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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. 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Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. Lemos, Ernest LePore, Sarah-Jane Leslie, Isaac Levi, Andrew Levine, Alan E. Lewis, Daniel E. Little, Shu-hsien Liu, Shu-hsien Liu, Alan K. L. Chan, Brian Loar, Lawrence B. Lombard, John Longeway, Dominic McIver Lopes, Michael J. Loux, E. J. Lowe, Steven Luper, Eugene C. Luschei, William G. Lycan, David Lyons, David Macarthur, Danielle Macbeth, Scott MacDonald, Jacob L. Mackey, Louis H. Mackey, Penelope Mackie, Edward H. Madden, Penelope Maddy, G. B. Madison, Bernd Magnus, Pekka Mäkelä, Rudolf A. Makkreel, David Manley, William E. Mann (W.E.M.), Vladimir Marchenkov, Peter Markie, Jean-Pierre Marquis, Ausonio Marras, Mike W. Martin, A. P. Martinich, William L. McBride, David McCabe, Storrs McCall, Hugh J. McCann, Robert N. McCauley, John J. McDermott, Sarah McGrath, Ralph McInerny, Daniel J. McKaughan, Thomas McKay, Michael McKinsey, Brian P. McLaughlin, Ernan McMullin, Anthonie Meijers, Jack W. Meiland, William Jason Melanson, Alfred R. Mele, Joseph R. Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. Quinn, Philip L. Quinn, Elizabeth S. Radcliffe, Diana Raffman, Gerard Raulet, Stephen L. Read, Andrews Reath, Andrew Reisner, Nicholas Rescher, Henry S. Richardson, Robert C. Richardson, Thomas Ricketts, Wayne D. Riggs, Mark Roberts, Robert C. Roberts, Luke Robinson, Alexander Rosenberg, Gary Rosenkranz, Bernice Glatzer Rosenthal, Adina L. Roskies, William L. Rowe, T. M. Rudavsky, Michael Ruse, Bruce Russell, Lilly-Marlene Russow, Dan Ryder, R. M. Sainsbury, Joseph Salerno, Nathan Salmon, Wesley C. Salmon, Constantine Sandis, David H. Sanford, Marco Santambrogio, David Sapire, Ruth A. Saunders, Geoffrey Sayre-McCord, Charles Sayward, James P. Scanlan, Richard Schacht, Tamar Schapiro, Frederick F. Schmitt, Jerome B. Schneewind, Calvin O. Schrag, Alan D. Schrift, George F. Schumm, Jean-Loup Seban, David N. Sedley, Kenneth Seeskin, Krister Segerberg, Charlene Haddock Seigfried, Dennis M. Senchuk, James F. Sennett, William Lad Sessions, Stewart Shapiro, Tommie Shelby, Donald W. Sherburne, Christopher Shields, Roger A. Shiner, Sydney Shoemaker, Robert K. Shope, Kwong-loi Shun, Wilfried Sieg, A. John Simmons, Robert L. Simon, Marcus G. Singer, Georgette Sinkler, Walter Sinnott-Armstrong, Matti T. Sintonen, Lawrence Sklar, Brian Skyrms, Robert C. Sleigh, Michael Anthony Slote, Hans Sluga, Barry Smith, Michael Smith, Robin Smith, Robert Sokolowski, Robert C. Solomon, Marta Soniewicka, Philip Soper, Ernest Sosa, Nicholas Southwood, Paul Vincent Spade, T. L. S. Sprigge, Eric O. Springsted, George J. Stack, Rebecca Stangl, Jason Stanley, Florian Steinberger, Sören Stenlund, Christopher Stephens, James P. Sterba, Josef Stern, Matthias Steup, M. A. Stewart, Leopold Stubenberg, Edith Dudley Sulla, Frederick Suppe, Jere Paul Surber, David George Sussman, Sigrún Svavarsdóttir, Zeno G. Swijtink, Richard Swinburne, Charles C. Taliaferro, Robert B. Talisse, John Tasioulas, Paul Teller, Larry S. Temkin, Mark Textor, H. S. Thayer, Peter Thielke, Alan Thomas, Amie L. Thomasson, Katherine Thomson-Jones, Joshua C. Thurow, Vzalerie Tiberius, Terrence N. Tice, Paul Tidman, Mark C. Timmons, William Tolhurst, James E. Tomberlin, Rosemarie Tong, Lawrence Torcello, Kelly Trogdon, J. D. Trout, Robert E. Tully, Raimo Tuomela, John Turri, Martin M. Tweedale, Thomas Uebel, Jennifer Uleman, James Van Cleve, Harry van der Linden, Peter van Inwagen, Bryan W. Van Norden, René van Woudenberg, Donald Phillip Verene, Samantha Vice, Thomas Vinci, Donald Wayne Viney, Barbara Von Eckardt, Peter B. M. Vranas, Steven J. Wagner, William J. Wainwright, Paul E. Walker, Robert E. Wall, Craig Walton, Douglas Walton, Eric Watkins, Richard A. Watson, Michael V. Wedin, Rudolph H. Weingartner, Paul Weirich, Paul J. Weithman, Carl Wellman, Howard Wettstein, Samuel C. Wheeler, Stephen A. White, Jennifer Whiting, Edward R. Wierenga, Michael Williams, Fred Wilson, W. Kent Wilson, Kenneth P. Winkler, John F. Wippel, Jan Woleński, Allan B. Wolter, Nicholas P. Wolterstorff, Rega Wood, W. Jay Wood, Paul Woodruff, Alison Wylie, Gideon Yaffe, Takashi Yagisawa, Yutaka Yamamoto, Keith E. Yandell, Xiaomei Yang, Dean Zimmerman, Günter Zoller, Catherine Zuckert, Michael Zuckert, Jack A. Zupko (J.A.Z.)
