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Summary Gilles Deleuze (1925-1995) studied at the Sorbonne and taught at various lycées before holding professorships at the University of Lyon (1964-1969) and the University of Paris VIII at Vincennes (1969-1987). Throughout his career, Deleuze sustained a profound engagement with the history of philosophy, publishing monographs on Spinoza, Leibniz, Hume, Kant, Nietzsche and Bergson, in addition to his original philosophical work on a variety of topics including metaphysics, ethics, science, language, politics and psychoanalysis, as well as literature, cinema and painting. Nonetheless, Deleuze once called himself a “pure metaphysician,” and this characterization becomes apparent through some common themes that range across his diverse body of work: immanence (as opposed to transcendence), emergence and becoming (as opposed to persistence and being), and difference (as opposed to identity). Scholarship on Deleuze is rapidly growing and his increasing influence extends far beyond philosophy.
Key works Deleuze’s magnum opus is Difference and Repetition (1968). He is also widely known for his collaborative works with Felix Guattari, most notably the two-volumes of Capitalism and Schizophrenia: Anti-Oedipus (1972) and A Thousand Plateaus (1980), as well as their last collaboration, What is Philosophy? (1991). While it is difficult to isolate key texts from his work on the history of philosophy, Nietzsche and Philosophy (1962) and Bergsonism (1966) reinvigorated interest in those figures and garnered considerable attention of their own account.
Introductions Claire Colebrook’s Gilles Deleuze (2001) and Todd May’s Gilles Deleuze: An Introduction (2005) are two basic introductions to Deleuze’s thought. Daniel Smith’s Essays on Deleuze (2012) is the most comprehensive reference on Deleuze.
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  1. R. A. (1955). A New Image of Man. [REVIEW] Review of Metaphysics 9 (1):165-165.
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  2. Carolyn Abbs (2006). Writing the Subject: Virginia Woolf and Clothes. Colloquy 11:209-225.
    Virginia Woolf had a fascination with clothes and textiles. She wrote about clothes in her diaries, fiction and non-fiction and she even wrote for Vogue magazine – the editor was a friend. 1 There may have been some influence from William Morris’s designs and tapestries, the Omega workshops of the time, Serge Diaghilev and costume designs for the Ballets Russes, and we know that she worked needlepoint with her sister Vanessa Bell. However, in regard to writing the subject, it was (...)
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  3. Michaël Abecassis (2010). Iranian Cinema: A Political History by Hamid Reza Sadr, 2006. [REVIEW] Journal of Shi‘a Islamic Studies 3:368-370.
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  4. Fadi Abouh-Rihan (2008). Deleuze and Guattari: A Psychoanalytic Itinerary. Continuum.
    Nietzsche : by way of an introduction -- Winnicott : the psychoanalytic family -- Anti-Oedipus : reading, listening, analysing -- Process notes : productions and syntheses -- Sophocles : under the sign of nemesis -- Cixous : the unseen seen -- Dôsirand : the transitional subject.
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  5. Jan Abram (1999). Squiggles, Clowns and Catherine Wheels: Violation of the Self and its Vicissitudes. Natureza Humana 1 (1):53-74.
    O artigo desenvolve uma reflexão sobre o conceito winnicottiano de núcleo isolado do si-mesmo, ao qual se atribui o caráter de ser permanentemente desconhecido e incomunicável. O tema é discutido a partir de um outro conceito do mesmo autor, o de cisão da personalidade em verdadeiro e falso si-mesmo, com a ajuda de textos de Marion Milner em que esta questiona Winnicott acerca do isolamento e incomunicabilidade. Na sequência, é examinada a importância terapêutica do "objeto que sobrevive". Sobre este último (...)
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  6. Jerold J. Abrams (2003). Cinema and the Aesthetics of the Dynamical Sublime: Kant, Deleuze, Heidegger and the Architecture of Film. Film and Philosophy 7:60-76.
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  7. Ovídio de Abreu (2012). Deleuze e o Eterno Retorno da Diferença. Doispontos 8 (2).
