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Cartographies of Style: Asignifying, Intensive, Impersonal

Cartographies of Style: Asignifying, Intensive, Impersonal Cartographies of Style Asignifying, Intensive, Impersonal anne sauvagnargues Translated by Suzanne Verderber Style sweeps away, infi ltrates, and overturns the signifying compo- nents of language, producing new percepts, surprising and splendid individuations, at fi ve in the afternoon, an afternoon in the steppe. Taking this position, Gilles Deleuze and Félix Guattari counter the tendency in art and literature to turn style into an operator of iden- tity. No longer treating style as the marker of a unitary signifi - cation, of a personal origin, or of a defi ned genre, they redefi ne it as asignifying, impersonal, and intensive. Nevertheless, there is nothing uncertain or reactive about these subtractive formulations, whose critical impact ignites a creative explosion. Indeed, of what does style consist? In literature or in art history, style usually exercises a personological, identifying, and signifying function, sorting exceptional works from unimpressive or minor ones. Style is the hallmark of a habit that refers to an average level of language use or of art production, and personifi es the genius artist in possession of a unique, transcendental ego who, in the classic version, deploys the norm in an exceptional way, or, in the romantic version, creates the norm. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Qui Parle: Critical Humanities and Social Sciences University of Nebraska Press

Cartographies of Style: Asignifying, Intensive, Impersonal

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Publisher
University of Nebraska Press
ISSN
1938-8020

Abstract

Cartographies of Style Asignifying, Intensive, Impersonal anne sauvagnargues Translated by Suzanne Verderber Style sweeps away, infi ltrates, and overturns the signifying compo- nents of language, producing new percepts, surprising and splendid individuations, at fi ve in the afternoon, an afternoon in the steppe. Taking this position, Gilles Deleuze and Félix Guattari counter the tendency in art and literature to turn style into an operator of iden- tity. No longer treating style as the marker of a unitary signifi - cation, of a personal origin, or of a defi ned genre, they redefi ne it as asignifying, impersonal, and intensive. Nevertheless, there is nothing uncertain or reactive about these subtractive formulations, whose critical impact ignites a creative explosion. Indeed, of what does style consist? In literature or in art history, style usually exercises a personological, identifying, and signifying function, sorting exceptional works from unimpressive or minor ones. Style is the hallmark of a habit that refers to an average level of language use or of art production, and personifi es the genius artist in possession of a unique, transcendental ego who, in the classic version, deploys the norm in an exceptional way, or, in the romantic version, creates the norm.

Journal

Qui Parle: Critical Humanities and Social Sciences – University of Nebraska Press

Published: Oct 9, 2014

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