Abstract Machines: Samuel Beckett and Philosophy after by Garin Dowd

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By Garin Dowd

Summary Machines: Samuel Beckett and Philosophy after Deleuze and Guattari is an cutting edge method of the connection of the paintings of Samuel Beckett to philosophy. The learn seeks to mix intertextual research and a 'schizoanalytic genealogy' derived from the idea of Gilles Deleuze and Félix Guattari to discover a 'becoming-philosophy' of Beckett's literary writing. the writer specializes in zones of come upon and war of words - areas and occasions of 'becoming' - among Beckett, chosen philosophers and Deleuze and Guattari. within the retrospective look occasioned via that a part of Deleuze and Guattari's advanced legacy which embraces their curiosity within the writer, Beckett's writing specifically effectuates a threshold hesitation that are noticeable on to influence on their method of the heritage of philosophy and on their contribution to its 'molecularization' within the identify of experimentation. summary Machines, with its arresting views on quite a lot of Beckett's paintings, will attract teachers and postgraduate scholars drawn to the philosophical echoes so obvious in his writing. the level of its recourse to philosophers other than Deleuze and Guattari, together with, significantly, Alain Badiou, renders it a well timed and provocative intervention in modern debates in regards to the courting of literature to philosophy, either inside Beckett reviews and past.

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Extra resources for Abstract Machines: Samuel Beckett and Philosophy after Deleuze and Guattari (Faux Titre, Volume 295)

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Guattari 1995, 93)30 For Deleuze writing is precisely an affair of becoming, as he states in the ‘manifesto’ essay from Critique et clinique, ‘La Littérature et la vie’: It is a process, that is, a passage of Life which traverses the livable and the lived. Literature is inseparable from becoming: in writing one becomes-woman, one becomes-animal or vegetable, one becomes molecule to the extent of becomingimperceptible. (Deleuze 1993/1998, 11/1) 31 médecin, il est le médicin de sa propre maladie” [The writer is conjuror and doctor, he cares for himself in his own illness] (Rancière 1998, 153).

13 The untimely pedagogy causes philosophy to unlearn its own image of thought: it looks into the mirror and, through the insistence of non-philosophy no longer recognizes itself. Philosophy becomes, like Beckett’s Murphy gazing into the eyes of Mr. Endon over the chessboard, “lost in the speck of … unseen” (Beckett 1973, 140); the structure of recognition, or the “structure-other”, breaks down: relation of non-relation. Philosophy and Literature, or perhaps, as Andrew Benjamin has expressed the relation, “philosophy’s literature” (Benjamin 2001).

24 While this is true it also needs to be said (following Lecercle on this point) that in many ways the book on Proust reveals itself to be still in the world of representation (Lecercle 2002, 246). Philippe Mengue has provided an exacting analysis of the geology of Proust et les signes in the broader context of the development of Deleuze’s approach to literature (Mengue 2006). H. Lawrence is frequently cited in this context, but see, for instance, Deleuze 1995, 143). Interestingly, as far as the work of Beckett is concerned in this regard, Michel Bousseyroux, writing from a psychoanalytic perspective, argues that Beckett’s theatre has the same structure as psychoanalysis precisely because of its impedance of interpretation: “Parce que l’Autre en est désespérément absent, le théâtre de Beckett, en particulier Fin de partie, a la même structure que, dans une psychanalyse, le dire de l’interprétation, à savoir que, tout en faisant signe, elle ne dit rien, au sens de signifier quelque chose” [Because the Other is despairingly absent from it, Beckett’s theatre, Endgame in particular, has the same structure as in a session of psychoanalysis, the speech of interpretation, to the effect that in signalling it, it says nothing, in the sense of signifying something] (Bousseyroux 2000, 177).

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