- Edited by Robert Audi, University of Notre Dame, Indiana
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- The Cambridge Dictionary of Philosophy
- Published online:
- 05 August 2015
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- 27 April 2015, pp ix-xxx
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14 - Deleuze and psychoanalysis
- Edited by Daniel W. Smith, Purdue University, Indiana, Henry Somers-Hall, Manchester Metropolitan University
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- The Cambridge Companion to Deleuze
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- 05 December 2012
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- 27 September 2012, pp 307-336
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Summary
What happens when psychoanalysis encounters Deleuze? Ultimately, the result is its transformation into schizoanalysis, of course, thanks in large part to the collaboration with Guattari. But Deleuze brings to the encounter a whole set of conceptual resources derived from Spinoza, Leibniz, Kant, Nietzsche, Bergson, and Jung, just as Guattari brings to the collaboration invaluable resources derived from Marx, Hjelmslev, and Lacan. Perhaps most important: Deleuze had developed a distinctive philosophical understanding of the unconscious before addressing psychoanalysis itself in works such as Logic of Sense and Anti-Oedipus. So it is critical to examine the sense of unconsciousness that emerges from Deleuze’s readings of Nietzsche, Kant, Bergson, and Jung as necessary context for explaining what happens to psychoanalysis when it becomes schizoanalysis through Deleuze’s collaboration with Guattari.
BEFORE PSYCHOANALYSIS: A PHILOSOPHICAL UNCONSCIOUS
We start with Nietzsche for a number of reasons: first of all, because Nietzsche is the most important of the three great materialists (including Freud) on whom Deleuze will draw in Anti-Oedipus, and because it is he who provides the most capacious sense of unconsciousness. For Nietzsche, human being expresses will to power, and will to power is mostly unconscious; consciousness is strictly epiphenomenal. Moreover, what consciousness there is for Nietzsche is transitory and unreliable: the psyche is a battleground for warring forces or perspectives, and consciousness represents merely the momentary victory of one partial perspective over others – or indeed its disguise, as something other than conquering force. Most importantly, though: Nietzsche provides important correctives to Kant, one of Deleuze’s most favored and influential philosophical precursors, despite his idealism.
4 - Desire
- from PART I - PHILOSOPHIES
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- By Eugene W. Holland, Ohio State University
- Edited by Charles J. Stivale, Wayne State University, Detroit
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- Gilles Deleuze
- Published by:
- Acumen Publishing
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- 05 May 2014
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- 27 October 2011, pp 55-64
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The aim of this essay is not to explain what desire means, but to show how the concept gets constructed and how it works. Creating concepts is the principal task of philosophy, and part of what this entails is extracting elements or dynamics from the works of other philosophers and combining them in new and productive ways. Perhaps surprisingly, but in fact like much in his work, Deleuze's concept of desire has its source in Kantian philosophy. But its construction also draws on elements from Bataille, Marx, Nietzsche, Spinoza and, of course, Freud and Lacan. Moreover, Deleuze historicizes the concept of desire in a manner that is crucial to the way it works.
