抄録
Deleuze and Guattari assert the importance of music over painting with regard to the
power of de-territorialization in “A Thousand Plateaus”. Their theory of music cannot be
separated from the discussion of the unique concept of refrain.
This paper aims to form a basic consensus on what Deleuze’s argument about
“refrain” says or does not say. Our first focus will be on the three different
aspects that refrain has in response to three different phases: chaos, territory, and
de-territorialization.
It is also noteworthy that while Deleuze defines “refrain” as the content of music,
he opposes “refrain” and “music”. According to Deleuze, “refrain” is a way of doing
away with it. Our research clarifies the position of refrain itself, which is recognized
independently of the music.
In previous research, it has been understood that Deleuze’s “refrain” is to be found
in the expressive activities of animals rather than in those of humans. This paper,
however, shows that art, defined as “capturing” the “power of de-territorialization”, is
ultimately found in human acts of expression. From this point of view, we reconsider
“inhumanisme” in the Deleuzean art theory.
