Pericle e Verdi: La filosofia di François Châtelet

by Gilles Deleuze

Bu kitap bir konuşma metninden oluşuyor. Perikles ve
Verdi arasında nasıl bir bağ kurmak mümkündür? M.Ö'nün
Atina demokrasisi ile 19. yüzyıla ait bir müzisyenin
birbirine bağlanması ne demek? Bu iki ayrışık tarihin
üst üste gelmesi ne demek? Bu çok önemli gibi duran bir
yaklaşım. Pozitivist bir anlayışın tamamen dışında
duruyor. Tarih, ilerleyip geride bırakanlarla işlemekten
çok üst üste gelmelerle işliyor. İkisini birleştiren
çizgi nedir öyleyse?

Genres: Philosophy

29 pages, Paperback

Published January 1, 1996

About the author

Deleuze is a key figure in poststructuralist French philosophy. Considering himself an empiricist and a vitalist, his body of work, which rests upon concepts such as multiplicity, constructivism, difference and desire, stands at a substantial remove from the main traditions of 20th century Continental thought. His thought locates him as an influential figure in present-day considerations of society, creativity and subjectivity. Notably, within his metaphysics he favored a Spinozian concept of a plane of immanence with everything a mode of one substance, and thus on the same level of existence. He argued, then, that there is no good and evil, but rather only relationships which are beneficial or harmful to the particular individuals. This ethics influences his approach to society and politics, especially as he was so politically active in struggles for rights and freedoms. Later in his career he wrote some of the more infamous texts of the period, in particular, Anti-Oedipus and A Thousand Plateaus. These texts are collaborative works with the radical psychoanalyst Félix Guattari, and they exhibit Deleuze’s social and political commitment.

Gilles Deleuze began his career with a number of idiosyncratic yet rigorous historical studies of figures outside of the Continental tradition in vogue at the time. His first book, Empirisism and Subjectivity, is a study of Hume, interpreted by Deleuze to be a radical subjectivist. Deleuze became known for writing about other philosophers with new insights and different readings, interested as he was in liberating philosophical history from the hegemony of one perspective. He wrote on Spinoza, Nietzche, Kant, Leibniz and others, including literary authors and works, cinema, and art. Deleuze claimed that he did not write “about” art, literature, or cinema, but, rather, undertook philosophical “encounters” that led him to new concepts. As a constructivist, he was adamant that philosophers are creators, and that each reading of philosophy, or each philosophical encounter, ought to inspire new concepts. Additionally, according to Deleuze and his concepts of difference, there is no identity, and in repetition, nothing is ever the same. Rather, there is only difference: copies are something new, everything is constantly changing, and reality is a becoming, not a being.

He often collaborated with philosophers and artists as Félix Guattari, Michel Foucault, Guy Hocquenghem, René Schérer, Carmelo Bene, François Châtelet, Olivier Revault d'Allonnes, Jean-François Lyotard, Georges Lapassade, Kateb Yacine and many others.

Reviews

[Pripri · Rating 4 out of 5]

C'est du Deleuze pur jus de citrouille qui, comme à son habitude, immaculée-conceptionise Châtelet. On y parle de devenir, d'agencements, la raison est plurielle et ses champs d'opposition-à multiples. Seules entorses au cahier des charges deleuzien, la musique (Verdi) et la Grèce classique (Périclès) viennent jouer un rôle dans la pièce qu'est la philosophie et la vie de Châtelet - c'est-à-dire dans l'histoire de la philosophie selon Deleuze. Périclès c'est l'échec de la fine et droite raison classique incarnée soit-disant dans la démocratie. Matière mélangée, malaxée, mâchée durant tous les siècles chrétiens de l'Europe afin que la patte donne naissance à d'autres d'autres configurations de pensée (Maître Eckhart vaut bien dix Hans Jonas). Verdi c'est le fond de tragique qui court dans ce sens historique, dans cette absurdité malgré tout joyeuse que la raison de Châtelet (comme celle de Spinoza puis de Bergson et en partie celle de Nietzsche) invite à concevoir, à retrouver. "Nous avons toute la vie pour nous amuser, nous avons toute la mort pour nous reposer" et d'en faire un opéra.
(janvier)

[Sencer Turunç · Rating 4 out of 5]

Deleuze'e göre, kuvvet "pathos"dur; edilgenliktir, algılamadır, ama önce darbe alma, darbe vurma kuvvetidir. Tuhaf bir dayanıklılıktır. İktidar, insanın doğal varlığının edilgenliği olmadan, insanın sosyal varlığının bir eylemi olamaz.

Diğer taraftan "pathos," nezakettir. İnsanlar arasındaki geometrik olan, hiyerarşik olmayan tam bir mesafenin kurulması sanatı; darbe vurmamak veya almamak için, ne çok yakın ne de çok uzak olmak... Gitgide nazik insan sayısı azalmaktadır. Halbuki, en az iki nazik insan lazımdır ki bir ilişki kurulabilsin.

[Molsa Roja(s) · Rating 5 out of 5]

Quite an interesting essay on Châtelet's philosophy and its relationship to music, which was totally unknown to me. More easily understood as an homage, there are some excellent paragraphs, some fantastic cites; one can only begin to grasp Châtelet's work through these pages, yet it looks quite interesting and certainly an influence to Deleuze himself.

[Charles · Rating 5 out of 5]

This very thin volume is an homage that Deleuze wrote to honor his friend and colleague at Vincennes, Francois Chatelet, a music lover like Deleuze and also a creative philosopher.