Kant defines desire as “the faculty which by means of its representations is the cause of the actuality of the objects of those representations” (1911: 16). Whereas pure reason is concerned with how we can know objects, practical reason, Kant says in the second critique, “is concerned not with objects in order to know them, but with its own capacity to make them real” (2002: 14). At first glance, this is a bizarre claim for Kant to advance. How could practical reason alone possibly involve turning mental representations into reality? In what he calls its “pathological” mode, he acknowledges that it really can't; all it can do is produce a hallucinatory or delirious impression of reality.
4 - Schizoanalysis, Nomadology, Fascism
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- By Eugene W. Holland, Ohio State University
- Edited by Ian Buchanan, University of Wollongong, Nicholas Thoburn, University of Manchester
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- Deleuze and Politics
- Published by:
- Edinburgh University Press
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- 12 September 2012
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- 20 May 2008, pp 74-97
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Despite Professor Challenger's implication in the ‘Genealogy of Morals’ plateau of A Thousand Plateaus (Deleuze and Guattari 1987: 43; see also 221) that ‘rhizomatics, stratoanalysis, schizoanalysis, nomadology’ and so forth are merely ‘various names’ for a single discipline, the approaches to fascism presented in the two volumes of Capitalism and Schizophrenia are not obviously identical. Indeed, in an important essay John Protevi has gone so far as to claim that the first step in understanding the concept of fascism presented in A Thousand Plateaus is to ‘distinguish it from the treatment of fascism in Anti-Oedipus’ (Protevi 2000: 167), and he in effect rejects the latter in favour of the former. So who got it right – Professor Protevi, or Professor Challenger? There are ample reasons to question the rather stark contrast Protevi draws between the two volumes, but it is more important to note that his essay was written some time ago – and that A Thousand Plateaus appeared nearly two decades before that. For the point of revisiting a political concept such as fascism (or any political concept, according to Deleuze and Guattari) is not to erect a catch-all definition valid for all time, but to reconstruct the concept in relation to an Event – in this case, the advent of a twenty-firstcentury fascism in the United States. Rather than draw up a list of features (exhaustive or minimal), something like a pedagogy of the concept will be more fruitful: showing how and why it gets constructed out of components of other concepts, and in response to what kind of problem.
9 - Affective Citizenship and the Death-State
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- By Eugene W. Holland, Ohio State University
- Edited by Ian Buchanan, University of Wollongong, Adrian Parr, University of Cincinnati
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- Book:
- Deleuze and the Contemporary World
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- Edinburgh University Press
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- 12 September 2012
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- 03 July 2006, pp 161-174
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I take it as an axiom of post-structuralist social theory that various determinations of social life – the economy, the family, gender, religion, ethnicity, sexuality and so on – are to be considered in principle independent of one another: not just relatively autonomous, but completely autonomous from one another, with no privilege being automatically assigned to any one instance over all the others. This axiom is perhaps most evident in Foucault, who took his teacher Althusser's notion of the ‘relative autonomy’ of social determinations (politics, economics, ideology and so on) one step further to insist on their absolute autonomy from one another (Foucault 1972). But it is also evident in Derrida's insistence that the structurality of structure be understood not to harbour any centre that would privilege one structural element or instance over the others (Derrida 1972, 1994). In Deleuze and Guattari, finally, the axiom appears under the rubric of immanence: determinations are immanent within the social field they determine, without any transcendent instance determining all the others (Deleuze and Guattari 1994). But it then becomes an empirical or conjunctural question as to how these various instances intersect and interact with one another in specific circumstances, for even absolute autonomy definitely does not entail complete isolation. So if one were able to show that, let us say, familial and economic determinations under certain circumstances in fact reinforce one another, that would be an important result of examining them in relation to one another, as parts of what we might call an undetermined or non-deterministic whole.
