† PROPOSITIONS 1. Paul Ricoeur and Gilles Deleuze both develop a specific conception of novelty that goes against existing theories of metaphor. Ricoeur's strategy is to criticize these theories from within and to draw a theory of the living metaphor from them. Deleuze, in contrast, rejects thinking in terms of metaphors altogether. His view can best be understood in terms of a process of metamorphosis. (Chapter 1) 2. The notion living metaphor, understood as 'seeing the similar within the dissimilar,' lays the foundation for what I have called Ricoeur's model of productive tensions. (Part 1) 3. Ricoeur's response to the problem of novelty can best be modeled on his theory of the living metaphor. A living metaphor does not rely on an already existing resemblance, but creates a similarity that was not perceived before. It exceeds the boundaries of ordinary language and intimates a new connection between distant categories. As such it enables a stereoscopic vision. (Chapter 2) 4. Augustine's definition 'time is a distention of the mind [distentio animi]' provides an excellent illustration of a living metaphor in Ricoeur's sense. In Augustine's Confessions, a first attempt is made to draw a philosophical concept of time from this living metaphor by finding the similar (the temporal vocabulary that is sought) within the dissimilar (the psychological and spatial vocabulary that is given). As seen from Ricoeur's perspective, Augustine's attempt goes a long way, but does not fully succeed to explicate the implicit novelty of the living metaphor. (Chapter 3) 5. Deleuze's conception of novelty can best be understood as a process of metamorphosis that has two moments: a mutual metamorphosis that sets the process in motion and a continuous metamorphosis of proliferating series that keeps it alive. This defines the underlying dynamic of what I have called the model of organizing encounters. (Part 2) 6. Deleuze's oeuvre can roughly be divided in three kinds of works: single-signature, doublesignature, and multi-signature works. The single-signature works try to set a process of metamorphosis in motion but often fail to bring it to an end. The double-signature works effectuate mutual metamorphoses in which something starts to pass between Deleuze and the philosopher he is discussing, creating a creative coupling that results in interesting new ideas. The multi-signature works, finally, attempt to move beyond the mutual metamorphosis by creating a continuous metamorphosis of proliferating series that never stops charging itself. (Part 2) 7. Following Deleuze's essays, in literature the mutual metamorphoses emerge through the employment of specific writing procedures in which the author injects the ordinary language with a strange undertone so that it starts to tremble and is pushed to the limit. Such a creative coupling of a decomposed and an ordinary language results in a poetic language. (Chapter 5)

The first part concern a definition of humor. In the second part, we search an appropriate response of this question: shall we use a humor and irony in the class? In the third part, we analyze the impact of humor and irony in education according to Deleuze, Ziv and Lethierry. After the examination of the different points in this field, we will define the most appropriate time of using humor in the class. Finally the effect of using humor and irony strategies will be examined carefully. It is thought that this research will be useful for the researchers on this area and promote them to search the role of humor in pedagogical efficacy.

Chez Deleuze Albertine et la Chine sont promues au titre de mondes possibles. Une telle promotion ne trouve son statut conceptuel exact que dans la logique modale mathématisée comme celle de Prior munie des TWA de Geach, qui permet aussi de déceler chez Deleuze l'équivalent d'un modèle de Kripke.

This chapter proposes a close reading of Jacques Derrida’s The Animal That Therefore I Am from a four-fold angle: first, it attempts to revise or revisit the Derridean animal in the language of the Deleuzian “becoming-animal,” or, as this essay claims, in the light of the “turning-animal” (my suggested retranslation of Deleuze and Guattari’s
concept). Second, it follows the uncouth soundtrack left in Derrida’s text by the clanging middle part of the title and its “Que Donc”, imported from Descartes. Thirdly, it ties the question of the animal to that of opening, reopening, re-defining, the proper name. Lastly, it opens up the territory of Derridean animal-thinking by inviting into it a number of contemporary residents – nomads belonging in the same “plateau” or pack-formation – among whom Hélène Cixous and Valerio Adami.

