Titlebook: Deleuze and Beckett; S. E. Wilmer,Audron? ?ukauskait? Book 2015 The Editor(s) (if applicable) and The Author(s) 2015 Deleuze.Beckett.twent

帳簿

書目名稱Deleuze and Beckett影響因子(影響力)




書目名稱Deleuze and Beckett影響因子(影響力)學(xué)科排名




書目名稱Deleuze and Beckett網(wǎng)絡(luò)公開度




書目名稱Deleuze and Beckett網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Deleuze and Beckett被引頻次




書目名稱Deleuze and Beckett被引頻次學(xué)科排名




書目名稱Deleuze and Beckett年度引用




書目名稱Deleuze and Beckett年度引用學(xué)科排名




書目名稱Deleuze and Beckett讀者反饋




書目名稱Deleuze and Beckett讀者反饋學(xué)科排名

Parabola

–scent

Creative Involution: Bergson, Beckett, Deleuzethodology and ideology of psychoanalysis, which they see as ‘a(chǎn) mixed semiotic: a despotic regime of significance and interpretation’ (Deleuze and Guattari, 1987, p. 125), and so, the regime of Modernism itself. For Deleuze and Guattari, Freud misreads the Wolf-Man’s narrative, imposing nominalist, p

有常識(shí)

Deleuze and Beckett Towards Becoming-Imperceptibleexts.. Deleuze often refers to Beckett’s characters, rethinking them in terms of desiring-production, schizophrenia, the body without organs, becoming and becoming-imperceptible. The Beckettian characters, wandering in the schizophrenic promenades and obsessed with the combinatorial exercises of exh

緊張過度

Breakdown or Breakthrough? Deleuzoguattarian Schizophrenia and Beckett’s Gallery of Moribundsfar been greater critical focus on the critical/clinical conjunction between Beckett’s writings and those of Deleuze and Deleuze/Guattari. Specifically, Deleuzoguattarian conceptions of nomad subjectivity, embodied in ‘the schizo’ or ‘schizophrenic process’ in ., are famously cross-referenced with B

暴發(fā)戶

‘Till ooze again and on’: Textual Desire and the Subject’s Presence (Beckett, Deleuze, Lacan)ionally scatological. On the contrary, sexual desire, sometimes lewd, sometimes inhibited, does not just show on the surface in an allusive manner in his writing, but is often described in terms that are either verging on the obscene or of great technical precision, as if the neutrality of the writi

暴發(fā)戶

The Test is Company: A Deleuzian Speculation on Beckett’s Molloy and Moran, Watt and Knott, Mercier and Camier, but also Vladimir and Estragon, Hamm and Clov, Winnie and Willie) to the near-isolation and near-silence of the ‘closed space’ prose texts and many of the late plays. The reduction in intersubjective interaction parallels the reduction in linguis

libertine

magnate

The Problem of the Any-Space-Whatever between Deleuze’s Cinema and Beckett’s Proseical (as opposed to the historical) any-space-whatever, as it is exemplified in . and ., facilitates the extenuation of the potentialities of space. In the course of his discussion of what he describes as the non-determined spaces of the two television plays, Deleuze at one point turns to Beckett’s

保留

Erecting Monuments to Analogueter television works such as . (1966), where the main character is also haunted by the memory of past events through a displaced inner voice, and . (1977), where Beethoven’s music — emitted from the central figure’s cassette machine — tears holes in the surface fabric of the narrative, . can be seen