    Estudos sobre a abordagem da história da filosofia por Deleuze ainda serão bem vindos: pesquisas sobre a sua maneira de remontar dos conceitos aos problemas que lhes dão sentido, de indissociar-se dos pensadores que estuda de modo a produzir um campo de intensidades, uma região de indiscernibilidades, lá onde ele próprio, Deleuze, pode criar com eles, retomando, prologando e renovando o pensamento. O objetivo desse texto define-se como a incursão por essa zona de indiscernibilidades e tem em vista um problema (...)
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  8. Yves Abrioux (2009). Intensive Landscaping. In Bernd Herzogenrath (ed.), Deleuze/Guattari & Ecology. Palgrave Macmillan. 251--65.
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  9. Vinod Acharya (2012). Nobility and Decadence: The Vulnerabilities of Nietzsche's Strong Type. Phaenex 7 (1):130-161.
    This paper argues that for Nietzsche it is only when the strong type decays on its own terms that it is possible for a weak type to come into dominance by inverting the values of the strong. It sets right a latent inconsistency in Deleuze’s work, Nietzsche and Philosophy , which traces back the origin of decadence to the subterranean struggle between reactive forces. I show that Deleuze’s reading runs contrary to his own contention that for Nietzsche the negative is (...)
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  10. James Acheson (1997). Samuel Beckett's Artistic Theory and Practice Criticism, Drama and Early Fiction.
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  11. Sabrina Achilles (2012). Literature, Ethics, and Aesthetics: Applied Deleuze and Guattari. Palgrave Macmillan.
    Introduction: the literary function -- Being constructivist -- Rethinking the performative in pragmatics -- The literary function and the cartographic turn: performative philosophy -- The literary function and society, I: affirmation of immanent aesthetics -- The literary function and society, II: community and subjectification -- The reader and the event of fiction -- Conclusion: degrees of freedom.
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  12. Morgan M. Adamson (2013). The Closure of the 'Gold Window': From 'Camera-Eye' to 'Brain-Screen'. Film-Philosophy 17 (1):245-264.
    This essay explores the correspondence between cinema and money through an investigation of what I call the 'financialization of the image.' Drawing from the tradition of psychoanalytic film criticism and the cinematic ontology of Gilles Deleuze, it argues that the 'camera-eye' and the 'brain-screen' are distinct modes of organizing cinematic perception in capital. Furthermore, it argues that Gilles Deleuze's understanding of the brain-screen is the most adequate mode of thinking of the organization of subjective vision within control societies and the (...)
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  13. Brent Adkins (2013). At the Crossroads of Philosophy and Religion: Deleuze's Critique of Hegel. In Karen Houle, Jim Vernon & Jean-Clet Martin (eds.), Hegel and Deleuze: Together Again for the First Time. Northwestern University Press.
  14. Brent Adkins (2012). Deleuze and Badiou on the Nature of Events. Philosophy Compass 7 (8):507-516.
    While any number of topics would serve to compare and contrast Deleuze and Badiou, this article will focus on the event. Focusing on the event serves several purposes. First, it provides a vantage point from which to elucidate a number of key topics in both philosophers. Second, while Badiou’s most recent work is already organized around his conception of the event, Deleuze’s discussion of the event is more diffuse. Thus, a discussion of the event in Deleuze will serve as heuristic (...)
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  15. Gustavo Adolfo Chirolla (2005). Capitalismoy filosofía. Una aproximación desde Deleuze. Universitas Philosophica 44:175-186.
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  16. Eighteenth-Century British Aesthetics (2003). BAXANDALL, MICHAEL. Words for Pictures: Seven Papers on Renaissance Art & Criticism. Yale UP 2003. Pp. 169. 25 Colour Plates, 11 B & W Diagrams.£ 25.00. BOGUE, RONALD. Deleuze on Cinema. Routledge. [REVIEW] British Journal of Aesthetics 43 (4).
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  17. A. Aitken (forthcoming). Manuel DeLanda, Intensive Science and Virtual Philosophy. Radical Philosophy.
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  18. Ali Akay (2007). Gilles Deleuze en turc. Multitudes 2 (2):179-185.