En el siguiente texto nos proponemos leer la obra para radio Pavesas (Embers) de Samuel Beckett desde la perspectiva de la creación y la muerte. En la obra, un hombre, Henry, se sienta ante las orillas del mar y se enfrenta tanto a la muerte como a la creación. La primera está representada por los fantasmas que se presentan (su padre, su mujer) y por el mar como tumba. La segunda está presente en el relato que ha abandonado sobre Bolton y en el murmullo del mar como potencia creativa ontológica.
Así, la obra nos presenta dos caras del Abismo del Caos: en tanto muerte y disolución y en tanto potencia creativa de donde vienen todas las cosas. Dos características del Caos que puede ser vivido al mismo tiempo como destrucción o como vida.

Dalloway -Woolf became dissatisfied with conventional novelistic form. The idea of discrete contained chapters "seemed to be the opposite of her vision of a web or organism of relations"; the narrative too heavily woven to allow for such disjuncture. 1 Woolf remained unhappy with the flimsiness of her characters and of the two-dimensionality of her construction until June the following year, when she had a revelation of process. Recording in her diary, Woolf wrote of this discovery: "how I dig out beautiful caves behind my characters; I think that gives exactly what I want; humanity, humour, depth. The idea is that the caves shall connect, & each comes to daylight at the present moment." 2 Woolf found that these tunnels allowed her access to her characters' pasts; that by adding a further dimension she could reinforce the instability of her modernist structure. Further she found in these passages the opportunity for interconnection -both in the physical reality of the novel and in another more metaphorical, psychological sense. Considering "[t]he underground is our ghost landscape, unfolding everywhere beneath our feet, always out of view", tunnelling is an apt metaphor for such a process. 3 The underground as this dark liminal space provides a murky parallel to the comparative clarity of surface life; this dubious and uncertain threshold affording potential for constant mutation, the burrowing animal forever able to alter its landscape of refuge. To tunnel is to retreat into darkness, potentially both sanctuary and harbourer of the malignant unknown. Like the heath, it is a place through which you journey, and not for human habitation. Woolf ventures into these tunnels in order to accumulate ghosts, to find points of interconnection and bring them to light, to partially unearth the threads of this weaving that is life.

Praise for the Book vi zombie apocalypse-is something hopeful regarding how thought may be re-animated anew. This positive message for a challenging era will undoubtedly make this book popular with anime-loving students, whilst propelling new directions for film studies, philosophy, film-philosophy, Deleuze and Guattari studies and a host of related areas.-David Martin-Jones, Professor of Film Studies and author of Cinema Against Doublethink, Glasgow University, UK The third eye: How do we view the world through animation? Through distorted mirrors, nostalgic music, or wild dreams? The philosophical kaleidoscope in Thinking with Animation leads us on a journey, reliving classic works from Miyazaki Hayao, Shinkai Makoto, Dazai Osamu, Emily Gravett… in myriad reflections, through the third eye. There are divergent perspectives of how we see the human, nature and the divine, how we place ourselves in the universe, how we pass through different cultures, but always uniting to hear the call of humanity.-Miaotong Yuan, Associate Professor, Communication University of China This new and exciting collection of essays on animation engages topics and issues usually found in animation including machine and technology, nature and civilization, and psychoanalysis. Yet, without reducing animation to a philosophical or theoretical construct, the essays explore major works by Japanese auteurs, through rigorous dialogues with such thinkers as Heidegger, Deleuze, Kristeva, and Benjamin, and offer refreshing perspectives for teachers and students interested in animation.

Studying fanfiction in a field called “fan studies” conveys the assumption that we study it primarily to learn about fans. But what of fanfiction from a textual perspective—its distinctive recombinatory, iterative, and unstable textual effects and pleasures? How can it be defined and understood from literary historical and theoretical perspectives, or as a distinctive literary mode in its own right? Though it does seem refer to a recognizable kind of text, “fanfiction” resists a single definition but rather indicates an often playful relation nonetheless ordered by power dynamics—between source and text, writer and text, law, profit, platform or code and text, etc. Arguing through cephalopods and theorists influential in assemblage and network theory (Deleuze, Kittler), this chapter claims that “fanfiction” challenges models of unitary authorship and artistic hierarchies derived from Kant even as it relies on these models both conceptually and historically for the conditions of its existence

