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Deleuze on Music, Painting and the Arts (Deleuze and the Arts) Paperback – April 6, 2003

ISBN-13: 978-0415966085 ISBN-10: 0415966086 Edition: 1st

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Editorial Reviews


After these books are published, there will be no need for anyone else to write a how-to-understand-Deleuze book. The clarity of the prose, the careful explanation of each difficult and important concept, and the lack of any jargon whatsoever make this the definitive commentary on Deleuze.
–Dorothea Olkowski, University of Colorado

About the Author

Ronald Bogue is Professor of Comparative Literature at the University of Georgia. He has written widely on the work of Deleuze and Guattari, and aesthetics.
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Product Details

  • Series: Deleuze and the Arts (Book 3)
  • Paperback: 240 pages
  • Publisher: Routledge; 1 edition (April 6, 2003)
  • Language: English
  • ISBN-10: 0415966086
  • ISBN-13: 978-0415966085
  • Product Dimensions: 6 x 0.5 x 9 inches
  • Shipping Weight: 13.6 ounces (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #983,932 in Books (See Top 100 in Books)

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Most Helpful Customer Reviews

12 of 12 people found the following review helpful By Jeremy Glazier on November 19, 2003
Format: Paperback
Deleuze's work is complex and often difficult, especially for the reader who comes with an interest in art, music, and literature but little familiarity with (or perhaps tolerance for) late-twentieth century philosophy.
In this study of Deleuze's writing on music and painting, Ronald Bogue distills the essence of the philosopher's decades-long interest in these disciplines. This is no "Deleuze for Dummies"--some familiarity with Deleuzian concepts is assumed and expected. As with similar texts (Harari's _How James Joyce Made His Name: A Reading of the Final Lacan_, for example, or Rochlitz's _The Disenchantment of Art: The Philosophy of Walter Benjamin_), _Deleuze on Music, Painting, and the Arts_ tells us probably as much about Bogue as it does about Deleuze.
This is useful, however, because Bogue has read widely and with comprehension not only in Deleuze but in the whole network of related subject matter touching on his concerns--Jacob von Uexkull, Susan Oyama, Paul Griffiths and Alois Riegl among others. Additionally, Bogue's consideration of Modern music is exemplary for its clear-sighted and vivid engagement with difficult (what Adorno might even call radical) music. Take as an example this brief segment from the discussion of Messiaen's spectacular _Catalogue d'oiseaux_: "...Messiaen never approaches an individual bird's song in isolation, but instead juxtaposes it with the songs of other species and situates it within an evocative sonic landscape....Such pictorialism might suggest that Messiaen's aesthetic is purely mimetic, but the actual results of his practice belie this suspicion." He goes on to discuss the piece's motivic development and the composer's modal style.
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