By Garin Dowd
Summary Machines: Samuel Beckett and Philosophy after Deleuze and Guattari is an cutting edge method of the connection of the paintings of Samuel Beckett to philosophy. The research seeks to mix intertextual research and a 'schizoanalytic genealogy' derived from the idea of Gilles Deleuze and Félix Guattari to discover a 'becoming-philosophy' of Beckett's literary writing. the writer specializes in zones of come upon and disagreement - areas and instances of 'becoming' - among Beckett, chosen philosophers and Deleuze and Guattari. within the retrospective look occasioned by means of that a part of Deleuze and Guattari's complicated legacy which embraces their curiosity within the writer, Beckett's writing particularly effectuates a threshold hesitation which might be noticeable on to impression on their method of the historical past of philosophy and on their contribution to its 'molecularization' within the identify of experimentation. summary Machines, with its arresting views on quite a lot of Beckett's paintings, will attract lecturers and postgraduate scholars drawn to the philosophical echoes so obvious in his writing. the level of its recourse to philosophers apart from Deleuze and Guattari, together with, significantly, Alain Badiou, renders it a well timed and provocative intervention in modern debates in regards to the courting of literature to philosophy, either inside of Beckett reports and past.
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Extra info for Abstract Machines: Samuel Beckett and Philosophy after Deleuze and Guattari (Faux Titre, Volume 295)
Such a focus on the intermezzine space of problematised critical intervention finds distinct echoes in the thought of Deleuze (who frequently directly cites Blanchot). Indeed his Dialogues directly addresses the question of the “entretien” (as in Blanchot’s title L’Entretien infini), and does so in terms which recall Blanchot. 10 That which 10 In L’Écriture du désastre (1980), Blanchot defines solitude in the following terms: “solitude or non-interiority, exposure to the outside, boundless dispersion, the impossibility of holding firm, within bounds, enclosed—such is the human deprived of humanity, the supplement that supplies nothing” (Blanchot 1986, 30).
As Deleuze would put it in his study of Proust, the “secret pressures of the work of art” (Deleuze 1986a/2002, 119/98) upon the philosophical are felt. The reversal of Platonism means that The non-hierarchised work is a condensation of coexistences and a simultaneity of events. It is the triumph of the false pretender…But the false pretender cannot be called false in relation to a presupposed model of truth, no more than simulation can be called an appearance or an illusion. Simulation is the phantasm itself, that is, the effect of the functioning of the simulacrum as machinery—Dionysian machine.
9 In Lecercle’s view, however, the persistence in Deleuze’s thought of the question of style “is only the symptom of a philosophical problem, of the problem of language, in its two, paradoxical aspects of the philosopher’s necessary resistance and hostility to, but also obsession with, language” (Lecercle 2002, 7). Moreover, he has 9 Indeed in Deleuze’s essay ‘Bégaya-t-il’ style is explicitly said to be “non-style” in this sense (Deleuze 1993/1998, 142/113). Deleuze and Guattari had already written in 1972: “That is what style is, or rather the absence of style—asyntactic, agrammatical: the moment when language is no longer defined by what it says, even less by what makes it a signifying thing, but by what causes it to move, to flow, and to explode— desire.