beckett, Derrida, and Deleuze and into the role that repetition has played and continues to play in determining how we read our world and come to meaning.
Hollywood Remakes, Deleuze and the Grandfather Paradox explores the philosophy of Gilles Deleuze using the framework of Hollywood's current obsession with remaking and rebooting classic and foreign films. Through an analysis of cinematic repetition and difference, the book approaches remakes from a range of philosophical perspectives.