English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 113311/144292 (79%)
Visitors : 50923242      Online Users : 897
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
    •  Adv. Search
    Home ‧ Login ‧ Upload ‧ Help ‧ About ‧ Administer Goto mobile version


    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/100120


    Title: 德勒茲創造理論的非人稱與非人稱性
    Other Titles: The Impersonal and Impersonality in Deleuze’s Theory of the Creation
    Authors: 陳瑞文
    Chen, Zuei-Wen
    Keywords: 德勒茲;非人稱;非人稱性;創造;文體
    Gilles Deleuze;Impersonal;Impersonality;Creation;Writing
    Date: 2011-01
    Issue Date: 2016-08-11 16:04:48 (UTC+8)
    Abstract: 本文旨在探討德勒茲從非人稱到非人稱性的發展，一個關乎二十世紀的創造理論。首先揭示德勒茲非人稱的哲學動機，及其悖論邏輯的操作設想；接著深入分析非人稱實踐，包括：藝術的非人稱性、哲學的非人稱性和文體的非人稱性等三種創造；並且延伸討論非人稱性的艾甬時間超越浪漫主義美學的理由，乃至艾甬時間探索未知的創造特性。最後發現德勒茲是以不定性的辨別力，穿梭於哲學、藝術和科學三者之間，進行複合性思索，勾勒創造理論，從而打開一種史無前例的藝術哲學視野。此舉越過了思想界對此三個領域的區隔或關聯之爭議，也走出了浪漫主義者到海德格所主張的藝術與美學之理想形象傳統。
    This paper discusses the development of Deleuze`s theory of impersonality from impersonal, a critical theory of creation for the 20th century. The paper first reveals the philosophical motivation of Deleuze`s impersonal and its operational hypothesis of paradoxical logic. The paper then analyzes the application of impersonal, including impersonality of art, philosophy, and writing. The discussion extends to the rationale that the impersonality in time of Aiôn exceeds the scope of romantic aesthetics. The paper presents the creative nature of exploring the future in time of Aiôn. The paper concludes that Deleuze opened an new era in art philosophy by traveling among philosophy, art and science through his infinite discretion, proceeded with complex thoughts, and created his new theory. Deleuze`s approach has transcended the conventional blockages that separated the philosophy, art and science, and stepped out from Romanticists to Heidergger, proposing an idealistic image of art and aesthetics.
    Relation: 政治大學哲學學報, 25, 1-45
    The national Chengchi university philosophical
    Data Type: article
    Appears in Collections:[政治大學哲學學報 THCI Core] 期刊論文

    Files in This Item:

    File SizeFormat
    25-1-45.pdf681KbAdobe PDF2348View/Open


    All items in 政大典藏 are protected by copyright, with all rights reserved.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback