![]() ![]() What then is this political style? Deleuze likens it to way Kafka would later mount a ‘war-machine’ within a hegemonic or ‘majority’ German language – what with Guattari, he would later call a ‘minor’ language – or, again in a phrase from Proust, he was fond of quoting, the creation of a ‘foreign language in a language’. ![]() It is in such a ‘political style’ that we can now discern a new kind of ‘counter-culture’, not to be found in the existing ‘bureaucracies’ of Marx and Freud, or in the ‘abominable synthesis Nietzsche Freud Marx’, suggestive for young artists or activists, through whose new uses Nietzsche might make a new return. Instead one needs to see in Nietzsche’s style and its opening to an ‘outside’, a kind of ‘war machine’ that goes against national ‘codes’ everywhere, in France as in Germany. It is no longer, Deleuze declares, as earlier with Acephale (Bataille, Klossowski, Jean Wahl), a matter of rescuing a French Nietzsche from the clutches a bad German fascist one. In this essay, we already find a change in attitude. I start therefore in 72-3 with ‘ La pensee nomade’. ![]() I’d like to suggest how Zarathustra itself might be re-read in this light and how Deleuze might be seen to have taken up the famous last sentences of Ecce Homo – “Have I been understood? Dionysus versus the Crucified? - and launched them anew. I will try to isolate several themes in this itinerary, which, in the spirit of this Seminar, might generate new questions. I’d like to concentrate on this second phase, when the ideas he had found in his earlier reading of Nietzsche assumed many new forms that he would later take up in his study of cinema, and then in the late essays collected under the title Critique et Clinique as well as in What is Philosophy?, when he returned to writing about Nietzsche after his own long itinerary, political and aesthetic. But after 1968, as he began working with Foucault in GIP, and started on the great experiment in multiple authorship with Felix Guattari, he felt such ‘interpretation’ was not enough, that it need to be connected to ‘uses’ and address itself in new ways to young film-makers, writers and artists politics and aesthetics mattered in a new way at this moment. In the 1960s, Deleuze wrote several influential studies and related essays about Nietzsche. By ‘Deleuze’s Nietzsche’, I don’t mean simply what Deleuze wrote about Nietzsche but also how Nietzsche figured in the larger ‘image of thought’ he tried to work out throughout his career and the new ideas or questions it might pose for us today. ![]()
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