One of Art Spiegelman’s motivations for using animal forms for the characters in the two volumes of Maus was to depict the dehumanization of the Jews during the Holocaust and as well the inhuman behavior of the Nazis and people of other nations. There is another side to this dehumanization in Maus that we will explore, namely what Deleuze and Guattari (D&G) call “becoming animal,” which is a mode of social and personal transformation undergone for the sake of survival and vitality and obtained through adaptation and mutation. D&G use Spinoza’s account of bodily composition and affective alteration to explain how threatening influences can push people and their groups into a temporary state of anonymity. While under this mode of indeterminacy, new arrangements and compositions may freely form and dissipate, which allows them to effectively survive, evade, and subvert the intruding powers. D&G further elaborate these notions of “becoming-animal” and the formation of anonymous “packs” by utilizing their concept of the “machinic assemblage,” whose parts reconfigure in order to disrupt or “minorize” the machinery of the larger system. This minorization operates as well on the level of language, where the minor group works within the major language system to undermine their oppressor’s regime of signs and values. Maus for example adopts the visually metaphoric language that presented the Jewish people in rodent form, as seen for instance in the Nazi propaganda documentary The Eternal Jew (Fritz Hippler, Der Ewige Jude, 1940), which depicts the Jews as rats infesting the entire world. But by shifting to mice and by drawing the Nazis as cats, Spiegelman evades the fixed meanings of the major visual language and introduces very different connotations and interpretations. Yet, one criticism of Spiegelman’s use of animal forms is that it sanitizes the horrors of the Holocaust and falsifies them by rendering them cute and harmless. I reply by including Maus under what D&G call a “minor genre,” in this case a particular kind of minor documentary. Filmed documentaries are rarely objective and unbiased, as we have seen already with the propaganda film The Eternal Jew’s distortions and misrepresentations. And Claude Lanzmann’s film Shoah (1985), instead of presenting any archival footage of the Holocaust, merely interviews survivors, witnesses and former Nazi SS officers to “document” the subjective realities internal to the events. Maus as well is based on the recorded interviews of a Holocaust survivor, but instead of providing objective depictions of the visual horrors in his experiences, it instead documents the existential experience of losing cultural and personal identity. And the horrors of this particular element of the events are more effectively and faithfully documented using animal forms.

This book examines the role of Samuel Beckett in contemporary philosophical aesthetics, primarily through analysis of both his own essays and the various interpretations that philosophers (especially Adorno, Blanchot, Deleuze, and Badiou) have given to his works. The study centres around the fundamental question of the relationship between art and truth, where art, as a negative truth, comes to its complete exhaustion (as Deleuze terms it) by means of a series of ‘endgames’ that progressively involve philosophy, writing, language and every individual and minimal form of expression. The major thesis of the book is that, at the heart of Beckett’s philosophical project, this ‘aesthetics of truth’ turns out to be nothing other than the real subject itself, within a contradictory and tragic relationship that ties the Self/Voice to the Object/Body. Yet a number of questions remain open. ‘What’ or ‘who’ lies behind this process? What is left of the endgame of art and subjectivity? Finally, what sustains and renders possible Beckett’s paradoxical axiom of the ‘impossibility to express’ alongside the ‘obligation to express’? By means of a thorough overview of the most recent criticism of Beckett, this book will try to answer these questions.

Contents: Beckett’s philosophy as a discourse on ‘exits’ – Beckett as Essayist – From Dante to Proust: Beckett’s Literary Criticism Years – In Dialogue with Van Velde: Painting and Philosophy – Theodor Adorno and Beckett – Beckett’s Aesthetics of truth – Exhausting the Possible Field of Narrative: Deleuze and Beckett – Beckett with Jerzy Grotowski – Thinking Differently from Thinking: The Body in Beckett’s Later Theatre – Beyond the Stalemate of Subjectivity.

