'

.1 :

""? '
,
( )1983 ( .)1985
.
,
;

. , .
;
.
, .
: ,
.
1
.
, "
" .
; ,
, .
12

' 1975 ,

13

 / '

. ,
"" ;
.
?!
, ?
: , .
,
.

.
:
, . , , .
.
, . ,
2
.
,
. ? ""
. .

( , ,
) .

. "" . ,
.
, ,
.
. , ,
,
14

15

.
,
.
? ,
,
." ,"
,
. ,
, .
.
( "
") ,
, . ,
, .
. ,
" " .
;
,.
.2

.

[ ( ,)1953
( ,)1962 ( ,)1963 ( )1966 (.])1968
( ,)1968
,
15

 / '

' " ".

,
.
, ""
. ,
, :
" " ()
.
: ,
. ,
, ()
,
: .

.
. ,

, ( )
. ,
, , ( )
. ,
.
. : ,

. , ,
.
""
? , "" ;
16

15

,
. ,

;
. ,
, ,
3
.
, ,
[ ( )1964 ( ,])1967
, ( ,)1969
.
, ,
. , .
.
,

"" ( ,
) .
,
,'68 . ,
[ (,)1972
: ( )1975 ( ])1980
: ,
; ,
; ,
, ,
,
.
17

 / '

. , , ,
( ) ( )
, .
( )1981 , .
, (
)
.
( , ,.)1993

: ,
,
, ,' '.
, ,
,
.

. "":
( ,)1986
( )1988 ( ) ?
( 4.)1991


, . ,
.
.
,
" ?" , ,
18

15

,
" :
.
,
5
".
.3 ,

, .
? , .
.

,
.
,
6.
.
,
. ,
,
:

, .
,
.
,
.
19

 / '

: ,
,
.
.
7. ,
. : ,
(
' ,' ,
,
, ); ,
(
, ;
) . ,
"";
, (
8
).
, ,
.
,
. ,
.
,
,
+ .
" " .
9.
.

20

15

. , "" ,

.
, ,
,
.
()
. ( )1
: , ,
.
,
:
"" .
:
(
) ,
. :
,
,
. ,

. , ,
.

( .)2-3
. ,
.
.
21

 / '

,
.
.
:
,

. ,

: '
,
. ,
.
.
' , .
,
.
:
( , ,
') , ; '
; ,

. ,
, ,
' ( , ' ') .
,
, ( ,4
) ,
.
22

15

,
.
"" ;
: ,

. , ,
.
,
10
.
,
:
,

.
: () ,
[( ]affection ) () . ,
,
: , ,
;
, '
, (
' ) . ,
(') ,
( , ,) "
" = . , ,
.

, .
23

 / '

.4 ,

15

.
. ,

" " 11. :
,
. : ,
(') ,

.
. ""
, ""
' [ ]Pierce .19
,
. , , . ,
. ,
, :
, 12.
("") , .
.

. ""
:
,
, . ,
24

: ,
() ( ) .
' ,
,' '
.
,
. , ,
" :"Binomial
.
,
,
13
.
,
13
.
,
. ,
;
.
,
: ,

, (
) , .

'? , ,
() .
.
25

 / '

(
, ) ,
( ,
' ) .
' : ,
, .'
, (
) . ,
'
,
.
' .
,
( )
, .
,
: .
.
(' + //),
:
. ? ,
: ,
.
(opsigns,
)sonsigns ( ,)Chronosigns
( )lectosigns ( .)noosigns
,
" " ,
26

15

( ) .

,
.
( ) ,
.
"" ,
( " "
) . ,
,
.

. : ,
, ()
; , ,
; ,
.
,
.
,
; ,
. , :
,
?
:
() .

, , .
27

 / '

.
, '
; ,
, "" () :
, ,
? ""
:
, .

,
. ,
,
"" (
) .
( ) ,
:

.

, .
"" .
, ,' ,
, ,

. , ,
,
" : ?" .
28

15

.
.
,
. ,
() .

'Gilles Deleuze, "Having an Idea in Cinema", in: Deleuze & Guattari: New :
Mappings in Politics, Philosophy, and Culture, E. Kaufman, K.J. Heller, ed.,
Minneapolis: University of Minnesota Press, 1998, pp. 14-22.

there is only involuntary thought, ][ :
aroused but constrained within thought, and all the more absolutely necessary
for being born, illegitimately, of fortuitousness in the world. [] Do not count
upon thought to ensure the relative necessity of what it thinks. Rather, count upon
the contingency of an encounter with that which forces thought to raise up and
educate the absolute necessity of an act of thought or a passion to think. [Gilles
Deleuze, Difference and Repetition, Trans. Paul Patton, New York: Columbia
University Press, 1994, p. 139].

[] the two senses of the aesthetic become one, to the point where the being of
the sensible reveals itself in the work of art, while at the same time the work of art
]appears as experimentation. [Ibid., p. 68

,
( ) .
.
Reidar Due, Deleuze, :
Cambridge: Polity Press, 2007.

29

 / '

' , , : , ,2008 ,' .61

15

11

"" ' ," .217-181

, ,

"" , ,

" " (' Kaja Silverman, :)5

. .

The Subject of Semiotics, New-York: Oxford, 1983.

" "

12

[' R. Stam, Film Theory an Introduction, Blackwell (Oxford 2000), pp. 256-

13

.]260 , ""

, ,

Paola Marrati, Gilles Deleuze: Cinema & Philosophy, Trans., Alisa Hartz, :

. ,

Baltimore: Johns Hopkins University Press, 2008.

,
. ' 2.

14

1985

. ,

.'Gilles Deleuze, Negotiations: 19721990, tr. :

Martin Joughin, New-York: Columbia University Press, 1995, pp. 57-61.

( )

, . ,

D.N. Rodowick, Gilles Deleuze's Time Machine, London: Duke University :

We do not listen closely enough to what painters have to" :

Press, 1997.

say" [Gilles Deleuze, Francis Bacon: The Logic of Sensation, D.W. Smith (trans.),
]Minneapolis: University of Minnesota Press, 2004, p. 99.
9

' , , . ,' " :211

[ ]snapshots ,
, , , ,
, .
, , . ,
, , ".

10

,
, , .
.

30

31