On Four Immanent Ontologies in Gilles Deleuze at the Crosspoint between The Movement Image and Difference and Repetition

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By serially arranging Difference and Repetition (1968) and The Movement Image (1983) this paper sketches four trails in Gilles Deleuze’s divergent ontology, showing how each of the montage schools of classical cinema implies a determinate inversion in relation to four facets of the philosophical tra...

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Detalles Bibliográficos
Autor: Ferreyra, Julián
Formato: artículo
Fecha de Publicación:2023
Institución:Pontificia Universidad Católica del Perú
Repositorio:Revistas - Pontificia Universidad Católica del Perú
Lenguaje:español
OAI Identifier:oai:revistaspuc:article/27918
Enlace del recurso:http://revistas.pucp.edu.pe/index.php/arete/article/view/27918
Nivel de acceso:acceso abierto
Materia:Deleuze
Cinema
Ontology
Renversement
Multiplicity
Cine
Ontología
Multiplicidad
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spelling On Four Immanent Ontologies in Gilles Deleuze at the Crosspoint between The Movement Image and Difference and RepetitionSobre cuatro ontologías inmanentes en Gilles Deleuze, en el cruce de La imagen-movimiento y Diferencia y repeticiónFerreyra, JuliánDeleuzeCinemaOntologyRenversementMultiplicityDeleuzeCineOntologíaRenversementMultiplicidadBy serially arranging Difference and Repetition (1968) and The Movement Image (1983) this paper sketches four trails in Gilles Deleuze’s divergent ontology, showing how each of the montage schools of classical cinema implies a determinate inversion in relation to four facets of the philosophical tradition represented by Hume, Spinoza, Hegel and Descartes. The taxonomy of the cinema studies opens clear paths in Deleuze’s obscure ontology. The book of 1968 reveals the philosophical load implicit in the cinematographic developments; at the same time, it shows the divergencies and incompatibilities that growl under the apparent neatness of the classification of cinematographic images.A través de la puesta en serie de Diferencia y repetición (1968) y La imagen-movimiento (1983), trazaremos cuatro senderos en la ontología divergente de Gilles Deleuze, mostrando cómo cada una de las escuelas de montaje del cine clásico implica una inversión determinada respecto a cuatro facetas de la tradición filosófica, representadas por Hume, Spinoza, Hegel y Descartes. La taxonomía de los estudios sobre cine abrirá caminos claros en la oscura ontología de Deleuze, mientras que el libro del ‘68 revelará la carga filosófica implícita en los desarrollos cinematográficos, al mismo tiempo que mostrará las divergencias e incomposibilidades que gruñen debajo de la aparente pulcritud de la clasificación de las imágenes cinematográficas.Pontificia Universidad Católica del Perú - Departamento de Humanidades2023-12-11info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttp://revistas.pucp.edu.pe/index.php/arete/article/view/2791810.18800/arete.202302.003Areté; Vol. 35 Núm. 2 (2023); 300-3232223-37411016-913Xreponame:Revistas - Pontificia Universidad Católica del Perúinstname:Pontificia Universidad Católica del Perúinstacron:PUCPspahttp://revistas.pucp.edu.pe/index.php/arete/article/view/27918/25915http://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessoai:revistaspuc:article/279182023-12-11T19:32:11Z
dc.title.none.fl_str_mv On Four Immanent Ontologies in Gilles Deleuze at the Crosspoint between The Movement Image and Difference and Repetition
Sobre cuatro ontologías inmanentes en Gilles Deleuze, en el cruce de La imagen-movimiento y Diferencia y repetición
title On Four Immanent Ontologies in Gilles Deleuze at the Crosspoint between The Movement Image and Difference and Repetition
spellingShingle On Four Immanent Ontologies in Gilles Deleuze at the Crosspoint between The Movement Image and Difference and Repetition
Ferreyra, Julián
Deleuze
Cinema
Ontology
Renversement
Multiplicity
Deleuze
Cine
Ontología
Renversement
Multiplicidad
title_short On Four Immanent Ontologies in Gilles Deleuze at the Crosspoint between The Movement Image and Difference and Repetition
title_full On Four Immanent Ontologies in Gilles Deleuze at the Crosspoint between The Movement Image and Difference and Repetition
title_fullStr On Four Immanent Ontologies in Gilles Deleuze at the Crosspoint between The Movement Image and Difference and Repetition
title_full_unstemmed On Four Immanent Ontologies in Gilles Deleuze at the Crosspoint between The Movement Image and Difference and Repetition
title_sort On Four Immanent Ontologies in Gilles Deleuze at the Crosspoint between The Movement Image and Difference and Repetition
dc.creator.none.fl_str_mv Ferreyra, Julián
author Ferreyra, Julián
author_facet Ferreyra, Julián
author_role author
dc.subject.none.fl_str_mv Deleuze
Cinema
Ontology
Renversement
Multiplicity
Deleuze
Cine
Ontología
Renversement
Multiplicidad
topic Deleuze
Cinema
Ontology
Renversement
Multiplicity
Deleuze
Cine
Ontología
Renversement
Multiplicidad
description By serially arranging Difference and Repetition (1968) and The Movement Image (1983) this paper sketches four trails in Gilles Deleuze’s divergent ontology, showing how each of the montage schools of classical cinema implies a determinate inversion in relation to four facets of the philosophical tradition represented by Hume, Spinoza, Hegel and Descartes. The taxonomy of the cinema studies opens clear paths in Deleuze’s obscure ontology. The book of 1968 reveals the philosophical load implicit in the cinematographic developments; at the same time, it shows the divergencies and incompatibilities that growl under the apparent neatness of the classification of cinematographic images.
publishDate 2023
dc.date.none.fl_str_mv 2023-12-11
dc.type.none.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.none.fl_str_mv http://revistas.pucp.edu.pe/index.php/arete/article/view/27918
10.18800/arete.202302.003
url http://revistas.pucp.edu.pe/index.php/arete/article/view/27918
identifier_str_mv 10.18800/arete.202302.003
dc.language.none.fl_str_mv spa
language spa
dc.relation.none.fl_str_mv http://revistas.pucp.edu.pe/index.php/arete/article/view/27918/25915
dc.rights.none.fl_str_mv http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Pontificia Universidad Católica del Perú - Departamento de Humanidades
publisher.none.fl_str_mv Pontificia Universidad Católica del Perú - Departamento de Humanidades
dc.source.none.fl_str_mv Areté; Vol. 35 Núm. 2 (2023); 300-323
2223-3741
1016-913X
reponame:Revistas - Pontificia Universidad Católica del Perú
instname:Pontificia Universidad Católica del Perú
instacron:PUCP
instname_str Pontificia Universidad Católica del Perú
instacron_str PUCP
institution PUCP
reponame_str Revistas - Pontificia Universidad Católica del Perú
collection Revistas - Pontificia Universidad Católica del Perú
repository.name.fl_str_mv
repository.mail.fl_str_mv
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On Four Immanent Ontologies in Gilles Deleuze at the Crosspoint between The Movement Image and Difference and Repetition
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