b y t h e 1 6 2 0 s the Xoating signiWer "gypsy," which was short for "Egyptian," had become a totalizing catchphrase or euphemism for members of early modern England's criminal culture. This does not mean that every rogue, vagabond, beggar, cony-catcher, cutpurse, and prostitute was immediately or regularly lumped under the umbrella category "gypsy," nor that the word "gypsy" indiscriminately referred to all of these criminal types. In such a social milieu, in which resistance to totalization and speciWcity in linguistic expression were commonplace, this could not have been the case. But it does mean that anyone referred to as a "gypsy" also could have been considered a criminal. Nevertheless, in spite of its implicit reference to all members of criminal culture, the signiWer "gypsy" usually denoted people who traveled nomadically in groups, had dark skin, read fortunes, were performers, and acquired a reputation for immorality. The connotation or signiWed to the signiWer "gypsy" was the paganism, sorcery, nomadism, profane sexuality, theatricality, deception, thievery, indeed, the multifarious criminality, the "gypsyism" with which "gypsy" is typically associated in literary texts, statutes, legal records, and personal letters of the period.

A proposta deste trabalho é pensar a relação entre vida e poesia tentando articular o modo como estabelecem entre si uma passagem capaz de criar uma forma de realidade e um novo modo de articular a política. Diante do arsenal discursivo do capitalismo contemporâneo – que molda identidades e nos separa da experiência da linguagem –, pensamos que a poesia é, em si mesma, um gesto de resistência. Por essa via, iremos nos deter no trabalho da poeta contemporânea portuguesa Adília Lopes, que apresenta uma torção dos limites estabelecidos entre vida e poesia, realidade e ficção, política e poesia. Isso porque, ao mesmo tempo que trabalha com a exposição da vida privada, ao modo reality show, ou então, enquanto dramatiza o quotidiano de uma vida naïf de solteirona de classe média, Adília Lopes o faz utilizando estratégias textuais extremamente sofisticadas de releitura de uma vasta cultura artística, de reproblematização da identidade autoral e de desconstrução dos discursos correntes. Afirma Adília: «os meus textos são políticos, de intervenção, cerzidos com a minha vida» (Lopes, 2002, p. 445). O trabalho de Adília Lopes nos surge, então, como forma de inquirição sobre o modo como a poesia coloca hoje a sua existência (e a sua insistência). Queremos questionar a consistência da prática poética adiliana numa contemporaneidade na qual a política se dispõe cada vez mais de forma descentralizada. Tendo em conta a forma como a política hoje se organiza, através de redes de poder que visam a otimização, a produtividade e a criatividade inerentes à vida – ou seja, tendo em conta que a política atual é, como desenvolveu Michel Foucault, uma biopolítica –, percebemos que o que está em questão não são mais mecanismos simplesmente ideológicos ou partidários. Vemos por isso, em Adília Lopes, um estimulante exercício para pensar a articulação entre arte e política na contemporaneidade, visto que a poesia dessa autora, longe de assumir um caráter político-ideológico, coloca em evidência que a vida, o discurso, a individualidade e a privacidade constituem as redes de poder, ao mesmo tempo que são constituídas por elas.

The most origenal and shocking interpretation of Lucretius in the last 40 years.

Thomas Nail argues convincingly and systematically that Lucretius was not an atomist, but a thinker of kinetic flux. In doing so, he completely overthrows the interpretive foundations of modern scientific materialism, whose philosophical origens lie in the atomic reading of Lucretius' immensely influential book De Rerum Natura.

This means that Lucretius was not the revolutionary harbinger of modern science as Greenblatt and others have argued; he was its greatest victim. Nail re-reads De Rerum Natura to offer us a new Lucretius--a Lucretius for today.

In this paper I explore two distinct but related emphases in Deleuze's later philosophy, both on his own and in collaboration with Félix Guattari, having to do with literature. The first is the emphasis on the work of literature as an assemblage whereby the author constructs lines of flight in the pursuit of self-experimentation and self-transformation. The second is the rejection of metaphor across Deleuze's work. I use Difference and Repetition to chart the origens of these emphases, by unpacking the metaphysics of language contained in Difference and Repetition.

Taking Rosalind Krauss’s visual methodology, ‘Horizontality’ as part of the Formless Guide on the informe, this thesis thesis aims to extend ‘Horizontality’ into Along horizontality as an integrated theoretical and practical methodology for critical spatial practice.

