Negotiations traces the intellectual journey of a man widely acclaimed as one of the most important French philosphers. A provocative guide to Deleuze by Deleuze, the collection clarifies the key critical concepts in the work of this vital figure in contemporary philosphy, who has had a lasting impact on a variety of disciplines, including aesthetics, film theory, psycho-analysis, and cultural studies.

Il libro, pubblicato in Francia nel 1993, può essere considerato il testamento letterario-filosofico di Gilles Deleuze, morto suicida a Parigi nel 1995. Il piccolo Hans di Freud, Bartleby, l'enigmatico personaggio di un racconto di Melville, e ancora Nietzsche, Beckett, Lawrence e altri sono i punti di sostegno di un pensiero che scava ed esplora ciò che sta al limite del linguaggio quando quest'ultimo si fa scrittura e invenzione di una nuova lingua. Scrivere, per Deleuze, è una sorta di delirio che trascina le parole al di fuori di se stesse, facendole diventare visioni, musica, colori, sonorità.

Called by many France's foremost philosopher, Gilles Deleuze is one of the leading thinkers in the Western World. His acclaimed works and celebrated collaborations with Félix Guattari have established him as a seminal figure in the fields of literary criticism and philosophy. The long-awaited publication of What is Philosophy? in English marks the culmination of Deleuze's career.

Deleuze and Guattari differentiate between philosophy, science, and the arts, seeing as means of confronting chaos, and challenge the common view that philosophy is an extension of logic. The authors also discuss the similarities and distinctions between creative and philosophical writing. Fresh anecdotes from the history of philosophy illuminate the book, along with engaging discussions of composers, painters, writers, and architects.

A milestone in Deleuze's collaboration with Guattari, What is Philosophy? brings a new perspective to Deleuze's studies of cinema, painting, and music, while setting a brilliant capstone upon his work.

Come entrare in un'opera come quella di Kafka? Un'opera che come 'Il Castello' ha molteplici ingressi senza che si sappia quali siano le leggi che ne regolano l'uso e la distribuzione. Si potrà entrare da un punto qualsiasi, non ce n'è uno che valga più dell'altro, nessun ingresso è principale o secondario. Uno di questi ingressi è il concetto di lingua minore, che diventa per Deleuze e Guatteri, un vero e proprio programma filosofico-politico e la chiave non soltanto per una rilettura dell'opera di Kafka, ma di tutta la letteratura del Novecento.

This brilliant exposition of the critique of identity is a classic in contemporary philosophy and one of Deleuze's most important works. Of fundamental importance to literary critics and philosophers,Difference and Repetition develops two central concepts?pure difference and complex repetition&mdasha;and shows how the two concepts are related. While difference implies divergence and decentering, repetition is associated with displacement and disguising. Central in initiating the shift in French thought away from Hegel and Marx toward Nietzsche and Freud, Difference and Repetition moves deftly to establish a fundamental critique of Western metaphysics.

Considered one of the most important works of one of France's foremost philosophers, and long-awaited in English, The Logic of Sense begins with an extended exegesis of Lewis Carroll's Alice in Wonderland. Considering stoicism, language, games, sexuality, schizophrenia, and literature, Deleuze determines the status of meaning and meaninglessness, and seeks the 'place' where sense and nonsense collide.

Written in an innovative form and witty style, The Logic of Sense is an essay in literary and psychoanalytic theory as well as philosophy, and helps to illuminate such works as Anti-Oedipus.

In this extraordinary work Gilles Deleuze, the most renowned living philosopher in France, reflects on one of the figures of the past who has most influenced his own sweeping reconfiguration of the tasks of philosophy.Deleuze's brilliant text shows how current definitions of philosophy do not apply to Spinoza: a solitary thinker (yet scandalous and hated), he conceived of philosophy as an enterprise of liberation and radical demystification much as did Leibniz or, later Nietzsche. Spinoza confronts the grand philosophical problems that are still current today: the comparative role of ontology (the theory of substance), of epistemology (the theory of ideas), and of political anthropology (the theory of modes, passions, and actions).The goal of this book is to determine the rapport among the univocity of Being in the theory of substance; the production of truth and the genesis of sense in the theory of ideas; and practical joy (or the elimination of the sad passions) and the selective organization of the passions in the theory of modes.

