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Deleuzovo pojmovanje naključja
Full text linkThe author shows that the notion of contingency forms one of the key notions of Deleuze’s philosophy. It is, however, never developed as such, but always presented through other key notions and conceptions of Deleuze’s philosophy – (thinking as) dice throw, “the power of the false”, “becoming”, “time out of joint”, “eternal return” and, of course, “event”. Through examination of these notions and conceptions the author shows the power and consequences of Deleuze’s theory of contingency as well as its major flaw – contingency is for Deleuze always thought as the Contingency, as the Event, as the eternal return of the One and that is in contradiction with the major task of philosophy as such for Deleuze: “to create is to resist”.Avtor se osredotoča na naključje kot enega ključnih pojmov Deleuzove filozofije, ki pa pri Deleuzu nikoli ne nastopi kot tak, pač pa je vselej tematiziran skozi druge koncepte. Avtor skozi obravnavo metafore o metu kock, moči popačenja in postajanja, koncepcije “časa, ki je iz tira”, “večnega vračanje” in dogodka pokaže moč in razsežnosti Deleuzovega pojmovanja naključja, hkrati pa tudi njegovo temeljno pomanjkljivost – naključje je namreč za Deleuza vselej Naključje, Met kock, Dogodek, večno vračanje Enega – zaradi katere temeljni motto Deleuzove filozofije, ustvarjati nove koncepte in se s tem upirati danemu, pade v prazno
Nekatera vprašanja demokracije v luči Badioujeve teorije
Full text linkThe author starts with the relationship between Badiou's otherwise severe critique of democracy and Lefort's theory of democracy. Though accused of not being democratic, Badiou's theory in a certain sense pressuposses democracy and even deepens it, yet not the democracy which rules nowadays, the democracy of consensus, but democracy which is based on exclusion. Through the comparison of Badiou's and Deleuze's critique of representation the author shows some consequences of Badiou's starting-point that “people think” for the conceptualisation of the community, equality and universality.Avtorja najprej zanima vprašanje ali je Badioujeva ostra kritika demokracije in diskurza človekovih pravic okvirno sploh združljiva z Lefortovo teorijo, v nadaljevanju pa ga zanima, kakšna demokracija je predmet Badioujeve kritike, v katerih točkah Badiou demokracijo predpostavlja in za kakšno demokracijo njegovi teoriji sploh gre. V nadaljevanju avtorja zanima Deleuzova kritika reprezentacije v luči Badioujeve teorije ter konsekvence, ki jih ima za razumevanje vloge filozofije ter razumevanje skupnosti, enakosti in univerzalnosti Badioujeva izhodiščna teza, da “ljudje mislijo”
Ob Foucaultovem pojmovanju biooblasti in biopolitike
Full text linkAuthor is reconsidering the problematics of biopower in Foucault's lectures »Society must be defended« from the point of view of »Foucault's opus«, his relationship to psychoanalysis and marxism and well-known impasses of his theory of power. Through detailed reading of Dits et écrits he outlines the contours of Foucault's conception of biopolitics, its oscillation between »police« and »passage to society of norm«, and examines its connection with the elaboration of a new theory of subject.Avtor skuša v svojem prispevku umestiti problematiko biooblasti, ki nastopa v predavanjih »II faut défendre la société« tako znotraj »Foucaultovega opusa«, njegovega odnosa do psihoanalize in marksizma, kakor tudi do siceršnjih zagat pri razdelavi lastne teorije oblasti. Skozi branje Dits et écrits nakaže temeljne obrise Foucaultovega razumevanja biopolitike, nihanje v razumevanje le-te kot »policije« in kot »prehoda k družbi norme«, pri čemer ga zanima povezava te problematike z orisi nove razdelave teorije subjekta
Nekaj pripomb k problematiki vloge idej v kratki kritiki razsodne moči
No full textIn the article author compares the role of ideas in the first and in the third Critique. Although is Kant’s conception of that, what is an idea in both Critiques much or less the same, is the role of the ideas – in spite some passages, which suggest parallels with the first Critique – not. Similar, but different role now belongs to the transcendental principle.V članku avtor primerja vlogo idej v prvi in tretji Kantovi Kritiki. Čeprav je Kantovo pojmovanje o tem, kaj je ideja v obeh Kritikah bolj ali manj enako, v tretji Kritiki ideje več nimajo – navkljub nekaterim mestom, na katerih je mogoče najti vzporednice s prvo Kritiko – iste vloge. Podobna, čeravno drugačna vloga sedaj pripada transcendentalnemu načelu