    This text examines the conditions under which Deleuze’s philosophy was introduced into the Turkish language. By taking on the « task of the translator », I had the good fortune to experience what it was like to translate Deleuze’s work « from the middle », being both inspired by and working with Deleuze to do so. The question that arises when translating « déterrorialisation » is that of ensuring that this concept is not confused with either the earth or the (...)
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  19. Mai Al-Nakib (2014). 'The People Are Missing': Palestinians in Kuwait. Deleuze Studies 8 (1):23-44.
    This paper explores the effects of the Iraqi invasion on the Palestinian community in Kuwait. Specifically, it considers Gilles Deleuze's notion of the ‘missing people’ in relation both to the Palestinians deported after the 1991 Gulf War and to the majority of Kuwaitis who have not acknowledged the effects of this disappearance on either the Palestinians or themselves. The first section revisits the circumstances surrounding the deportation of approximately 380,000 Palestinians from Kuwait, while the second considers what was lost as (...)
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  20. Alia Al-Saji (2004). The Memory of Another Past: Bergson, Deleuze and a New Theory of Time. [REVIEW] Continental Philosophy Review 37 (2):203-239.
    Through the philosophies of Bergson and Deleuze, my paper explores a different theory of time. I reconstitute Deleuze’s paradoxes of the past in Difference and Repetition and Bergsonism to reveal a theory of time in which the relation between past and present is one of coexistence rather than succession. The theory of memory implied here is a non-representational one. To elaborate this theory, I ask: what is the role of the “virtual image” in Bergson’s Matter and Memory? Far from representing (...)
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  21. Eliot Albert, Towards a Schizogenealogy of Heretical Materialism : Between Bruno and Spinoza, Nietzsche, Deleuze and Other Philosophical Recluses.
    The central problematic of this thesis is the formation of a philosophy of creative matter, a philosophical materialism, deriving from the work of Gilles Deleuze Fdlix and Guattari, and based substantially upon an examination of the consequences of their engagement with the philosophical tradition. I have supplemented the writers used by Deleuze and Guattari with the resources of Giordano Bruno's philosophy, as well as numerous examples and arguments from the natural sciences. Bruno is particularly important here, in that in his (...)
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  22. Christa Albrecht-Crane (2011). Style, Stutter. In Charles J. Stivale (ed.), Gilles Deleuze: Key Concepts. Mcgill-Queen's University Press.
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  23. Fernando Rampérez Alcolea (2009). Dos respuestas desde la estética a la pregunta por la filosofía, a través de Heidegger y Deleuze. Logos. Anales Del Seminario de Metafísica 41:175-186.
    Un análisis de la noción de filosofía en Heidegger y en Deleuze nos permite comprobar cómo ambos se ven llevados a un planteamiento estético, a una concepción poética del lenguaje o de la creatividad, para caracterizar a la filosofía misma. La distancia entre ambos reside, no obstante, en la insatisfacción que inevitablemente sufren las esperanzas de Heidegger al depositarlas en lo poético, mientras que Deleuze equipara el quehacer filosófico y el estético al consistir ambos en producción de sentido. An analysis (...)
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  24. Virgil C. Aldrich (1962). Image-Mongering and Image-Management. Philosophy and Phenomenological Research 23 (1):51-61.
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  25. Alena Alexandrova & Boyan Manchev (2009). Image-instant/image plastique. Métamorphoses de l'origine. Rue Descartes 2 (2):23-34.
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  26. Mario Alicata & Giuseppe De Santis (1941). Ancora di Verga E Del Cinema Italiano. Cinema 130:314-15.
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  27. Gabriel Alkon & Boris Gunjević (2011). According to the Identity of the Real: The Non-Philosophical Thought of Immanence. Synthesis Philosophica 26 (1):209-227.
    Are the things of this world given to thought? Are things really meant to be known, to be taken as the objective manifestations of a transcendental conditioning power? The Western philosophical tradition, according to Francois Laruelle, presupposes just this transcendental constitution of the real – a presupposition that exalts philosophy itself as the designated recipient of the transcendental gift. In our article on Laruelle’s trenchant project we try to show how this presupposition controls even the ostensibly radical critiques of the (...)
