20 essays written over a 20-year period that each, in their own way, attempt to invent a way of doing schizoanalysisCollects 18 previously published essays and two new essays by one of the world's leading commentators on Deleuze and GuattariProvides a single place to encounter Buchanan's work on Deleuze and GuattariFrames the text through schizoanalysis, which provides a stepping-off point as well as a guiding thread through the collectionApplies schizoanalysis in innovative ways'If all we do is bring to light what we already know, then what is the point of what we are doing?'This has been Ian Buchanan's guiding motto throughout his academic career and continues to inform his reading of Deleuze and Guattari. In these 20 essays written over a 20-year period, Buchanan shines a light on the experimental nature of the work of Deleuze and Guattari. He shows it to be constitutively incomplete as their project was an attempt to understand our contemporary situation which is constantly changing and can therefore never be understood in a complete way.Clustered around five main themes – Method, Film, Space, Analysis and Assemblages – Buchanan's book will appeal to experts as well as those new to Deleuze and Guattari working across literary criticism, film studies, cultural studies, political theory and philosophy
Access options:
The following links lead to the full text from the respective local libraries:
"What do we mean when we talk of an 'assemblage' in contemporary theory? Any and every thing, or more precisely, any and every kind of collection of things, could now be called an assemblage. The constant and seemingly limitless expansion of the term's range of applications begs the question, if any and every kind of collection of things is an assemblage, then what advantage is there is in using this term and not some other term, or indeed no term at all? What makes an assemblage an assemblage, and not some other kind of collection of things? This book advances beyond this impasse and offers practical help in thinking about and using assemblage theory for contemporary cultural and social research, in order to: - Answer the question: what is assemblage theory? - Explain why assemblage theory is necessary - Provide clear instructions on how to use assemblage theory The first book of it's kind, Ian Buchanan's guide maps the beginnings of a brand new field within the humanities"--
pt. 1.Deleuzism --Introduction: The Problem of the Two Books.1.Prehistory, or the Adequacy of Desire.2.Deleuze's Project: The Method in his Madness.3.Transcendental Empiricist Ethics --pt. 2.Applied Deleuzism.4.Becoming-woman and the World-Historical.5.Assemblages and Utopia, or Things don't have to be this Way.6.Schizophrenic Utopianism.7.Deleuze and Popular Music.Conclusion: A Dialectical Deleuze?
de Certeau is often considered to be the theorist of everyday life par excellence. This book provides an unrivalled critical introduction to de Certeau's work and influence and looks at his key ideas and asks how should we try to understand him in relation to theories of modern culture and society
Access options:
The following links lead to the full text from the respective local libraries:
This essay argues that the 2006 Ray Lawrence film Jindabyne can be read as a national allegory (in Fredric Jameson's sense of the word) for the cultural politics of the national apology to the indigenous people of Australia made by Prime Minister Kevin Rudd. It argues that the film portrays the cultural politics of that apology as both fraught and ambivalent.
Sintomatologia e politica razziale in AustraliaRiassunto: Jindabyne (una pellicola girata da Ray Lawrence nel 2006) si apre con l'uccisione di una giovane donna aborigena; tuttavia il punto su cui questa pellicola effettivamente si concentra è il modo in cui la gente reagisce a questo delitto. Per questo motivo, questo film ci dice molte interessanti verità sui rapporti interrazziali nell'Australia di oggi. La mia proposta è quella di leggere Jindabyne come un'utile allegoria nazionale (nel senso dato a questo lemma da Jameson); il film è una mappa o una cartografia che ritrae i luoghi comuni politici e culturali nella fase storica attuale. Al fondo della mia ipotesi sta il fatto che non possa essere solo una coincidenza il fatto che Jindabyne dia un tale spazio al problema dell'apologia culturale in questa particolare congiuntura della storia australiana. Anche se questo aspetto del film ha avuto poco risalto in alcune delle recensioni che ne hanno accompagnato l'uscita, mi colpisce il carattere sintomatico della tempistica: si tratta di un tema che, come una volta Deleuze ebbe a dire a proposito della differenza, era già nell'aria. Prodotto solo due anni prima dell'apologia nazionale ufficiale del primo ministro australiano Kevin Rudd agli indigeni d'Australia il 13 febbraio 2008, Jindabyne risponde a un complesso insieme di problemi culturali che erano all'ordine del giorno della politica nazionale dal 1995, quando fu reso noto Bringing Them Home, il rapporto della Commissione sulle Pari Opportunità e sui Diritti Umani relativo all'inchiesta di carattere nazionale vertente sulla cosiddetta "Generazione Rubata".Parole chiave: Razza; Politica australiana; Diritti degli indigeni; Allegoria nazionale; Gilles Deleuze e Felix Guattari. Abstract: Jindabyne (a movie directed by Ray Lawrence, 2006) begins with the murder of a young aboriginal woman, but its real focus is the way people respond to this murder. In doing so, it tells several interesting truths about race relations in Australia today. I want to suggest that Jindabyne can usefully be read as a national allegory (in Jameson's sense of the word). It maps or diagrams the cultural and political tropes of the present moment in history. My basic hypothesis is that it cannot be a coincidence that Jindabyne should give such prominence to the cultural problematic of the apology at this particular juncture in Australia's history. Although this aspect of the film is scarcely mentioned in any of the reviews that accompanied the film's premier, it strikes me that the timing is symptomatic: it is a topic that as Deleuze once said about difference was very much in the air. Produced only two years before the official national apology the Prime Minister of Australia Kevin Rudd made to the Indigenous peoples of Australia on February 13, 2008, Jindabyne responds to a complex assemblage of cultural problematics that have been on the national political agenda ever since the release in 1995 of Bringing Them Home, the Human Rights and Equal Opportunity Commission's report on its national inquiry into the so-called "Stolen Generation".Keywords: Race; Australian Politics; Indigenous Rights; National Allegory; Gilles Deleuze and Felix Guattari.
