"Deleuze and Guattari refers to Gilles Deleuze and Félix Guattari, two French philosophers who wrote a number of works together. The most notable of these is the two volume Capitalism and Schizophrenia, consisting of Anti-Oedipus (1972) and A Thousand Plateaus (1980). Unhappy with the treatment of Franz Kafka’s work by scholars, Deleuze and the Guattari wrote Kafka: Toward a Theory of Minor Literature in order to dismiss the notion that the only two ways to analyze Kafka were to “[put] him in the nursery—by oedipalizing and relating him to mother-father narratives—or by trying to limit him to theological-metaphysical speculation to the detriment of all the political, ethical, and ideological dimensions that run through his work…” [1]. Published in 1975, their book sought to enter Kafka’s works without the unnecessary burden of the type of analysis that relates works to past or existing categories of genre, type, mode, or style. This sort of analysis is related to what Deleuze and Guattari would call the "Major" or dominant literature out of which they see Kafka emerging as a voice of a marginalized, minority people by re-appropriating the major language for his own purposes". They also wrote What is Philosophy? together. Although Capitalism and Schizophrenia is considered a magnum opus for both, they each had distinguished careers independent of each other."

"He was a docile, prize-winning schoolboy who wrote “Shit on God” on walls in his home town; a teen-age rebel who mocked small-town conventionality, only to run back to his mother’s farm after each emotional crisis; a would-be anarchist who in one poem called for the downfall of “Emperors / Regiments, colonizers, peoples!” and yet spent his adult life as an energetic capitalist operating out of colonial Africa; a poet who liberated French lyric verse from the late nineteenth century’s starched themes and corseted forms—from, as Paul Valéry put it, “the language of common sense”—and yet who, in his most revolutionary work, admitted to a love of “maudlin pictures, . . . fairytales, children’s storybooks, old operas, inane refrains and artless rhythms.”"

THE RULES OF POETRY

"Although none of his works has yet been translated into English, Muray is considered one of the most influential thinkers of his generation."

"And In The End, Foresee The End"

"Paul Marie Ghislain Otlet was an author, entrepreneur, visionary, lawyer and peace activist; he is one of several people who have been considered the father of information science, a field he called "documentation". Otlet created the Universal Decimal Classification, one of the most prominent examples of faceted classification. Otlet was responsible for the widespread adoption in Europe of the standard American 3x5 inch index card used until recently in most library catalogs around the world (by now largely displaced by the advent of online public access catalogs (OPAC))."

"After all, “English was created by barbarians, by a rabble of angry peasants,” McIntyre says. “Because if it wasn’t, we would still be speaking Anglo-Saxon.” Or worse, French."

Substantiates the superiority of the French press method. Simplicity

"In an interview with Le Monde in 1986, Mr. Savignac called himself ''an old brontosaurus who does a job that no longer exists for a species that's well on its way to extinction.''"

http://frenchpod.com/
http://www.france24.com/fr/

"After a while, it struck me that most French descriptions of American kids include this phrase "n'importe quoi," meaning "whatever" or "anything they like." It suggests that the American kids don't have firm boundaries, that their parents lack authority, and that anything goes. It's the antithesis of the French ideal of the cadre, or frame, that French parents often talk about. Cadre means that kids have very firm limits about certain things—that's the frame—and that the parents strictly enforce these. But inside the cadre, French parents entrust their kids with quite a lot of freedom and autonomy."

"As for family life, Americans are far too concerned with a child’s self-esteem and accomplishments. The French woman knows that to build a child’s inner strength it is best either to completely ignore the child or to belittle him. As I was giving birth to my daughter, I refused to put down my copy of French Vogue. When it was over, I turned to my husband and remarked, “I have just had an unusually large bowel movement that will never be as attractive as me.”"
http://www.newyorker.com/humor/2012/03/26/120326sh_shouts_rudnick

"Cassandre assumed that an indifference to advertising's message was the natural state of the man in the street. He always insisted that his posters were meant to be seen by people who do not try to see them. To enter the private world of the public consciousness, he claimed he forced his way "not like a gentleman through the front door with a walking stick, but like a burglar through the window with a jimmy." At the same time, while designing his posters, Cassandre had begun to design several avant-garde type faces. The first of these faces, Bifur, appeared in 1929, a shimmering combination of solid forms and fine parallel lines whose art deco quality fits much of the design spirit of our time. Acier followed in 1930, and seven years later his most prestigious typeface, Peignot, appeared, dedicated to Charles Peignot, his friend, colleague and patron. Its jaunty asymmetry and unorthodox ascenders bespoke a pre-war elegance that could only be French."

"Californians and Nevadans welcome Neil and Doggy into their midst with unbridled enthusiasm. Required viewing for those with interests in Minidiscs, France or Psy-Trance. Platoon meets Driving Miss Daisy on a ski lift."