10 - Nomad Citizenship and Global Democracy
- from IV - Capitalism and Resistance
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- By Eugene W. Holland, Ohio State University
- Edited by Martin Fuglsang, Copenhagen Business School, Bent Meier Sorensen, Copenhagen Business School
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- Book:
- Deleuze and the Social
- Published by:
- Edinburgh University Press
- Published online:
- 12 September 2012
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- 21 June 2006, pp 191-206
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The concept of nomad citizenship developed here derives from the concepts of nomadism and nomadology expounded by Deleuze and Guattari in A Thousand Plateaus (Deleuze and Guattari 1987). As I have explained elsewhere, this concept of nomadism should not be understood primarily in reference to nomadic peoples, despite the familiar connotations of the term. Rather, nomadism as Deleuze and Guattari understand it can refer to a wide range of activities, including ‘building bridges or cathedrals or rendering judgments or making music or instituting a science, a technology’ (ibid.: 366). In the same vein, I will in what follows discuss nomad science, nomad music, nomad games – and eventually nomad management and nomad citizenship. We begin with nomad science, since it is a concept Deleuze and Guattari develop at some length by contrasting it with what they call royal or state science.
Nomad Science
Much could be said about these two ‘versions’ of science; for our purposes, two points are essential. One is the difference between the principles of ‘following’ and ‘reproducing’ that characterise the two kinds of science; the other involves the social consequences that follow from this difference.
Royal science proceeds by extracting invariant (‘universal’) laws from the variations of matter, in line with the binary opposition of form and matter: matter is essentially variable, but ‘obeys’ formal laws that are universal. Reproducing the results of a successful experiment is crucial to establishing the veracity and universality of the hypothesised law that the experiment was designed to test.
8 - Conclusion
- Eugene W. Holland
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- Baudelaire and Schizoanalysis
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- 22 August 2009
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- 23 September 1993, pp 258-277
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Schizoanalysis insists against the grain of orthodox psychoanalysis on the role of actual social factors in shaping psychic life. Taking the Freudian notion of “deferred action” elaborated by Lacan to its radical conclusion, Deleuze and Guattari assert that actual engagement with social life shapes the psyche by determining which early memory-traces are endowed “after the fact” with psychic effectivity and “meaning” for the adult. In the case of Baudelaire, it is not overly severe fathering but the authoritarian regime of Napoleon III that invalidates the super-ego; not memories of an indulgent François-Joseph Baudelaire but discovery of the martyrdom of Edgar Allan Poe that furnishes an ego-ideal role model for Baudelaire the writer; not inconsistent mothering but the quandaries of the impoverished urban poet in nascent consumer society that induce psychic splitting and generate the key figures of prostitute and dandy appearing in the mature poetry. At its worst, psychoanalysis completely excludes social determinations from consideration; at best, it projects those determinations onto “family romance” and thereby obscures their historical origins and political implications. For schizoanalysis, desire is not formed once and for all “inside” the nuclear family and then sent forth to negotiate the “outside” world as best it can: desire knows no “inside” or “outside”; it invests the entire social formation (including, of course, local family structures); it is continually formed, deformed, and reformed in and through contact with the social milieu.
