Gregg Lambert demonstrates that since the publication of Proust and Signs in 1964 Gilles Deleuze’s search for a new means of philosophical expression became a central theme of all his oeuvre. The study traces a distinctly modern relationship between philosophy and non-philosophy (literature and cinema especially) that has developed into a hallmark of the term “Deleuzian.”
Support for this research was provided by the Syracuse University Office of Research with support from the Syracuse University Humanities Center.
Chapter 4 previously appeared as Gregg Lambert, “The Bachelor-Machine: Kafka and the Question of Minority Literature,” in Franz Kafka: A Minority Report, ed. Petr Kouba et al., Literaria Pragensia (Prague: Charles University, 2011), 7–31.
Earlier versions of chapter 5 appeared in Gregg Lambert, “The Subject of Literature between Derrida and Deleuze—Law or Life?” Angelaki 5, no. 2 (2001), 177–90, reprinted by permission of Taylor & Francis (http://www.tandfonline.com); and Gregg Lambert, “The Philosopher and the Writer: A Question of Style,” in Between Deleuze and Derrida, ed. Paul Patton and John Protevi (London: Continuum International Publishing Group, 2003), 120–34.
Sections of chapter 6 appeared in Gregg Lambert, “Cinema and the Outside,” in The Brain Is the Screen: Gilles Deleuze and the Philosophy of Cinema, ed. Gregory Flaxman (Minneapolis: University of Minnesota Press, 1999), 253–92.
Portions of the Conclusion appeared in Gregg Lambert, “The Unconscious Leap in Thought,” Theory@Buffalo (Spring 2009), 21–44.
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