By Ian Buchanan, Claire Colebrook
Ever considering the fact that Deleuze and Guattari provocatively declared that each one changing into needs to pass when it comes to a 'becoming-woman', their paintings has been the topic of excessive feminist interrogation. This booklet highlights the foremost issues of this ongoing inquiry, focusing quite at the implications of Deleuze's paintings for a in particular feminist philosophy. It brings jointly the paintings of a few of Deleuze's best commentators and today's most vital feminist thinkers, together with new paintings through Elizabeth Grosz, Rosi Braidotti, and Dorothea Olkowski. With chapters on movie, the colonial imaginary, hope and embodiment, this publication is the 1st sustained exam of the effect of Deleuze on feminist idea.
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Additional info for Deleuze and Feminist Theory
Deleuze is nothing short of daunting in his 38 Becoming-Woman: Deleuze, Schreber and Molecular Identification erudition, treating with astounding facility, by turns, complex philosophies; the ethnographic history of the entire human socius; the consequences of capitalism; the techniques of cinema; the debates of linguistics; and the aesthetics of artists. He is also fluent in the idiom of science, and engaged in constant dialogue with scientific theory, past and present. 2 But the coupling of ‘Deleuze and Feminism’ gives one pause.
Writing, thus, moves across the bar of castration that would yoke the creative agency to collective and common sense. An excess, as the style of the excerpt shows, drives the writer across Freudian borders. Across her readings of Freud, Kleist and others, Cixous reads how fiction actualises virtualities. She scorns representational literature that would but serve as a mirror to society, and repeat clichés to ensure further the functioning of a group. To this mercantile idea of literature based on representation of ‘reality’ by means of characters that mime the effects of everyday life, she proposes scenes of intensity and desire.
There are only haecceities, affects, subjectless individuations that constitute collective assemblages. (266) Deleuze gives a name to this plane, where nothing subjectifies, where no ‘one’ is oneself: ‘We call this plane which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to the plan(e) of organization or development)’ (266). On this fibrous plane, it is a question not only of being strung out but also of hanging together, in a textured multiple viscosity.