Nekaj pripomb k Deleuzovemu pojmovanju imanence kot univoknosti
Full text linkIn the first part of his essay the author studies the place of the univocity in Deleuze's work, especially the connection and interplay of immanence and univocity. Immanence is one single concept, one single (univocal) conception which could be excepted from and given special emphasis in Deleuze's work. In the final section some ethical consequences from the Deleuze's treatment of univocity and immanence are shown.Avtorja najprej zanima mesto pojmovanja univoknosti v Deleuzovem opusu, pri čemer posebno pozornost namenja navezavi pojmovanja imanence in univoknosti. Če je namreč mogoče znotraj Deleuzovega obsežnega opusa izvzeti en sam koncept, eno samo (univokno) pojmovanje, v znamenju katerega poteka Deleuzovo podvzetje, potem je to imanenca. V nadaljevanju avtor opozori na nekatere etične nasledke Deleuzove obravnave univoknosti in imanence
O univerzalni veljavi kantovske ideje
Full text linkAuthor departs from Kant's distinction in his first Critique between concepts of understanding and concepts of reason. On the basis of this distinction a mere hipothetical question is posed: is it possible to claim that categories and ideas hold for Kant for all rational beings, that is, also for beings which presumambly exist on other planets, existence, which was for Kant and for most of his contemporaries a fact beyond doubt. Although according to Kant we cannot neither confirm nor deny such claim, it turns out, on closer examination of his conception of concept of reason, that the use of idea, because of its close connection with the aim, Zweck, is restricted to our world.V svojem prispevku avtor izhaja iz Kantovega razlikovanja v prvi Kritiki na pojme razuma in pojme uma. Na osnovi tega razlikovanja si nato zastavi zgolj hipotetično vprašanje: ali je mogoče reči, da kategorije in ideje veljajo po Kantu za vsa umna bitja, torej tudi za bitja, ki domnevno obstajajo na drugih planetih, o čemer Kant, tako kot večina njegovih sodobnikov, ni dvomil. Čeravno za Kanta ni mogoče ne potrditi ne zanikati takšne trditve, pa se ob pobližji določitvi kantovske koncepcije ideje v prvi Kritiki izkaže, da lahko zavoljo njene tesne povezave s smotrom, raba ideje velja le za naš svet
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Mesto in vloga praznine pri poznem Lyotardu
No full textThe author attempts to show «some implications of the problematics of the role and place of the »blank« in late Lyotard. He shows that Lyotard's thematisation of blank - its variations through void, emptiness, whiteness, the self-erasure of the subject and silence - presents problematics of the new conception of the subject, causality and temporality, which, nonetheless remains a »work in progress«. The main reason for that lies in Lyotard's understanding of the role of »blank«, the »making of the blank« itself, understood mainly as the self-erasure of the subject, as a kind of »negative dialectics« which makes possible the appearance of an elaboration of a new conception of the subject, and at the same time paradoxically blocks its full elaboration.Avtor skuša prikazati nekatere razsežnosti vprašanja, kakšno vlogo in mesto ima v poznem opusu Jeana-Fran^oisa Lyotarda praznina. Njegova teza je, da tematizacija praznine, pa naj gre za obravnavo niča, beline, samoizbrisa in nenazadnje molka, predstavlja rdečo nit, kije tesno povezana z iskanjem nove koncepcije subjekta, vzroka in časa, koncepcije, ki navkljub vsemu ostaja v Lyotardovem opusu nezaključen projekt, vzrok za to pa je nemara prav v vlogi tistega, kar imenuje Lyotard izpraz-njenje, upraznjinjenje, samoizbris subjekta, ki obenem nakazuje in omogoča novo pojmovanje, ter ga, paradoksno, hkrati tudi onemogoča
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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