| Work | Author |
|---|
| Minima Moralia | |
| The Coming Community | |
| Lenin and Philosophy | |
| Imagined Communities | |
| Borderlands|La Frontera | |
| Poetics | |
| Culture and Anarchy | |
| How to Do Things with Words | |
| The Poetics of Space | |
| Being and Event | |
| Rabelais and His World | |
| S/Z | |
| Visions of Excess | |
| Simulacra and Simulation | |
| What Is Cinema? | |
| The Work of Art in the Age of Mechanical Reproduction | |
| Creative Evolution | |
| The Location of Culture | |
| The Anxiety of Influence | |
| The Rhetoric of Fiction | |
| Gender Trouble | |
| The World Viewed | |
| Three Steps on the Ladder of Writing | |
| Biographia Literaria | |
| The Second Sex | |
| The Society of the Spectacle | |
| The Practice of Everyday Life | |
| Cinema 1: The Movement-Image | |
| Allegories of Reading | |
| Of Grammatology | |
| Literary Theory | |
| The Cinematographic Principle and the Ideogram | |
| Seven Types of Ambiguity | |
| The Wretched of the Earth | |
| Love and Death in the American Novel | |
| Is There a Text in This Class? | |
| Discipline and Punish | |
| | Work | Author |
|---|
| Pedagogy of the Oppressed | |
| The Interpretation of Dreams | |
| Anatomy of Criticism | |
| Truth and Method | |
| The Signifiying Monkey | |
| Narrative Discourse | |
| The Madwoman in the Attic | |
| Prison Notebooks | |
| Renaissance Self-Fashioning | |
| An Aesthetic of Astonishment | |
| The Structural Transformation of the Public Sphere | |
| Cultural Studies: Two Paradigms | |
| A Cyborg Manifesto | |
| Empire | |
| Phenomenology of Spirit | |
| Being and Time | |
| The Uses of Literacy | |
| Cartesian Meditations | |
| This Sex Which Is Not One | |
| The Implied Reader | |
| The Political Unconscious | |
| Critique of Judgment | |
| The Sense of an Ending | |
| Gramophone, Film, Typewriter | |
| Introduction to the Reading of Hegel | |
| From Caligari to Hitler | |
| Powers of Horror | |
| The Four Fundamental Concepts of Psychoanalysis | |
| Hegemony and Socialist Strategy | |
| We Have Never Been Modern | |
| Monadology | |
| Totality and Infinity | |
| The Raw and the Cooked | |
| On the Sublime | |
| Theory of the Novel | |
| The Postmodern Condition | |
| One-Dimensional Man | |
| | Work | Author |
|---|
| Being Given | |
| Capital | |
| Understanding Comics | |
| Radiant Textuality | |
| The Gutenberg Galaxy | |
| Phenomenology of Perception | |
| The Imaginary Signifier | |
| Fiction and Repetition | |
| Iconology: Image, Text, Ideology | |
| Visual Pleasure and Narrative Cinema | |
| Being Singular Plural | |
| Thus Spake Zarathustra | |
| Orality and Literacy | |
| Studies in Iconology | |
| How to Make Our Ideas Clear | |
| Symposium | |
| A Dictionary of Narratology | |
| The Politics of Aesthetics | |
| Practical Criticism | |
| Time and Narrative | |
| Telephone Book | |
| Orientalism | |
| Course in General Linguistics | |
| The World as Will and Representation | |
| Epistemology of the Closet | |
| Against Interpretation | |
| Ethics | |
| A Critique of Postcolonial Reason | |
| The Liberal Imagination | |
| Applied Gramatology | |
| Keywords | |
| Tractatus Logico-Philosophicus | |
| Signs and Meaning in the Cinema | |
| The Sublime Object of Ideology | |
| Mimesis: The Representation of Reality in Western Literature | |
|
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