Blackwell Reference Online

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is the philosopher of the unruly and feral, the thinker who seeks to un-domesticate the established discourses of art and philosophy by opening them to those impersonal, disruptive energies and forces which conventional intellectual practices invariably struggle to tame. Deleuze is respected as a prolific poststruc-turalist philosopher/theorist whose written corpus displays three clear aspects: substantial reinterpretations of major figures in Western philosophy (Spinoza, Leibniz, Hume, Kant, and Nietzsche), significant individual contributions to poststructural thought (e.g., Difference et Repetition , 1968; Logique du Sens , 1969), and cooperative works of philosophy and literary criticism with Felix Guattari (such as L'Anti-Oedipe, Capitalisme et Schizophrenie 1 (1972), and Qu'est-ce que la Philosophie? (1991). However, throughout his career Deleuze also wrote important works on aesthetics, most notably Proust et les Signes (1964), Francis Bacon: Logique de la Sensation (1981), Cinema 1 (1983), and Cinema 2 (1985), works which have endeared him to many artists attracted to the material and temporal dimensions of art production. Deleuze does not offer an aesthetic theory in any conventional sense. As a poststructuralist thinker greatly influenced by Nietzsche's philosophy of Becoming, he tends not to be concerned with the intrinsic aesthetic properties of an art ... log in or subscribe to read full text