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By Jon Roffe

Badiou's Deleuze offers the 1st thorough research of 1 of the main major encounters in modern concept: Alain Badiou's interpretation and rejection of the philosophy of Gilles Deleuze. Badiou's analyzing of Deleuze is essentially specified by his provocative booklet, Deleuze: The Clamor of Being. Badiou's Deleuze offers an in depth exam of Badiou's studying and argues that, whereas it fails to do justice to the Deleuzean venture, it invitations us to re-examine and think again Deleuze's strength to handle the final word issues of philosophy. Badiou's Deleuze analyses the differing metaphysics of 2 of the main influential contemporary continental philosophers, whose divergent perspectives have contributed to shaping a lot modern thought.

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Example text

In fact, as I have already noted, Deleuze thinks we find the kernels of something like a properly transcendental philosophy in this account, whereby duration is the condition for both differences in degree and differences in kind, and their mixture. In sum, we would be mistaken in thinking that this priority is an exclusive one reserved for duration, difference-in-kind as such, alone. If the third aspect of the method, which insists on proceeding according to temporal rather than spatial categories, is so important, it is because only such a temporal view can account for the coexistence of space and time, whereas other methodological approaches precisely exclude a consideration of duration in advance, by construing it on the basis of spatial categories and thereby reducing its difference in kind from spatiality rather than highlighting it.

12 Indeed, the original preface of The Movement Image begins with the following words: “This study is not a history of the cinema. It is a taxonomy, an attempt at the classification of images and signs” (MI xix). The categories of movementimage and time-image are themselves general categories in this taxonomy, which the respective books deal with in terms of the many subsidiary categories beneath them and their interrelations and transformations. The second feature concerns the relationship between philosophy and cinema, and thus more directly engages with Badiou’s claims about Deleuze’s method.

This book is structured around an approach that is so obvious as to be often overlooked. Certainly, it is Deleuze’s mature statement of his own philosophy, no longer presented from within the thought of another writer. However, this “own philosophy” emerges out of an immense series of confrontations and negotiations with other figures in the history of Western thought. One would be hard pressed to find a significant thinker between Plato and Heidegger that Deleuze does not meaningfully engage with, not to mention the array of non-classical or less well-known philosophers.

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