ritornello

By studying the system of arts in the views of a philosopher, the criteria for examining the relationships between the arts become clear. Additionally, the relationship between the arts and the differences in their degrees is defined based on their material in relation to that criterion. Accordingly, one can answer the question:How can Deleuze consider the novel and painting from the perspective of common issues? How do these issues correspond with his ontological problems? Through a descriptive-analytical method and a focused study of some of Deleuze's works, one can establish the concept of the "ritornello" as the foundation of this thinker's theory of art.In Deleuze's view, the original novel and painting create a ritornello. The ritornello has several aspects, such as melody, motif-counterpoint, and theme-harmonic variations. These aspects are not developmental points; rather, they are modes of a single phenomenon. The basis of the relationship between characters and figures in the novel and painting is vibration, which creates a monophonic melody. Characters and figures relate to the landscape and animality in both external and internal ways, forming multi-voiced melodies or territorial counterpoints and rhythmic characters based on the intensity and mood of the melodies. Based on sensing the pure intensity, they undergo harmonic changes and open themselves to infinite intensity, and the infinity of intensity.Many of Deleuze's aesthetic issues, such as intensity, affects, percepts, and pure sensation, which make territorialization, deterritorialization, and re-territorialization, seem to correspond as the basis for explaining the Ritornello with the way of life of beings.

The purpose of this article is to create a link between ontology and musical forms. To achieve this goal, Heidegger's fundamental ontology is posed against Deleuze's differential ontology so that the possibilities of this contrast can be used. In this article, with a descriptive-analytical method and a comparative approach, we tried to explain the two types of Heidegger's and Deleuze's ontology by applying it to two musical forms: one fugue and the other ritornello. Thus, Heidegger's world is a fugue that presents the same despite all the variations of the performance of a main musical subject (or a singular voice). Being in this attitude is homogenous and unique. The difference in this way of considering the phenomenon is considered secondary to Being. In this ontology and related concepts, experiences of becoming other, subject movement, becoming a subject due to deterritorialization, the possibility of active participation of people in the whole destiny, and the possibility of changing and reforming the way of life of people are limited. Deleuze's world brings the most different people together in his ontology by resorting to the rhythm and musical form of ritornello. So that at the same time they harmonize, their tonal differences are preserved. Being is the differential. In Deleuze's ontology, with the possibility of territorialism, the way to the subject movement and the possibility of becoming is available. A subject movement in society based on rhythm creates changes in the individual and social relations in which one can expect active participation in determining the destiny of all people. Conditionally, a society is created where people can correct their way of life. The results of this reading and connection show the different social functions of the ontology of the two thinkers.