Le visage chez Gilles Deleuze
Başlık çevirisi mevcut değil.
- Tez No: 911922
- Danışmanlar: Belirtilmemiş.
- Tez Türü: Yüksek Lisans
- Konular: Belirtilmemiş.
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2025
- Dil: İngilizce
- Üniversite: Université Paris 8-Université de Vincennes à Saint-Denis (The University of Paris VIII)
- Enstitü: Yurtdışı Enstitü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 92
Özet
This master thesis examines the concept of the face in the philosophy of Gilles Deleuze through an analysis of his major works dealing with aesthetics and cinema, beginning with 'A Thousand Plateaus' and including 'Francis Bacon: The Logic of Sensation', 'Cinema 1: The Movement-Image', and 'Cinema 2: The Time-Image'. Specifically, it looks at how Deleuze reconceptualizes the face and develops the notion of faciality by its virtualities beyond the ideas of representation, identity, and communication. The thesis begins by exploring Deleuze and Guattari's development of the concept of 'faciality' in 'A Thousand Plateaus', which positions the face at the center of a sociopolitical system of signification. It then analyzes how Deleuze reformulates the problem of the face through his engagement with Francis Bacon's paintings in The Logic of Sensation, focusing on how Bacon's works corporalize the face and deform the icon. Next, the thesis brings the problematic of face to Deleuze's cinema books to examine his theorization of the cinematographic face through the concepts of the“intensive face”and the“reflective face.”It analyzes key films by Eisenstein, Griffith and Dreyer to illustrate Deleuze's theory of the“image-affection”and show how cinema can both iconize and deform the face. Finally, the thesis problematizes how Bergman and Beckett's modern cinema employ the face through a different cinematography formula that pushes the face to its extreme limit, towards the dissolution of the icon and concludes its theory of deformation of the face by a detailed analysis of Bergman's 'Persona', a film that Deleuze does not elaborate in his works. Overall, this thesis traces the evolution of Deleuze's thinking on the concept of 'faciality' across different domains and argues that his philosophy makes it possible to conceive of the face beyond representation and think of its virtual multiplicities and potential for aesthetic transformation through different artistic forms from art history. Keywords : Art, cinema, painting, Gilles Deleuze, face, faciality, icon, philosophy, aesthetics
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