Abstract Machines: Samuel Beckett and Philosophy after by Garin Dowd

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 examine seeks to mix intertextual research and a 'schizoanalytic genealogy' derived from the concept of Gilles Deleuze and Félix Guattari to discover a 'becoming-philosophy' of Beckett's literary writing. the writer specializes in zones of stumble upon and war of words - areas and instances of 'becoming' - among Beckett, chosen philosophers and Deleuze and Guattari. within the retrospective look occasioned via that a part of Deleuze and Guattari's complicated legacy which embraces their curiosity within the writer, Beckett's writing specifically effectuates a threshold hesitation that are visible on to effect on their method of the heritage of philosophy and on their contribution to its 'molecularization' within the identify of experimentation. summary Machines, with its arresting views on a variety of Beckett's paintings, will entice teachers and postgraduate scholars drawn to the philosophical echoes so obtrusive 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 about the dating of literature to philosophy, either inside Beckett reports and past.

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Additional resources for Abstract Machines: Samuel Beckett and Philosophy after Deleuze and Guattari (Faux Titre, Volume 295)

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As Moira Gatens glosses Deleuze writing on Tournier’s reworking of Defoe, “The absence of an appropriately socialised ‘other’ opens Robinson’s habituated human world—his molar identity—to other possible worlds” (Gatens 1996, 175). 12 The enthusiasm of a shadow for a phantom, to translate the words of Paul Valéry in his Eupalinos, ou l’architecte (1932). 13 The untimely pedagogy causes philosophy to unlearn its own image of thought: it looks into the mirror and, through the insistence of non-philosophy no longer recognizes itself.

13 The untimely pedagogy causes philosophy to unlearn its own image of thought: it looks into the mirror and, through the insistence of non-philosophy no longer recognizes itself. Philosophy becomes, like Beckett’s Murphy gazing into the eyes of Mr. Endon over the chessboard, “lost in the speck of … unseen” (Beckett 1973, 140); the structure of recognition, or the “structure-other”, breaks down: relation of non-relation. Philosophy and Literature, or perhaps, as Andrew Benjamin has expressed the relation, “philosophy’s literature” (Benjamin 2001).

40 The claim that in his own essay Critchley is guilty of “bad faith” in deriding “philosophical interpretations” has been made by Lance St John Butler in his review of Very Little…Almost Nothing (Butler 1999). 41 Anthony Uhlmann makes several important statements regarding the question of the hermeneutic gesture in the context of poststructuralist philosophy in the introduction to his Beckett and Poststructuralism (1999). He begins by arguing that, for Deleuze, all valid criticism is by definition comparative “because any work in a field is itself imbricated within other fields”.

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