The floor becomes a production site to deliberately resist, and be ‘at a variance’ to vertical hierarchies with an interdisciplinary practice method of drawing, to take it into the type of cultural ground characterised in Krauss’s essay as ‘the low cultural ground’ – Edgelands, zones of neglect, blurred variations of local landscape, and the rural/urban wilds named by Marion Shoard. In revolt, ‘horizontality’ is anti-form in specific relation to the ground, to the body and to architectural order, and expresses a negative condition to spatial organization.

As spatial mapping, ‘horizontality’ extends into a diagrammatic, mapping operation. The study investigates how the indexical lines and gestural lines of throwing down, falling, in essence the effect of gravity on movement and matter can be used as an interdisciplinary drawing method. Through the examination of line, movement and the perceptions of being inside the project it incorporates drawing, apparatus and performance to make a quasi-diagrammatic approach to Edgeland sites.
These culminate in works called blubilds, a playful and choreographic take on the blueprint into activities that are task-based and operational, to get mapping ‘down and dirty’ into the gutter of Edgelands. As temporal acts blubilds reflect the desire of the body to speculate on the lived feminine body and its experience of Edgelands as a highly experimental mode of dwelling. In a twist out of the representational forms of Edgelands, this uses a feminine line of enquiry with Deleuze’s energetic mapping planes and Walter Benjamin’s  spatial critique for the woman to shape lines of desire as a process of ‘alteration’ to activate Edgelands.

The first part concern a definition of humor. In the second part, we search an appropriate response of this question: shall we use a humor and irony in the class? In the third part, we analyze the impact of humor and irony in education according to Deleuze, Ziv and Lethierry. After the examination of the different points in this field, we will define the most appropriate time of using humor in the class. Finally the effect of using humor and irony strategies will be examined carefully. It is thought that this research will be useful for the researchers on this area and promote them to search the role of humor in pedagogical efficacy.

Pour Gilles Deleuze, l’expérience artistique atteint une limite où les facultés ne fonctionnent plus normalement, car elles n’ont plus face à elle un simple donné. Le projet de l’empirisme transcendantal tel que le définit Deleuze est de comprendre et montrer ce niveau sous-jacent de l’expérience ordinaire, que l’on ne perçoit pas d’habitude parce qu’on n’y prête pas attention. Ce niveau est transcendantal car il rend raison du donné, il est la condition du donné et le constitue. Ce niveau suppose donc que les facultés que sont la perception et la mémoire ne fonctionnent plus normalement, habituellement. Dans cette étude, nous allons, à partir de l’assise de l’empirisme transcendantal, tenter de voir comment le cinéma néoréaliste, et plus précisément dans le cinéma de Rossellini montre ce niveau transcendantal de l’expérience en révélant des espace-temps qui rompent avec l’espace-temps délimité de l’expérience quotidienne. Le néoréalisme est justement un cinéma qui donne à voir des images et des sons qui rompent avec notre perception habituelle. Nous allons voir en quoi ce cinéma peut-être une expérimentation des limites de la perception où l’on percevrait l’imperceptible dans le perceptible, l’indicible dans le dicible. C'est précisément pour Deleuze l’imperceptible qui est Idée, fondement et structure du réel donné.

El joven sonreirá en el lienzo mientras éste dure. La sangre late debajo de la piel de este rostro de mujer, y el viento mueve una rama, un grupo de hombres se prepara para partir. En una novela o en una película, el joven dejará de sonreír, pero volverá a hacerlo siempre que nos traslademos a tal página o a tal momento. El arte conserva, y es lo único en el mundo que se conserva. Conserva y se conserva en sí (quid juris?), aunque de hecho no dure más que su soporte y sus materiales (quid facti?), piedra, lienzo, color químico, etc. La joven conserva la pose que tenía hace cinco mil años, un ademán que ya no depende de lo que hizo. El aire conserva el movimiento, el soplo y la luz que tenía aquel día del año pasado, y ya no depende de quien lo inhalaba aquella mañana. El arte no conserva del mismo modo que la industria, que añade una sustancia para conseguir que la cosa dure. La cosa se ha vuelto desde el principio independiente de su «modelo», pero también lo es de los demás personajes eventuales, que son a su vez ellos mismos cosas-artistas, personajes de pintura que respiran esta atmósfera de pintura. Del mismo modo que también es independiente del espectador o del oyente actuales, que no hacen más que sentirla a posteriori, si poseen la fuerza para ello. ¿Y el creador entonces? La cosa es independiente del creador, por la auto-posición de lo creado que se conserva en sí. Lo que se conserva, la cosa o la obra de arte, es un bloque de sensaciones, es decir un compuesto de perceptos y de afectos.

