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中译按照法语，并参考英译。点击每段段首的▶，可以展开、收起英译和法语原文。
There are crystal images; the crystal or the crystal image is not only optical, it is sound. Any crystal reveals time. So, there are sound crystals of time. According to Guattari who invented this notion of time crystal, according to Guattari, the refrain is the sound crystal of time par excellence. A little refrain … That’s where we are. And now I’ve told myself … after all, the refrain is perfect, but it’s not enough. Something else would be needed, either in the crystal or in the same position in the crystal. There’s something needed to spin the crystal, to make it move. The refrain, fine, that’s good, but I tell myself that after all, that’s only one aspect. Why do I say that to myself, I have absolutely no idea. This is what is called an inspiration. I tell myself: “Well no, the refrain is good, it’s perfect, but I want something else”. If I want it, I’ll find it. And now I tell myself: “What can I oppose to the refrain?” I’m daydreaming. I mean, this is almost a lesson; not a lesson, a proposition of methodology. See, I feel like Felix is only telling us half of it.
In contrast to his rather apologetic return at the start of year 2 to the Cinema material discussed in year 1, Deleuze commences year 3 with a forthright proposal to discuss the intersection of cinema with the theme of truth, time and the falsifier. Adopting this topic, that constitutes the focus of chapter 6 in The Time-Image, means that Deleuze intends to situate these thematics within the broader framework of the concepts introduced in years 1 & 2 as well as those that inform his development in The Time-Image.
For archival purposes, the English translations are based on the original transcripts from Paris 8, all of which have been revised with reference to the BNF recordings available thanks to Hidenobu Suzuki, and with the generous assistance of Marc Haas.
Tex Ritter’s “Do not forsake me, My Darlin'” and Gary Cooper in Zimmerman’s “High Noon”
Hoping to finish the philosophical aspect of the time-image, Deleuze proposes a deeper analysis of the crystal-image, expressing the need to consider both its optical and sound properties as well as their links to time. With Guattari’s The Machinic Unconscious cited as a source for the crystal as concept, Deleuze reflects on music in film, notably the western (“High Noon”), musical comedy, the Fellini-Rota intersection, and creation of different kinds of refrain-gallop pieces (cf. Clément Rosset on the refrain-gallop), and then the refrain qualities of Ravel’s “Boléro”. Then, returning to his discussion of the intensive movement of the soul following the series of powers, Deleuze points particularly to Nicholas of Cusa’s concept “possest”, that is, immanence, power (puissance), hypostasis, a path of emanation from one degree to the next in a complex movement of procession, emanation, and conversion. He then emphasizes Kant’s debt to the Neo-Platonists for his understanding of this concept, and moving into a “second part,” Deleuze asks: how is time going to emerge as number of this movement? To answer, he draws details from Neo-Platonists’ distinctions, notably from Damascius, on “aiôn”, regarding eternity and powers in order to reach the fundamental activity of the soul, that reaching the “pure now” (or nûn). Citing Paul Claudel on the knowledge of time, Deleuze moves forward with the generative difference for movements of time linked to “the fear of God” as well as to the time of crisis. To conclude, he asks for the next session: how will the synthesis of originary time itself operate and then bring forth fear? To address this, Deleuze suggests finishing the consideration of Plotinus, then proceeding to consider Saint Augustine, followed by Kant.
视频的 2:55-8:37。1:07 处应为“复活节后的第三学期…”
视频的 2:55-8:37。1:07 处应为“复活节后的第三学期…”
https://www.youtube.com/watch?v=nFGYqiOHTME&feature=youtu.be
第一部分