超越“最后的现象学”:吉勒·德勒兹《感觉的逻辑》中的节奏调节

IF 0.3 4区 哲学 0 PHILOSOPHY
Iain Campbell
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引用次数: 0

摘要

本文重构了吉勒·德勒兹在《培根:感觉的逻辑》中对现象学的参与,以及对感觉的现象学问题的参与。考虑到德勒兹从艺术现象学中采用了感觉和节奏的概念,它考察了德勒兹如何通过将这些现象学概念与他关于没有器官的身体的深刻的非现象学概念以及调制和图表的概念相结合,来将这些现象论概念复杂化。在描绘德勒兹对节奏的复杂化和他对节奏调节逻辑的发展过程中,本文展示了德勒兹如何通过现象学完美地提炼出一种超越现象学的工作方法。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Beyond the ‘Last Phenomenology’: Rhythmic Modulations in Gilles Deleuze’s The Logic of Sensation
This article reconstructs Gilles Deleuze’s engagement with phenomenology, and with the phenomenological problematic of sensation, in his Francis Bacon: The Logic of Sensation. Considering Deleuze’s adoption, from the phenomenology of art, of notions of sensation and rhythm, it examines how Deleuze complexifies these phenomenological notions by aligning them with his profoundly non-phenomenological notion of the body without organs, as well as with the concepts of modulation and the diagram. In mapping Deleuze’s complexification of rhythm and his development of a logic of rhythmic modulation, this article shows how Deleuze immanently refines an approach to working beyond phenomenology, through phenomenology.
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来源期刊
CiteScore
0.60
自引率
0.00%
发文量
38
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