دانلود کتاب Deleuze and Lola Montès

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Title Page\nCopyright Page\nContents\nAcknowledgments\nAbbreviations\nChapter 1: Deleuze’s Cinema: Movement, Time, Memory, and Subjectivity\n A Philosopher Goes to the Movies\n On Max Ophuls\n The Movement-Image: Time as Measurement\n The Past Can Change\n The Time-Image\n La Ronde\n A Little Stroll Through Time\n The Regimes of Images\n From One Regime to Another\n Deleuze and Philosophy: Nietzsche\n Deleuze and Philosophy: The Importance of Bergson\n Deleuze and Philosophy: Spinoza\n What Is Perception?\n Images Are Not Representations of Things (Against Phenomenology)\n Cinema: Perception-Image, Action-Image, Affection-Image\n The Material Aspects of Subjectivity\n Letter from an Unknown Woman\n A Feminist Reading\n A Tale of Masochism\n Another Reading: George M. Wilson\n Stanley Cavell on Letter\n What Would Deleuze Say about Letter from an Unknown Woman?\n Flashbacks\n The Impulse-Image\n The Affection-Image in Letter from an Unknown Woman\n Some Conclusions on Letter from an Unknown Woman and the Movement-Image\nChapter 2: On Lola Montès and the Time-Image\n Memory, Recollection-Image\n Image Memory and Pure Memory\n Falling into Pure Memory: Lola Montès\n Back into Time: The Crystal-Image\n The Crystal-Image: Lola Meets the Ringmaster\n Going Backstage\n “The actual is always objective, but the virtual is subjective”\n “Subjectivity is never ours, it is time”\n “Affect is experienced in time, while time can be defined as ‘the affection of self by self’”\n The Spectacle of Woman\n From Passive Affections to Passive Affections\n The Three Passive Syntheses of Time\n Peaks of Present, Sheets of Past\n The Spiritual Automaton\n The Powers of the False\nNotes\n Chapter 1\n Chapter 2\nIndex