In his stunning essay, Coldness and Cruelty, Gilles Deleuze provides a rigorous and informed philosophical examination of the work of the late 19th-century German novelist Leopold von Sacher-Masoch. Deleuze's essay, certainly the most profound study yet produced on the relations between sadism and masochism, seeks to develop and explain Masoch's "peculiar way of 'desexualizing' love while at the same time sexualizing the entire history of humanity." He shows that masochism is something far more subtle and complex than the enjoyment of pain, that masochism has nothing to do with sadism; their worlds do not communicate, just as the genius of those who created them—Masoch and Sade—lie stylistically, philosophically, and politically poles a part.

Venus in Furs, the most famous of all of Masoch's novels, was written in 1870 and belongs to an unfinished cycle of works that Masoch entitled The Heritage of Cain. The cycle was to treat a series of themes including love, war, and death. The present work is about love. Although the entire constellation of symbols that has come to characterize the masochistic syndrome can be found here—fetishes, whips, disguises, fur-clad women, contracts, humiliations, punishment, and always the volatile presence of a terrible coldness—these do not eclipse the singular power of Masoch's eroticism.

What is needed for something new to appear? According to Gilles Deleuze, one of the most brilliant contemporary philosophers, this question of 'novelty' is the major problem posed by Bergson's work. In this companion book to Bergson's Matter and Memory, Deleuze demonstrates both the development and the range of three fundamental Bergsonian concepts: duration, memory, and the élan vital. Bergsonism is also important to an understanding of Deleuze's own work, influenced as it is by Bergson.Gilles Deleuze is Professor of Philosophy at the University of Paris VIII, Vincennes/Saint Denis. Among his most recent books in translation are Nietzsche and Philosophy, Cinema: Image Movement and, with Felix Guattari, Anti-Oedipus, Kafka, and One Thousand Plateaus.Hugh Tomlinson is the translator of Deleuze's Nietzsche and Philosophy and Kant's Critical Philosophy. Barbara Habberjam is a translator living in England.

A rhizome may be broken, shattered at a given spot, but it will start up again on oneof its old lines, or on new lines. You can never get rid of ants because they form an animal rhizomethat can rebound time and again after most of it has been destroyed... There is a rupture in therhizome whenever segmentary lines explode into a line of flight, but the line of flight is part ofthe rhizome. That is why one can never posit a dualism or a dichotomy, even in the rudimentary formof the good and the bad. You may make a rupture, draw a line of flight, yet there still is a dangerthat you will stratify again everything, from Oedipal resurgences to fascist concretions. Groups andindividuals contain microfascisms just waiting to crystallize. Yes, couch grass is also arhizome.Edited by Sylvere Lotringer, On the Line was the first book published in the new 'ForeignAgents' series in 1983. It gathers together two seminal texts that Deleuze and Guattari would laterelaborate on in A Thousand Plateaus. First delivered in French by Deleuze (drawing graphs on theblackboard) at the 'Schizo-Culture' conference organized by Semiotext(e) at Columbia University in1975, 'Rhizome' introduced a new kind of thinking in philosophy, both non-dialectical andnon-hierarchical. The two didn't expect this neo-anarchical blue-print would eventually offer anearly template for the understanding of the internet. 'Rhizome' substitutes pragmatic, 'couchgrass,' free-floating logic to the binary, oppositional, and exclusive model of the tree.In'Politics,' superceding the Marxist concept of class, Deleuze envisages the social macrocosm as aseries of lines, and reinvent politics as a process of flux whose outcome will always beunpredictable. It is, he emphasizes, the end of the idea of revolution, but not of the 'becomingrevolutionary.' Throughout, he keeps dispelling the notion of capitalism as a repressive machineonly meant to extract surplus value from exploited workers and suggest that it could be opposed fromwithin by redirecting the creativity and multiplicity of its flows.The multiple must be made, notalways by adding another dimension, rather in the simplest way, by dint of sobriety... A rhizome assubterranean stem is absolutely different from roots and radices. Bulbs and tubers are rhizomes...Even some animals are, in their pack forms. Rats are rhizomes. Burrows are too, in all theirfunction of shelter, supply, movement, evasion and breakout... The rhizome includes the best and theworst: potato and couch grass.