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 research seeks to mix intertextual research and a 'schizoanalytic genealogy' derived from the idea of Gilles Deleuze and Félix Guattari to discover a 'becoming-philosophy' of Beckett's literary writing. the writer makes a speciality of zones of come across and disagreement - 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 which 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 attracted 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)
38 For Steven Connor the problem is that while criticism mimics the gesture of Beckett’s “shrug,” in order “to assert humbly its own limits,” in the very act of making this gesture it (criticism) “defies those limits, affirming the possibility of speech and commentary even when these are denied” (Connor 1988, 190). The temporality of criticism will attempt to resist the force of the aporia: if first comes the nothing to express, then, in its wake, 37 That Rancière criticises Deleuze’s use of the formula in his symptomatology in the same chapter as the passage to which I here refer does not, in my view, render the point any less apposite to the present context.
The status of Proustian completion is complex for Deleuze: it is effectively (as previously stated) a Leibnizian “capture” rather than a totalizing encompassment. Despite the tension in Proust et les signes deriving from the apparently contending halves of the book, the figure of the spider introduced in the final chapter (a text dating from 1973 added to the 1976 edition) must be read in the context of the description of the machine and the body without organs in L’Anti-Œdipe, and of which the authors declare Beckett’s L’Innommable to be exemplary: the subject—produced as a residuum alongside the machine, or as an appendix, or as a spare part adjacent to the machine…The subject itself is not at the centre, which is occupied by the machine, but on the periphery, with no fixed identity, forever decentred, defined by the states through which it passes.
Literature’s philosophy? 14 This is literature conceived of as philosophy’s pressurising outside: a domain of creative encounter that exposes the conspiring with transcendence that is never completely out of the frame when philosophical transactions are underway. As Deleuze comments in his book on Proust, “This is because philosophy, like friendship. Is ignorant of the dark regions in which are elaborated the effective forces that act on thought, the determinations that force us to think” (Deleuze 1986a/2002, 116/95) It is the privilege accorded to 12 In certain ways this ‘primal scene’ is evoked by Beckett’s Ohio Impromptu (see Dowd 2003).
Abstract Machines: Samuel Beckett and Philosophy after Deleuze and Guattari (Faux Titre, Volume 295) by Garin Dowd