Lecture 08 (1/5)

法文讲稿

French Transcript

.cls-1{fill:#d82e0f;} dl_fr Lecture in French (PDF)

English Translation

柏格森的两种认知形式

Bergson's types of recognition

Deleuze proposes studying the process of a reversal of time's subordination in relation both to movement and memory in philosophy and cinema, outlining a two-faceted historical set, four philosophical moments (from Antiquity to the 17th century; the Kantian reversal, and beyond) and four within cinema. Opting to start on the cinema side through different cinema authors (Pasolini, in particular), he notes the importance of montage in relation to the movement-time intersection. He recalls the sensorimotor linkages in the movement-images that assure the three specific types previously studied and engender an indirect image of time, but he also insists that through numerous movement-image aberrations occurring during this era, one could glimpse aspects of the direct time-image. Referring to Jean-Louis Schefer's L'Homme ordinaire du cinéma, Deleuze emphasizes that what changes is disturbance added to movement, thanks to which cinema is the sole experience where time is rendered as a perception. Following Deleuze Schefer's theses with reference to cinema authors (again, Renoir, Pasolini, Dreyer, Epstein, Rossellini, Visconti), Deleuze provides an outline for next session: the sensorimotor situation linked to the indirect image of time; the disconnected situation of its sensorimotor extension linked to the direct image of time; these two levels corresponding to Bergson's two forms of recognition, sensorimotor recognition and “attentive” recognition (of an object's optical and sound description). In this session, Deleuze is interrupted by university management and then returns to announce that henceforth the course will meet in a larger room, that Deleuze describes as “our dream house”.

论《电影、真理与时间：伪造者》，1983-1984

Sur Cinéma, vérité et temps : le faussaire, 1983-1984

Which means, painting in broad strokes, up until a certain point in the history of thought, time was subordinate to movement. [ Pause ] We could [second] at some point pin down something of real revolution, overturning this relationship. [ Pause ] Movement comes to depend on time [ Pause ] and, third, such a reversal has its consequences. [ Pause ] And I'd even add a fourth point—fourth, because things are never simple—but going back to the first moment, [ Pause ] where time was thought of as being dependent upon movement—of course, already, it isn't so simple, and there were all sorts of things about this first stage that anticipated the overturning of this relationship. So, you can see our outline, then, a skeleton, a pretty bare-bones outline. We need to fill it in. But my goal is to flesh it out in two ways, independently: [ Pause ] once with philosophy, and then with cinema.

第8次课，1984年1月17日（第52讲）

8ème séance, 17 janvier 1984 (cours 52)

In philosophy, right, for the longest time, yes, it's true that generally, [ Pause ] time was taken to be derived from movement—in very different ways [ Pause ]—but it remains more or less the case from Antiquity to the 17th century, raising all sorts of questions: what movement? Movement of the world, or movement of the soul? What sort of movements? And so on. And then what happens—but why does it happen at this moment in thought?—along comes the great revolution, the Kantian revolution. And while we might agree that critique, what Kant called Kritik , while everyone might agree that critical philosophy, which Kant invented, is defined by a revolution or reversal—since he himself defined it as such—we may disagree on the fundamental point of this reversal.

刚才有一会儿你们跟得很紧，因为我在方法上遇到了问题，而你们也曾对我说过，在我打算要做的事情当中，对你们而言最清楚的路径是什么？这恰恰就是我打算要做的事，所以这是为开启第二个学期。[停顿] 当然，接下来的内容顺理成章，不过这一点我之前已经向你们预告过了。一开始我会集中在一个具体的问题上：运动-时间的关系，以及这一关系的反转。这就是总的主题——运动与时间的关系，以及这一关系的反转。[停顿]

Pendant un instant, vous me suiviez très bien, parce que j'ai un problème de méthode, et que vous me disiez vous-même, quel est le chemin le plus clair pour vous, dans ce que je voudrais faire ? Voilà exactement ce que je voudrais faire, donc pour entamer ce second trimestre. [ Pause ] Bien entendu, la suite, c'est dans la suite naturelle, mais je vous l'avais annoncée. Je vais me centrer au début sur un problème précis : le rapport mouvement-temps et le renversement de ce rapport. C'est ça, le thème général, le rapport de mouvement et du temps et le renversement du rapport. [ Pause ] [1 :00]

Bear with me for a moment, because on the subject of methodology, I'd like for you all to decide how we ought to proceed through what's ahead. This is how I'd like to kick things off our second term. [ Pause ] Granted, it's a logical extension of where we left off, what I've already hinted at. I'm going to focus on something in particular, to begin with: the movement-time relationship and its reversal. That's our main topic: the relationship between movement and time and the reversal of this relationship. [ Pause ]

也就是说，如果我做一个很大程度的概括，那么在思想史上，从某个时刻直到另一个时刻，时间一直从属于运动。[停顿] 我们可以指认某种堪称真正革命的东西，它在于将这一关系反转过来。[停顿] 是运动变成了时间的依赖项，[停顿] 而第三点，这样的反转会产生各种后果。[停顿] 我甚至还要加上第四点——之所以说是第四点，是因为事情从来都不那么简单——但是，如果你们回到最初的那个时刻，[停顿] 也就是思想把时间思考为依附于运动的时刻——当然，事情从一开始就不那么简单，而且在这个最初阶段里，就已经有着各种各样为关系反转做了准备的因素。所以你们看，这就构成了一个图式，一个骨架，一个相当单薄的骨架式图式。需要把它填满。而我的目标，是以相对独立的方式，从两个层面把它填满：[停顿] 一个是哲学，另一个是电影。

Ce qui veut dire, si je schématise beaucoup, dans l'histoire de la pensée, à un certain moment jusqu'à un certain moment, le temps était subordonné au mouvement. [ Pause ] On peut assigner quelque chose qu'on appellerait une véritable révolution qui consiste à renverser le rapport. [ Pause ] C'est le mouvement qui devient une dépendance du temps [ Pause ] et, troisième point, un tel renversement a des conséquences. [ Pause ] [2 :00] Et même j'ajoute un quatrième point mais — quatrième point parce que les choses ne sont jamais si simples — mais si vous vous reportez au premier moment, [ Pause ] là où la pensée pensait le temps comme dépendant du mouvement — bien sûr, les choses n'étaient pas si simples déjà, et il y avait dans ce premier moment toutes sortes d'éléments qui préparaient déjà le renversement du rapport. Voyez c'est donc un schéma, un squelette, un schéma squelettique assez simple. Il faut le remplir. Mais mon but, c'est de le remplir de manière indépendante par rapport à deux instances : [ Pause ] [3 :00] l'une, la philosophie ; l'autre, le cinéma.

What I'll try to do is explain the fundamental point of the Kantian revolution, and the overturning of the movement-time relationship, in particular. That is, he is the first philosopher who, explicitly, subordinates movement to time and frees time from movement. [ Pause ] He'll call this philosophy—famously—[he'll call] the critical philosophy behind this and many other reversals besides, he'll call it “critical”… No, I mean, “transcendental philosophy.” [ Pause ] And it can be hard to avoid confusing, as we often do, transcendent, transcendence, and transcendental, so it behooves us to try and pin down why transcendent and transcendental are two completely different things. And then, third, the Kantian revolution has consequences which will play out in everything we've come to know as post-Kantianism. What sort of consequences? Well, that's the first side, the philosophical side of things.