Парижкият художник на номадските интензивности и неговият враг. Драматизации на едно различно повторение
The Paris Painter of Nomadic Intensities and His Enemy. Dramatizations of a Different Repetition

Summary/Abstract: The paper aims to answer the key question posed by James Williams concerning Gilles Deleuze’s debt to Kant: whether Deleuze’s diversion in adopting of Kant’s transcendental deductions could be regarded as a misappropriation or a valuable rerouting? My tentative answer becomes possible as far as the analysis of threefold synthesis of time from Difference and Repetition can be established as a heuristic guideline towards more adequate interpretation of the obscure pages dedicated to the threefold synthesis in Kant’s Critique of Pure Reason. In my view, the transcendental empiricism postulated by Deleuze is implicitly founded on his latent theory of the cognitive function of imagination developed after the publication of his book Kant’s Critical Philosophy.

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