Contents
- Eugene W. Holland
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- Baudelaire and Schizoanalysis
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- 22 August 2009
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- 23 September 1993, pp ix-x
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PART III - SOCIOPOETICS
- Eugene W. Holland
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- Baudelaire and Schizoanalysis
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- 22 August 2009
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- 23 September 1993, pp 175-176
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PART II - PSYCHOPOETICS
- Eugene W. Holland
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- Baudelaire and Schizoanalysis
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- 22 August 2009
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- 23 September 1993, pp 109-110
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Select bibliography
- Eugene W. Holland
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- Baudelaire and Schizoanalysis
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- 22 August 2009
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- 23 September 1993, pp 296-302
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7 - The prose poem narrator
- Eugene W. Holland
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- Baudelaire and Schizoanalysis
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- 22 August 2009
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- 23 September 1993, pp 221-257
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Summary
HISTORICIZING BORDERLINE NARCISSISM
One of the most important differences between Lacanian and object-relations psychoanalysis, despite their common debt to the work of Melanie Klein, involves Freud's notion of Nachträglichkeit, or “deferred action.” Kernberg and other object-relations psychoanalysts tend to conceive of psychic causality as a linear determinism, whereby childhood experience determines later psychological disturbance (as when severe frustration during childhood, for example, later causes borderline narcissism in the adult). In the Lacanian view, by contrast, psychic causality is not linear, for the meaning(s) later attributed to earlier events count for more than the “events themselves” (which may turn out to be fictitious anyway, according to the Freud of “Infantile Sexuality”). Indeed, from his very earliest work on hysteria, Freud suggested that childhood events may become meaningful and psychologically effective only long after they occurred; as he put it in an essay entitled “Screen Memories”:
It may indeed be questioned whether we have any memories at all from our childhood: memories relating to our childhood may be all that we possess. Our childhood memories show us our earliest years not as they were but as they appeared at the later periods when the memories were aroused. In these periods of arousal, the childhood memories did not, as people are accustomed to say emerge; they were formed at that time.[…]
Acknowledgments
- Eugene W. Holland
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- Baudelaire and Schizoanalysis
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- 22 August 2009
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- 23 September 1993, pp xvii-xviii
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2 - Correspondences versus beauty
- Eugene W. Holland
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- Baudelaire and Schizoanalysis
- Published online:
- 22 August 2009
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- 23 September 1993, pp 43-79
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THE ROMANTIC CYCLE
“Correspondances” (IV) has traditionally been hailed as the centerpiece of Les Fleurs du Mal and the most direct expression of the Baudelairean aesthetic. According to the standard interpretations, this sonnet presents with “remarkable clarity and brilliance” the “eternal formulae” of romantic symbolism: the absolute intelligibility of the sensible world, the hidden unity of humankind and nature which it is the poet's privilege to decipher and represent. But romanticism was a stance Baudelaire came to regard with suspicion, even disdain. Far from being the key to Les Fleurs du Mal, “Correspondances” epitomizes an aesthetic that the rest of the collection will work to undermine and ultimately to reject. Alongside or beneath whatever thematic structure the work may have, the process of decoding in Baudelaire's work leads away from the romantic poetics of “universal analogy” so exquisitely formulated in “Correspondances” toward a modernist poetics that will predominate from Les Fleurs du Mal to the Petits Poëmes en prose, and which first appears in the pivotal sonnet entitled “La Beauté” (XVII).
“Correspondances” figures in an introductory group of poems (the prefatory “Au lecteur” apart) that reiterate the romantic topos of the misunderstood artist reviled by a philistine society (starting with “Bénédiction” [I]).
5 - Modernist imagination and the “Tableaux Parisiens”
- Eugene W. Holland
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- Baudelaire and Schizoanalysis
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- 22 August 2009
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- 23 September 1993, pp 137-174
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The “Spleen and Ideal” section ended in “L'Horloge” on a morbid and monotonous note, with the clock God of spleen time counting down the defeated Poet's meaningless minutes and seconds to death; the “Tableaux Parisiens” recontain and defuse the death-threat of spleen time by depicting time as cyclical rather than linear. The very first tableau, “Paysage” (lxxxvi), stages time in the cycle of the seasons, and even puts the seasons themselves in the plural (“Je verrai les printemps, les étés, les automnes” 1. 13), in order to emphasize their cyclical recurrence. “Paysage” also alludes to the cycle of day and night, invoking first the pleasures of “voir naître / L'étoile dans l'azur et la lampe à la fenêtre” (11. 9–10) at dusk, and then that of the ability to “tirer un soleil de mon coeur” during a sleepless night of work. The cyclical alternation of night and day is reinforced by the appearance of “Le Soleil” (lxxxvii) immediately following the nocturnal “Paysage” (in the second edition): as the title suggests, the action in this second poem takes place in the daytime. Indeed, the entire section is structured on the cycle of day and night. “Le Soleil” introduces a diurnal set of poems, comprising roughly the first half of the section, and this group is followed by a nocturnal set of poems, in the second half.
