本文關(guān)鍵詞：思想即是折曲:德勒茲的巴洛克問題　出處：《文藝?yán)碚撗芯俊?017年03期 　論文類型：期刊論文

  更多相關(guān)文章： 德勒茲 巴洛克 折曲 單子 萊布尼茲

【摘要】：對德勒茲而言,巴洛克的重要性不是藝術(shù)史的,它的重要性在于迫使我們?nèi)ニ伎?無窮折曲的可能性",以折曲來表達(dá)無窮宇宙的無窮細(xì)節(jié),而且每一構(gòu)成細(xì)節(jié)都由生成所說明。巴洛克因此沒有本質(zhì),只是意圖將折曲這種操作功能推到無限的"風(fēng)格主義"。德勒茲以萊布尼茲的單子作為思考折曲問題的例證,愈想深入思考單子,就愈擴(kuò)大地思考(單子之外的)宇宙,單子(最小)與宇宙(最大)有一種不可思考的非關(guān)系,而且正是在這種非關(guān)系中相互定義與相互折曲,二者共構(gòu)了由"介于二"或雙界限的不可能共存所說明的"中域"(milieu)或"共同界限"。透過對折曲的構(gòu)思,德勒茲同時答覆了"何謂思考?"這個哲學(xué)的基本問題。
[Abstract]:To Deleuze, Baroque's importance is not in the history of art, but in forcing us to think about "the possibility of infinite twists" to express the infinite details of the infinite universe. And every detail of the composition is explained by the generation. Baroque therefore has no essence. It is only intended to push the operation function of folding to infinite "stylism". Deleuze takes Leibniz's list as an example of thinking about the problem of folding, and the more he thinks about it, the more he thinks deeply about it. To think more and more about the universe (beyond the list), the list (minimum) and the universe (the largest) have a kind of inthinkable non-relation, and it is in this non-relationship that they define and fold each other. The two construes the "middle domain" or "common boundary" explained by the impossible coexistence between "two" and "two boundaries". Through the idea of twixing, Deleuze also answers "what is thinking?" "the fundamental question of philosophy.
【作者單位】： 臺北藝術(shù)大學(xué)藝術(shù)跨領(lǐng)域研究所;
【基金】：國家社科基金重大項目“歐洲生命哲學(xué)的新發(fā)展”[項目編號:14ZDB018]子課題“法國生命哲學(xué)的新發(fā)展”階段性成果
【分類號】：J110.9
【正文快照】： 一、混沌的爆棚 折曲(1)是許多法國哲學(xué)家常用的詞,原本指的是各式各樣材質(zhì)彎曲、變形、扭動、不再是直線或平面的狀態(tài)。布料的折曲是衣折,皮膚的折曲則是皺紋。每一件家具上也都有折曲,彎曲的鐵管、木料或塑料。如果尺度再放大一點,地殼的折曲形成各種高高低低的山脈海洋。，

本文編號：1419528