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“... the novel – indicate that he does. Who? ‘The Stalinists! The fascists! Alain Badiou! Gilles Deleuze! Pierre Bourdieu! Cornelius Castoriadis! … Um, Hélène Cixous!’ Bayard writes these names down in his notebook, but they’re no more help than what he’s told by Foucault, to whom he pays a visit at the Collège de France. ‘The big ...”

“... and The Mechanic Muse, as well as, more distantly, Friedrich Kittler (‘discourse networks’), Gilles Deleuze (‘control society’) and Jacques Attali (‘the political economy of music’). Although more technologically deterministic than these thinkers, Gaddis is not oblivious to social agency. This concern is signalled by his enigmatic ...”

“... he rapidly distanced himself from all things Iranian. Finally, in the late 1980s, I was told by Gilles Deleuze that he and Foucault, once the closest of friends, had fallen out over the question of Palestine, Foucault expressing support for Israel, Deleuze for the Palestinians.Foucault’s apartment, though large and ...”

“... Clastres broke to an extent from Lévi-Strauss, his master, and became associated for a time with Gilles Deleuze and Félix Guattari, he nevertheless remained true to Lévi-Strauss’s fieldwork techniques, structuralist orientation and geographical preference for Latin America. After a long series of essays and fieldwork reports in the journal L’Homme ...”

“... influenced Richter profoundly). Certainly Foucault saw Warhol’s silkscreens as simulacra, as did Gilles Deleuze, Roland Barthes and Jean Baudrillard, and some of us approached a good deal of postmodernist art in this way too.How does the play with simulacra relate to the left politics that Magritte supported? ‘In life as in my painting, I am also ...”

“... Neo-Realism and the French New Wave altered the cinema for good. Bordwell thinks the trouble with Gilles Deleuze’s two volumes on the cinema, The Movement Image (1983) and The Time Image (1985), is that they accept the Revised Standard Version’s history unquestioningly, assume the cinema has an unfolding essence, and find a precise (imaginary) place ...”

“... boredom and resentment within the game and delay the end still further. In Coldness and Cruelty, Gilles Deleuze noted how ‘the settings in Masoch, with their heavy tapestries, their cluttered intimacy, their boudoirs and closets, create a chiaroscuro where the only things that emerge are suspended gestures and suspended suffering.’ Part of the ...”

“... a groupuscule with the future novelists Michel Tournier and Michel Butor, and the charismatic Gilles Deleuze. Lanzmann was not the only one to fall for Deleuze, who began an affair with his sister Evelyne, a 16-year-old with ‘the body of a pin-up, huge cobalt-blue eyes and a beautiful semitic nose’. It didn’t ...”

“... were on the trail in the 1980s and 1990s, especially in France. They included Jacques Lacan, Gilles Deleuze and Félix Guattari, as well as a Duke University elite in the US. In a survey of the trend in the journal Anthropoetics in 1997, Douglas Collins wrote that back in 1984 Julia Kristeva had noted that ‘we’re in the middle of a regression ...”

“... the unyielding practice of this technique starts to assume a dominating, even sadistic character. Gilles Deleuze characterises analytic interpretation as a mill that grinds everything to dust: ‘The patient speaks in vain. The whole analytic mechanism seems designed to suppress the conditions for real enunciation . . . Whatever you say, it means ...”

“... bone structure to become strange fluxes and whorls of matter in fusion’. ‘As a portraitist,’ Gilles Deleuze wrote,Bacon is a painter of heads, not faces, and there is a great difference between the two. The face is a structured, spatial organisation that conceals the head, whereas the head is dependent upon the body, even if it is the point of the ...”

“... made with another major study of the same period which has already been translated into English, Gilles Deleuze’s Proust and Signs. Delcuze’s work sets up the hypothesis of a Proustian machine (the Proustian machine?) continually involved in the production of the signs of love, the signs of society and the signs of art: his analysis is like the ...”