6 - Decoding and recoding in the prose poems
- Eugene W. Holland
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- Baudelaire and Schizoanalysis
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- 22 August 2009
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- 23 September 1993, pp 177-220
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HISTORICAL OTHERS
The series of three published collections of poetry provide one perspective on Baudelaire's life history, but it is not the only one. Essays, letters, editorial comments he made about his poetry, accounts of his life by others, and the poet's own notebooks provide other perspectives. In a remarkable study of the poet, Michel Butor takes as his point of departure a dream Baudelaire recounts in a letter to his friend, Charles Asselineau, and by association the titles Baudelaire envisaged for verse collections prior to Les Fleurs du Mal and his writings on Pierre Dupont and Edgar Allan Poe. It is important to take these other documents into account: not just because any one set of documentation will differ from the others and can therefore provide valuable illumination in its own right, but because in this case, the writings on Dupont and Poe register events that are absent from the lyric poetry itself.
Butor divides Baudelaire's life into “three periods … which correspond to three titles for the poems (Les Lesbiennes, Les Limbes, Les Fleurs du Mal), and, in the author's psychological life, to three successive intercessors: Jeanne [Duval], the [revolutionary] crowd [of 1848], and Edgar Poe” (p. 64). These “intercessors” represent the historical Others in relation to whom Baudelaire constructed major personalities.
1 - Introduction
- Eugene W. Holland
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- Baudelaire and Schizoanalysis
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- 22 August 2009
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- 23 September 1993, pp 1-40
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Summary
“Au fond de l'Inconnu pour trouver du nouveau!” To the depths of the unknown to find something new: is this the battle cry of modernism or an advertising slogan? Could it be both? What reading procedures would distinguish absolutely between the two? – And what would be the cost to our historical understanding of Baudelaire and modernism, were such procedures to succeed?
However scandalous the alleged identity of high and low, of elite and mass culture may once have seemed, it has by now become commonplace. The modernist attempt to salvage or forge some domain of authenticity over and against the wasteland of commercial culture has been swallowed whole by commercialism itself: “defamiliarization,” as the Russian Formalists termed the renewal of perception through aesthetic innovation and willed distance from the ordinary, is now a well-worn advertising technique, used to confer an aura of novelty and exoticism on the most familiar and banal of commodities, from standard-brand beer to haute couture perfume. For us (and this realization surely counts as one signal of our postmodern condition), the techniques of modernism and advertising are one and the same.
But can the same be said for Baudelaire himself? In one sense, no: advertising and modernism were only in their infancy in Baudelaire's day; their merger presupposes a degree of commercial oversaturation and sophistication on the part of consumers, a measure of sophistication and sheer desperation on the part of advertisers, the assimilation of modernism itself into mainstream culture – conditions that were not met in mid nineteenth-century France.
PART I - POETICS
- Eugene W. Holland
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- Book:
- Baudelaire and Schizoanalysis
- Published online:
- 22 August 2009
- Print publication:
- 23 September 1993, pp 41-42
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CAMBRIDGE STUDIES IN FRENCH
- Eugene W. Holland
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- Book:
- Baudelaire and Schizoanalysis
- Published online:
- 22 August 2009
- Print publication:
- 23 September 1993, pp 307-309
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3 - Spleen and evil
- Eugene W. Holland
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- Book:
- Baudelaire and Schizoanalysis
- Published online:
- 22 August 2009
- Print publication:
- 23 September 1993, pp 80-108
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Summary
“SPLEEN AND IDEAL”
With the evident exception of the creation of an entirely new section, the “Tableaux Parisiens,” no changes for the second edition are more marked, or more complex, than the revision of the end of “Spleen and Ideal.” Most commentators agree that the changes give the section a clearer sense of an ending than did the first edition, which meandered to a close with some of the collection's least remarkable poems, such as “La Pipe” (lxviii) and “La Musique” (lxix). In the revised version, these poems have been moved from the very end to a position preceding sixteen poems – some old, some new – which now conclude the section. To be sure, this new grouping of poems – which starts with “Sépulture” (lxx) and “Une gravure fantastique” (lxxi), but also includes new poems such as “Le Goût du néant” (lxxx), “Alchimie de la douleur” (lxxxi), and “Horreur sympathique” (lxxxii) – accentuates a thematics of morbid perversity as a kind of counter-weight to the faithful optimism of the opening, romantic cycle of the section. But considerable controversy remains as to whether the overall unity of the section has been enhanced, as well as to what the significance of the new ending cycle might be.
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