By Gilles Deleuze, Paul Patton
This incredible exposition of the critique of id is a vintage in modern philosophy and one in every of Deleuze's most vital works. Of primary value to literary critics and philosophers, Difference and Repetition develops important concepts—pure distinction and complicated repetition—and exhibits how the 2 suggestions are comparable. whereas distinction implies divergence and decentering, repetition is linked to displacement and disguising. primary in beginning the shift in French proposal clear of Hegel and Marx towards Nietzsche and Freud, Difference and Repetition strikes deftly to set up a primary critique of Western metaphysics.
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Additional info for Difference and Repetition (Athlone Contemporary European Thinkers)
Nietzsche's leading idea is to ground the repetition in eternal return on both the death of God and the dissolution of the self. However, it is a quite different alliance in the theatre of faith: Kierkegaard dreams of an alliance between a God and a self rediscovered. All sorts of differences follow: is the movement in the sphere of the mind, or in the entrails of the earth which knows neither God nor self? Where will it be better protected against generalities, against mediations? Is repetition supernatural, to the extent that it is over and above the laws of nature?
The Birth of Tragedy is not a reflection on ancient theatre so much as the practical foundation of a theatre of the future, the opening up of a path along which Nietzsche still thinks it possible to push Wagner. The break with Wagner is not a matter of theory, nor of music; it concerns the respective roles of text, history, noise, music, light, song, dance and decor in this theatre of which Nietzsche dreams. Zarathustra incorporates the two attempts at dramatizing Empedocles. Moreover, if Bizet is better than Wagner, it is from the point of view of theatre and for Zarathustra's dances.
This knowledge is in him, it is immersed in him and acts in him, but acts like something hidden, like a blocked representation. The difference between the comic and the tragic pertains to two elements: first, the nature of the repressed knowledge - in the one case immediate natural knowledge, a simple given of common sense, in the other terrible esoteric knowledge; second, as a result, the manner in which the character is excluded from this knowledge, the manner in which 'he does not know that he knows'.
Difference and Repetition (Athlone Contemporary European Thinkers) by Gilles Deleuze, Paul Patton