The figure of the schizophrenic in the Anti-Oedipus Deleuze and Guattari
The figure of the schizophrenic as desiring being par excellence is surprising the reader Anti-Oedipus (AOE). What relationship between affective disorders and be interested? Yet, this figure serves as a conceptual figure as eminent as the nomad in Thousand Plateaus (1981). The schizophrenic is also a figure cross, not quite to Deleuze, nor quite Guattari, not quite the two: as Deleuze works this figure since Logic of Sense (1969) with A. Artaud Guattari while meeting with schizophrenia in the clinic of La Borde. The schizos remain with the CSO (Bodies without Organs) a conceptual figure heterogeneous both in the work of Deleuze (eg in the BwO logic of perception) than in Guattari (see Maps schizoanalytiques ). Finally, the figure of the schizophrenic in OCWA , belongs to a certain clinic desire that opposes that of the neurotic in psychoanalysis. The schizo said how desire is delirious that is to say pure experience desire as a connection.
The figure of the schizo nonetheless shocking to both common sense that no one wants to see a figure that disease for patients who see only the suffering figure. Other candidates for conceptual figure would probably have been the case, for example, the exuberance, the whimsical, eccentric or deviant. But all these figures are only repeating what already said the schizo: desire, it's delirious, that is to say produce something not bound by a real representation. The schizo is the desiring machine laying bare the experience hairline reality.
1. The exuberant
The exuberant is the one who says that his poetic vision of the world shows, in the prosaic reality of the world, energy seeping into reality. And William Blake in Marriage of Heaven and Hell who, by dint of opposition, brings out the true face of the world as evil or as a precarious balance dedicated to evil.
William Blake The red dragon and the woman with clothes sun
Poetic language here is schizophrenic as he told how behind these representations that we take for reality is a real wide liked the richer the source of the experience of desire. Here, the language is poetic frenzy, because desire, but he says the truth of the world because he no longer hides behind the mundane representations of the world.
2. The whimsical
The whimsical is the one who brought in a sufficient dose of reality to fantasy in disguise codes. Zoot suiters thus who, in times of misery and adopt the dress code of the aristocracy, to affirm the superiority of imagination on ordinary reality: it is not because one is black and poor that can not be elegant. The zoo suiter is that it introduces schizophrenic dasn vestimantaire a reality and therefore social subversion which moves in the codes and customs.
Thus Cab Calloway who with her coarse slang, onomatopoeia sung restores its salt to a black American jazz had lost some of its vigor protest.
Thus, hep cats who, after war (the clip above is a cover of a classic jazz of the '40s), claims by their attitude to the opposition Petainism elegant surroundings.
3. The eccentric
The eccentric is that decenters stereotypes, moves to dissolve. The eccentric is that it displaces schizophrenic entant codifications of sexual gender organizes social reality. Thus the figure of the "bitch" or bitch at tongued like Boy George. Echoing the stereotype of the effeminate homosexual, the bitch accentuates, exaggerates by disguising excessive so that the stereotype no longer means anything.
Avatar newest of the eccentric, the freak bitch with Lady Gaga, which not only misrepresents the sexual codes of a society still well-meaning but disguises also the aesthetic codes of Music Entertainment, which is to say in show biz, the music video, culture club ... etc..
4. The deviant
The deviant is one that gradually separates the roles and functions assigned to a particular social code. It deviates from a social reality in order better to be born in a real home that is now the only place to live. The deviant is that schizophrenic as it updates the existence of a real underlying what we believe to be the only reality in the representations that are the reality of our world, there is another world , a real larger than the representations seeking to contain it.
Thus Messerschmidt making the portrait grinning therapy singular pinching every time he is the victim of a schizophrenic crisis, Messerschmidt carves fighting with his illness. It immortalizes there, through a work of the most singular feature that no other therapeutic purposes only, the pure experience of a desire unbound, mad by default.
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