Deleuze remains indifferent to the ambient pathos related to the end of metaphysics and compares the undertakings of destruction, overcoming and deconstruction of metaphysics with the gestures of murderers. He considers himself “a pure metaphysician,” which is rather unique in the contemporary philosophical landscape. What are we to make of this and similar claims? What do they mean in light of the effort made during the last several centuries to overcome, overturn, destroy, or deconstruct metaphysics? If we consider Deleuze’s work more closely, might find him engaging in the kind of thinking that is commonly referred to as metaphysical? And if Deleuze is indeed a metaphysician, does this undercut the many insightful contributions of the twentieth century philosophers who dedicate their thought to bringing down Western metaphysical tradition? Or does it suggest that there is a sense of metaphysics that should nevertheless be preserved? These and similar questions are addressed in this volume by a series of international scholars. The goal of the book is to critically engage an aspect of Deleuze’s thought that, for the most part, has been neglected, and to understand better his “immanent metaphysics.” It also seeks to explore the consequences of such an engagement.

This book offers a readable and compelling introduction to the work of one of the twentieth century's most important and elusive thinkers. Other books have tried to explain Deleuze in general terms. Todd May organizes his book around a central question at the heart of Deleuze's philosophy: how might we live? The author then goes on to explain how Deleuze offers a view of the cosmos as a living thing that provides ways of conducting our lives that we may not have dreamed of. Through this approach the full range of Deleuze's philosophy is covered. Offering a lucid account of a highly technical philosophy, Todd May's introduction will be widely read amongst those in philosophy, political science, cultural studies and French studies.

Why does knowledge of philosophy presuppose knowledge of reality? What are the characters in Deleuze's theatre and philosophy? How are his famous metaphysical distinctions secondary to the concept of philosophy as practice and politics? These questions are answered through careful analysis and application of Deleuzian principles.

Against Continuity is the first book to demonstrate that the beating heart of Gilles Deleuze's philosophy is a systematic ontology of irreducible, singular entities. This requires a radical break with decades of Deleuzian orthodoxy, according to which Deleuze's metaphysics revolves around the dissolution of discrete entities into a continuous world of flows and events.With reference to all of Deleuze's work, including published and untranslated seminars, as well as the recently published 'Lettres et autres textes', Arjen Kleinherenbrink critically compares Deleuze's ontology to seven related contemporary thinkers: Levi Bryant, Maurizio Ferraris, Markus Gabriel, Manuel DeLanda, Graham Harman, Tristan Garcia and Bruno Latour. These comparisons establish Deleuze as an important precursor to object-oriented speculative realism and open up exciting new avenues of thought for critics and supporters of Deleuze alike.

2008 Outstanding Academic Title, Choice Magazine In recent years, the recognition of Gilles Deleuze as one of the major philosophers of the twentieth century has heightened attention to his brilliant and complex writings on film. What is the place of Cinema 1 and Cinema 2 in the corpus of his philosophy? How and why does Deleuze consider cinema as a singular object of philosophical attention, a specific mode of thought? How does his philosophy of film combine and further his approaches to time, movement, and perception, and how does it produce an escape from subjectivity and a plunge into the immanence of images? How does it recode and utilize Henri Bergson's thought and André Bazin's film theory? What does it tell us about perceiving a world in images—indeed about our relation to the world? These are the central questions addressed in Paola Marrati's powerful and clear elucidation of Deleuze's philosophy of film. Humanities, film studies, and social science scholars will find this book a valuable contribution to the philosophical literature on cinema and its pertinence in contemporary life.

Throughout his career, Deleuze developed a series of original philosophies of time and applied them successfully to many different fields. Now James Williams presents Deleuze's philosophy of time as the central concept that connects his philosophy as a whole. Through this conceptual approach, the book covers all the main periods of Deleuze's philosophy: the early studies of Hume, Nietzsche, Kant, Bergson and Spinoza, the two great philosophical works, Difference and Repetition and Logic of Sense, the Capitalism and Schizophrenia works with Guattari, and the late influential studies of literature, film and painting.The result is an important reading of Deleuze and the first full interpretation of his philosophy of time.

A new edition of this introduction to Deleuze's seminal work, Difference and Repetition, with new material on intensity, science and action and new engagements with Bryant, Sauvagnargues, Smith, Somers-Hall and de Beistegui.

Called by many France's foremost philosopher, Gilles Deleuze is one of the leading thinkers in the Western World. His acclaimed works and celebrated collaborations with Félix Guattari have established him as a seminal figure in the fields of literary criticism and philosophy. The long-awaited publication of What Is Philosophy? in English marks the culmination of Deleuze's career. Deleuze and Guattari differentiate between philosophy, science, and the arts, seeing as means of confronting chaos, and challenge the common view that philosophy is an extension of logic. The authors also discuss the similarities and distinctions between creative and philosophical writing. Fresh anecdotes from the history of philosophy illuminate the book, along with engaging discussions of composers, painters, writers, and architects. A milestone in Deleuze's collaboration with Guattari, What Is Philosophy? brings a new perspective to Deleuze's studies of cinema, painting, and music, while setting a brilliant capstone upon his work.

Gilles Deleuze's engagements with mathematics, replete in his work, rely upon the construction of alternative lineages in the history of mathematics, which challenge some of the self imposed limits that regulate the canonical concepts of the discipline. For Deleuze, these challenges provide an opportunity to reconfigure particular philosophical problems - for example, the problem of individuation - and to develop new concepts in response to them. The highly original research presented in this book explores the mathematical construction of Deleuze's philosophy, as well as addressing the undervalued and often neglected question of the mathematical thinkers who influenced his work. In the wake of Alain Badiou's recent and seemingly devastating attack on the way the relation between mathematics and philosophy is configured in Deleuze's work, Simon B.Duffy offers a robust defence of the structure of Deleuze's philosophy and, in particular, the adequacy of the mathematical problems used in its construction. By reconciling Badiou and Deleuze's seemingly incompatible engagements with mathematics, Duffy succeeds in presenting a solid foundation for Deleuze's philosophy, rebuffing the recent challenges against it.

This collection, first published in 1994, contains thirteen critical essays by established scholars from the fields of philosophy, literary criticism, feminist theory, politics, and sociology, and a new essay by Deleuze himself. That the contributors are from a variety of fields indicates the extent to which Deleuze’s work can and will impact theory far beyond the discipline of philosophy.