Kamil Lipiński

This article addresses the figural dimension of Gilles Deleuze’s thought in terms of the twofold relation of forces aligned with the dualism of figures emerging in the visual image. The drive towards the differentiation of haptic figures provides an insight into the anti-representative approach to figurative clichéof painting to reveal the crucial tropes of figural presence and the profound understanding of Deleuzian decentration by addressing the inner context of his writings and external writings commenting on his thought. In this essay, I review Deleuze’s argument, his use and critique of Riegl, the central place of what he calls hapticity in this vision, and consider his attempt to illustrate what this “sensation”might be.

The article examines the specific forms of mobilization of the students in the banlieues during occupation of the Universities (specifically University of Paris 8 and University of Paris 13) in 2007-2008 in response to the idea of introducing privatization of the Universities in France. One of reason of emergence radical forms of resistance was an attempt to challenge the increasing discourse of marginalization of the banlieues. A closer look on the underlying premises of the strike enabled to reveal the democratic claims of the strikers in the background of the previous riots in the suburbs and their representations in visual culture. Among the forms of occupation, the most specific one was blocage characterized as the space, where instead of lectures there was a possibility of sharing ideas of democratic values during organized Assemblée Généralle. The result of this radical, long-lasting strike was the temporary establishment of sovereign and autonomic space where the official power had no right to intervene. Ultimately, the strike resulted in the successful abolition of the rent of the University to the private investors.

The article analyses the case of reversed narration in the film Irreversible by Gaspar Noé as a one of the examples of group of films produced in the 1990’s based on the reversed narration and complex, modern construction of the sujet. The author stresses that temporal aspects of metonymic contiguity shows parallels with displacement of one event on the axis of chronology and the transitions between erzählte Zeit and Erzählzeit. Narratological reading of retrospective events provides dating back in time from primary narrative as a result of the use of i.e. the internal analepsa showing the time span in the story told. The shift from present and past goes beyond the linear and causal order by drawing on a comparison between J.W. Dunne’s various forms of theory of time and the Moebius strip. The group of events arranged in the causal but discontinuous order show the parallels that precede climax event and initiate the secondary narrative dating back in time.