By Ian Buchanan, Claire Colebrook
Ever given that Deleuze and Guattari provocatively declared that each one changing into needs to cross when it comes to a 'becoming-woman', their paintings has been the topic of severe feminist interrogation. This publication highlights the most important issues of this ongoing inquiry, focusing fairly at the implications of Deleuze's paintings for a in particular feminist philosophy. It brings jointly the paintings of a few of Deleuze's most interesting commentators and today's most crucial feminist thinkers, together with new paintings through Elizabeth Grosz, Rosi Braidotti, and Dorothea Olkowski. With chapters on movie, the colonial imaginary, wish and embodiment, this booklet is the 1st sustained exam of the effect of Deleuze on feminist proposal.
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Additional resources for Deleuze and Feminist Theory
Let us imagine a real liberation of sexuality, that is to say, a transformation of each one’s relationship to his or her body (and to the other body). This cannot be accomplished without political transformations that are equally radical’ (1974b: 83). Emphasis is on political and sexual transformation and on invention. It means that there is no invention possible, whether it be philosophical or poetic, without there being in the inventing subject ‘an abundance of the other, of variety: separate people, thought-/people, whole populations issuing from the unconscious, and in each suddenly animated desert, the springing up of selves one didn’t know’ (84).
It cannot be reduced to plot or ‘subject’ and is generally social (Brecht 1978). 11. ‘Divan’, means both couch and poem in French. A curious coincidence, no doubt, couch in English also refers to a ‘rhizomatous grass growing between cracks’ (OED). The obsessive male protagonist is imagined by the female actress as ‘never having a single piece of grass on his vest’. 12. Writing here is taken in a strong sense of creation, singularisation and aesthetics, not simply of reproduction. 37 2 Becoming-Woman: Deleuze, Schreber and Molecular Identification JERRY ALINE FLIEGER The true religious force in the world is the world itself .
It is not surprising, then, that Deleuze and feminism have often been cast in adversarial positions: ‘The place from which we speak’ 41 JERRY ALINE FLIEGER is not, to be sure, a central concern for Deleuze (the feminine ‘we’ is evoked only once in his text). Moreover, Balsamo and other feminist critics are probably correct in complaining that however vigorously Deleuze advocates ‘becoming-woman’, the starting-point for that transformation is Man. Nor does Deleuze pose the celebrated query of psychoanalysis: what does woman want?