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  28. Neil Peter Allan, Kafka : Phenomenology and Post-Structuralism.
    This study seeks to identify a coalition of philosophy and literature in the work of Franz Kafka, and begins with a grounding of his output in the philosophical context from which it emerged. This relatively under-researched philosophical backdrop consists in Kafka's study, at university and in a discussion group, of philosophical positions derived from the "descriptive psychology" of Franz Brentano. Kafka was hence conversant with several philosophical agendas, notably those of logic, Gestalt psychology, and a nascent form of phenomenology, which (...)
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  29. A. M. Allcott (1998). 1922: Nomadic Ethics and Novelesque Aesthetics. Dissertation, State University of New York at Buffalo
    A study of Modernism, this dissertation extrapolates from Deleuze and Guattari's A Thousand Plateaus, to performatively analyze questions of historicism, literary tradition, queer sexuality, and post-modern ethics. My praxis relies on close textual readings that represent modernism's concern for history. Michel Foucault and Roland Barthes provide inter-textual tools for my reading methodology. ;1922 begins with a reading of Wittgenstein's Tractatus Logico-Philosophicus that places his struggle with homosexuality in historical context. Robert Musil's Young Torless, Otto Weininger's Sex and Character, and the (...)
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  30. Barry Allen (2011). Without Criteria: Kant, Whitehead, Deleuze, and Aesthetics. Common Knowledge 17 (1):198-199.
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  31. David J. Allen (2015). Ontology in Heidegger and Deleuze: A Comparative Analysis. International Journal of Philosophical Studies 23 (1):141-146.
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  32. E. Alliez (1997). Questionnaire on Deleuze. Theory, Culture and Society 14 (2):81-87.
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  33. Éric Alliez (forthcoming). Deleuze, vitalisme pratique. [REVIEW] Les Etudes Philosophiques.
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  34. Éric Alliez (2013). Ontology of the Diagram and Biopolitics of Philosophy. A Research Programme on Transdisciplinarity. Deleuze Studies 7 (2):217-230.
    In this article, the diagram is used to chart the movement from Deleuze's transcendental empiricism and engagement with structuralism in the 1960s to Deleuze and Guattari's ethico-aesthetic constructivism of the 1970s and 1980s. This is shown to culminate in a biopolitical critique and decoding of philosophy, which is part of the unfolding of a transdisciplinary research programme where art is seen to come ontologically ahead of philosophy.
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  35. Eric Alliez (2012). Diagrammatic Agency Versus Aesthetic Regime of Contemporary Art: Ernesto Neto's Anti-Leviathan. Deleuze Studies 6 (1):6-26.
    Ernesto Neto's installation at the Panthéon in Paris, Leviathan Toth (2006), brings us into a semiotics of intensities that does not belong to the ‘aesthetic regime’ as described by Jacques Rancière but rather to a Diagrammatic Agency of Contemporary Art. In this case study, the latter is constructed after Deleuze and Guattari – from a politics of the Body without Organs critically and clinically identified to a Body without Image.
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  36. Eric Alliez (2011). Rhizome (with No Return). From Structure to Rhizome: Transdisciplinarity in French Thought (2). Radical Philosophy 167:36-42.
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  37. Éric Alliez (2006). Deleuze avec Masoch. Multitudes 2 (2):53-68.
    Masoch emerging from the Text for a Life-Experiment: what Deleuze delivers to us is a political program, because « there is no other danger but the father’s return. ».
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  38. Eric Alliez (2004). La condición CsO, o de la política de la sensación. Laguna 15:91-108.
    El Cuerpo sin Órganos tiene que herir. Lo cual significa, para el filósofo, que el CsO desorgan- izará su identidad filosófica. Como tal, el CsO estalla en medio de la obra de Gilles Deleuze y es la marca de una ruptura entre una Lógica del sentido y una Lógica de la sensación, entre una biofilosofía y una biopolítica, contemporánea de los acontecimientos de mayo del 68 y del comienzo de la colaboración de Deleuze con Félix Guattari. Mientras que antes de (...)
