This article examines the philosophy of Gilles Deleuze (especially Cinema) and the poetry of Arthur Rimbaud in terms of the intersection between corporeality, temporality, and the political. The first part analyzes the deconstruction of lyrical subjectivity in Rimbaud's verse in relation to the breakdown of the sensory-motor link described in the first volume of Deleuze's Cinema; it discusses these homologous movements as a release of free-floating bodily potentiality. The second part shows how the shift from the first to the second volume of Deleuze's Cinema and the shift from verse to prose poetry in Rimbaud constitute the formal dimensions of a shared political project based on the transformation of bodily life, or a biopolitical transformation. This project can be understood as communist insofar as it attempts to liberate time from capital for the body and to produce a social form based on sharing the common (or common bodily potentials).
All Science Journal Classification (ASJC) codes
- Cultural Studies
- Literature and Literary Theory