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to create new truths and to falsify accepted realities; the second develops Deleuze's idea of "fabulation" in his study of Sacher-Mascoch. Each examines the primacy given in Deleuze's philosophy to the visual over narrative and suggests various ways in which new futures might be made possible in an "untimely" fashion. The final three essays explore the Deleuzian concept of "nomadism" considered as an example of transverse ways between and within different cultural spheres. If the preceding essays in the collection are of value to the comparatist in suggesting a methodological approach, these three essays actively engage with possible renovations within the comparatist field. In the first, the role of gypsy music in popular culture and European modernism is presented as evidence of nomadic practice connecting different cultural elements and regions. With the second essay Bogue offers suggestions for a "transcultural poetics," a cultural studies program deploying a model of "nomadic globalism" as distinct from the practices of westerndominated globalization. In the concluding chapter Bogue reviews an analysis by Christopher L. Miller critical of Deleuzian "nomadology" and underlines the commitment of the transverse to ethical responsibility and to the value inherent in formulating new perspectives upon life. In each
The Comparatist – University of North Carolina Press
Published: May 24, 2008
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