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  39. Eric Alliez (2003). Ontology and Logography : The Pharmacy, Plato, and the Simulacrum. In Paul Patton & John Protevi (eds.), Between Deleuze and Derrida. Continuum.
  40. Éric Alliez (2001). Différence et répétition de Gabriel Tarde. Multitudes 4 (4):171-176.
    If we begin to sense that Deleuze will have been the first to recognize Gabriel Tarde as a kind of «precursor » which he explored in his most untimely actuality, the constitutive character of Tarde’s inspiration for Deleuze has not been closely studied. It seems, however, as if Deleuze’s critique and overcoming of structuralist thought depends upon this reactualisation of Tarde’s work. This will allow us to better understand the extended »forgetting » of’ Tarde, buried for so long under the (...)
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  41. Éric Alliez (2000). Badiou/Deleuze. Multitudes 1 (1):192-194.
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  42. Éric Alliez (2000). Midday, Midnight: The Emergence of Cine-Thinking. In Gregory Flaxman (ed.), The Brain is the Screen: Deleuze and the Philosophy of Cinema. University of Minnesota Press. 293--302.
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  43. Eric Alliez (1998). Gilles Deleuze Une Vie Philosophique : Rencontres Internationales Rio de Janeiro - São Paulo, 10-14 Juin 1996. Monograph Collection (Matt - Pseudo).
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  44. Eric Alliez (1996). Deleuze, Philosophie Virtuelle.
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  45. Eric Alliez & Jean-Claude Bonne (2009). Matisse with Dewey with Deleuze. In Eugene W. Holland, Daniel W. Smith & Charles J. Stivale (eds.), Gilles Deleuze: Image and Text. Continuum.
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  46. Éric Alliez & Jean-Claude Bonne (2007). Défaire l'image. Multitudes 1 (1):189-194.
    Contemporary art was born out of the radicalization of a crisis begun by modern art , concerning the twofold sensible identity of art, which involves both its image-form and its aesthetic-form. This crisis led Matisse and Duchamp to « undo the image » inasmuch as it is defined by Form, in a kind of phenomenology of the visible and the invisible . Matisse responds to this with a vitalist energeticism which brings about an expansive constructivism of color-forces which replaces aesthetics (...)
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  47. Éric Alliez & Jean-Claude Bonne (2005). Matisse-en-Amérique. Multitudes 1 (1):33-45.
    At the Barnes Foundation in 1931, Matisse undertook the painting of a large decorative panel entitled La Danse. Its stakes are considerable: the disqualification of the painting-form and the drawing-genre, in favor of an environmental art infused with a decorative vitalism that redefines the architectural function itself at the deepest level, beyond any question of site-specificity.
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  48. Eric Alliez & Elisabeth von Samsonow (2003). Biographien des Organlosen Körpers. Monograph Collection (Matt - Pseudo).
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  49. David B. Allison (ed.) (1977/1985). The New Nietzsche: Contemporary Styles of Interpretation. Mit Press.
    The fifteen essays, written by such eminent scholars as Derrida, Heidegger, Deleuze, Klossowski, and Blanchot, focus on the Nietzschean concepts of the Will to ...
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  50. Guido Antônio de Almeida (2014). Perspectivas da Filosofia No Brasil Do Ponto de Vista de Um Scholar. Kriterion: Revista de Filosofia 55 (129):411-415.
    Neste texto, procuro encontrar as origens de um dos mais importantes conceitos de Gilles Deleuze, o conceito de Imagem-tempo. Este conceito remete-nos para os primeiros textos de Deleuze dedicados à filosofia de Espinosa e ao problema do autómato espiritual e relaciona-se directamente com o problema da passividade/actividade do espectador. Ou seja, o conceito crucial na sua filosofia do cinema, a Imagem-tempo, esconde uma importante reflexão sobre a Imagem cinematográfica como arte de massas, os (im)poderes do pensamento e o modo fascista (...)
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