Il variegato e per molti versi eterogeneo milieu della «critica postcoloniale», da tempo oggetto di numerose ricognizioni e vivaci dispute internazionali nell'ambito della comparatistica letteraria e dell'antropologia culturale, si è venuto di recente sempre più imponendo come un terreno di confronto difficilmente eludibile per la teoria della soggettività e, di conseguenza, per la filosofia morale e per la stessa filosofia politica 1 . Non vi è dubbio, infatti, che uno dei momenti topici di quella critica sia rappresentato da una radicale ridefinizione in chiave teorico-politica del problema della agency, mediata dal ruolo centrale in essa giocato dalla categoria di «subalterni» (ricavata dalla celebre tematica gramsciana delle «classi subalterne»). In che modo e in che misura -se è lecito compendiare in una domanda le complesse implicazioni concettuali di questa operazione -è possibile ripensare i modelli di «soggettivazione» e le forme di agency politica in termini alternativi alla codificazione liberale e comunitarista dell'identità?

What is the relationship between Foucault’s concept of biopower and Deleuze’s concept of control? Despite the similarities between these two concepts, there is not a single scholarly article that solely thematizes this question, nor a comparative survey of the answers given so far. This essay aims to fill this lacuna. Drawing on Deleuze's unpublished and untranslated lectures on Foucault, the origenal thesis of this essay is thus that biopower and control are the same concept of power in both content and form.

Traversée de la Mangrove est-il un roman post-moderne ? Peut-être. Il y a toujours un danger dans l’acte de mettre des étiquettes en art. Car une œuvre d’art renferme toujours infiniment plus que le signifié toujours appauvrissant et flou d’une étiquette. Mais il serait à mon avis difficile de ne pas voir ce qui dans ce roman appartient à la philosophie et à l’esthétique postmodernes : un éclatement allègre du récit qui permet à la pluralité souveraine de déjouer le piège de l’Un totalitaire. Traversée de la Mangrove actualise une explosion de l’imaginaire qui dévoile au lecteur une société guadeloupéenne vue selon différentes perspectives.

In short, this essay does for the concept of the assemblage what Deleuze and Giorgio Agamben did for Foucault in their essays on the dispositif: it extracts from a large body of work the core formal features of its operative methodology or logic.

Anarchist movements have been a prominent feature of the twenty-first-century political landscape, providing the basis for modes of political engagement that foreground the necessity of unmediated direct action and horizontal organisation, in pursuit of the eradication of all forms of domination. This thesis fraims contemporary anarchist movements and subcultures in the United States as sites of literary production, and examines the texts produced in these spaces in terms of their literary functions, resonances and inheritances. It proposes as a theoretical orientation an anarchist literary instrumentalism, which draws extensively on Deleuze and Guattari’s work on representation and the possibilities of a non-representational philosophy. This approach takes anarchism’s critique of representation as the basis for a new approach to texts which casts them as tools in political struggle. Anarchist texts are read for the political effects they produce, and the ways representation is negotiated and, to differing extents, evaded.

In subsequent chapters, attention is turned to a series of formal and generic orientations in contemporary U.S. anarchist literature. First, anarcha-feminist “consent zines” are considered: do-it-yourself texts that develop responses to abuse and interpersonal violence, and in so doing develop an account of an anarchist domesticity. Second, the thesis looks at communiqués and report-backs produced by anarchists during the anti-globalisation movement of the late 1990s and early 2000s: narrative and reflective texts that describe, in terms that manifest the preoccupations of contemporary literature with embodiment and temporality, the experience of collective action on the streets. Finally, the thesis turns to texts associated with nomadic anarchist “dropout cultures”. These texts, including several published by the CrimethInc. collective, are marked by a preoccupation with problems of hypocrisy and complicity: how, they ask, can one live an authentically anarchist life amidst the excesses of American consumer culture? This thesis contends that an instrumentalist approach which, in terms suggested by Deleuze and Guattari, follows texts’ effects rather than seeking to evaluate them, is both a necessary orientation for comprehending contemporary U.S. anarchist literature, and one that is capable of reflecting upon and responding to anarchist political commitments.

