德勒兹文化视域中弱势概念的诗学解读  

Poetic Reading on Deleuze's Concept of Minor from the Cultural Perspective

作　　者：王彦军[1] 任洪玲[1] 

机构地区：[1]燕山大学外国语学院,河北秦皇岛066004

出　　处：《东北师大学报（哲学社会科学版）》2014年第4期130-135,共6页Journal of Northeast Normal University(Philosophy and Social Science Edition)

基　　金：河北省高等学校人文社会科学研究青年基金项目(SQ135004);国家社科基金项目(12BWW005)

摘　　要："弱势"是德勒兹思想的重要概念,与其"生成"概念密切相关。通过对强势与弱势的辨识与分析,德勒兹清晰地揭示出弱势概念的本质内涵,这构成其弱势概念研究的基础。弱势概念是德勒兹进行文学、语言和电影研究的主要切入视角,通过对弱势文学、弱势语言和弱势电影思想的论述,德勒兹隐现地建构起弱势概念的思想谱系。弱势是德勒兹文学研究的关键词,语言的弱势化使用是产生弱势文学的重要前提。生成是定义弱势语言的重要因素,促成德勒兹提出"生成—弱势"思想。弱势电影并不强调再现,而是一种创造性的生成行为。＂Minor＂,which is closely related with the concept of ＂becoming＂ , is an important concept in Deleuze＇ thought. By means of analyzing major and minor,Deleuze reveals the nature of the concept of ＂minor＂ clearly,which forms the basis of his study on the concept of ＂minor＂. The concept of ＂minor＂ is a major entry point for Deleuze to study literature, language and movie. Through the elaboration on minor literature,minor language and minor movie,Deleuze constructs the genealogy of the concept of ＂minor＂. ＂Minor＂ is the key word for Deleuze to research on literature,and the minor use of a language is the important prerequisite to create minor literature. ＂Becoming＂,which inspires him to expound the idea of ＂becoming-minor＂, is the important factor for Delezuze to define minor language. Minor movie doesn＇t attach great importance on representation, but is a kind of creative ＂becoming＂.

关 键 词：德勒兹 强势 弱势 生成 

分 类 号：G02[文化科学]