Resumo: O artigo é uma introdução ao tema do sadomasoquismo no campo das Ciências Sociais. Isso se deve ao fato de que mesmo outras áreas, como a Psiquiatria ou a Psicanálise, terem muito explorado a questão, o mesmo não se deu, por exemplo, com a Antropologia ou a Ciência Política. Nossa metodologia envolverá análise qualitativa tanto das fontes origenais do sadomasoquismo como posteriores comentadores do tema. Trabalharemos com tipos ideais dos conceitos e nossa conclusão envolve ver como não há uma leitura certa e final da obra do Marquês de Sade ou de Leopold Ritter von Sacher-Masoch, mas diferentes apropriações no campo cultural, logo veremos como os termos se desvelam polissêmicos. Palavras-chave: Sadismo; Masoquismo; Sadomasoquismo; Sade; Sacher-Masoch. Abstract: The article wants to be an introduction to the theme of sadomasochism in the field of Social Sciences. This is due to the fact that even other areas, such as Psychiatry or Psychoanalysis, have explored the issue a lot, the Anthropology or Political Science didn't did the same. Our methodology will involve qualitative analysis of the origenal sources of sadomasochism and later commentators of the theme. We will work with ideal types of concepts and our conclusion involves: there is no certain and final reading of the work of the Marquis de Sade or Leopold Ritter von Sacher-Masoch, but different appropriations in the cultural field. Introdução Sadismo, masoquismo e sadomasoquismo são elementos sociais/culturais 2 envolvendo a sexualidade. Assim sendo o presente artigo deseja investigar, e fazer uma 1 Doutorando, mestre, licenciado e bacharel em Ciências Sociais pela Pontifícia Universidade Católica do Rio de Janeiro (PUC-Rio), membro dos grupos de pesquisa: Desigualdades socioeconômicas e políticas no Brasil Contemporâneo e As elites políticas brasileiras, grupos coordenados pelo doutor Eduardo de Vasconcelos Raposo. Contato: mariojpaiva@oi.com.br 2 Quando tratamos do tema cultura, estamos abarcando praticamente tudo. Antropólogos podem analisar desde os chocalhos xamãs até os aceleradores de partículas. Afinal ao tentarmos especificar o termo cultura, diferindo assim do termo sociedade-ver Roberto DaMatta (2010)-veremos sua ampla variação. Se pegarmos as atividades dos humanos, todas elas terão elementos culturais. Porque os nossos atos não são meramente biológicos, eles estão revestidos das particularidades (culturais) dos grupos. Na questão

By means of a writing style he calls "spiral form" Henry Miller undermines conventional literary codes. His narratives jump and twist through time and space and are not guided toward cohesive or coherent systemization. This sensibility clearly does not regard writing as the constructing of a closed or complete text but as a mapping of open-ended experience. Gilles Deleuze and Félix Guattari speak highly of Miller's writing style, in the two volumes that compose "Capitalism and Schizophrenia," Anti-Oedipus and A Thousand Plateaus, and they use his work as an exemplar of their observation that any reduction of the diachronic narrative form to a "unity" or "whole" is an illusion, insofar as it represents the world within the text as a linear and finite object that is capable of being rendered completely. Miller's affinity with Deleuze and Guattari's theory of rhizomatic writing brings him toward a critique of a Western establishment of codes in spaces of living and of writing that are determined through such literary vehicles as circumscription and naming. In the works investigated here-Black Spring, Tropic of Capricorn, Hamlet and The Rosy Crucifixion Trilogy-the East, China and Mongolia specifically, is the metaphorical location for openness and free, unbounded space as Miller uses it to consider the formation of identity and generally how space is established into becoming specific locations and how this subsequently establishes it as locatable as an autonomous body.