Some parts in Diderot’s textual corpus are identified as philosophical, others as literary and thus classified as philosophy or/and as fiction. To understand why, it is probably necessary to analyze the specifics of Diderot’s writing, his style and discursive proceedings. Diderot should be read after all: he is made of nothing less (or more) than language, written language, independently of the imposed classifications. Philosophy in the context of the eighteenth century – and particularly in texts by Diderot – can be seen as a field which is equally, critically and uncompromisingly irrigated by both – science and arts. If the Encyclopaedia has suceeded in redefining science and arts by changing radically the circumstances of access to knowledge, it seems evident that Diderot, through creation of this great language assembling, has succeeded himself to reunite different linguistic expressions in his textual work and thus became the author of his own voice.Ob razmisleku o tako polivalentnem in vsestransko nadarjenem avtorju, kakršen je Denis Diderot, se velja vprašati, kako to, da si filozofija oziroma literarna zgodovina bolj ali manj prilaščata posamezne tekste. Elementi odgovora na to vprašanje najbrž ležijo v Diderotovem jeziku. Diderota, kakršnega poznamo danes, je treba brati: narejen je iz jezika, pisnega jezika, pa naj bodo besedila, po katerih ga presojamo, klasificirana tako ali drugače. Filozofijo lahko v razsvetljenskem kontekstu – in posebej v Diderotovih tekstih – obravnavamo kot polje, ki se enakovredno, kritično, brez predsodkov in brezkompromisno, napaja iz znanosti in umetnosti. Če je Enciklopedija na novo opredelila znanost in umetnost in popolnoma spremenila pogoje dostopanja do spoznanja in vedenja o svetu, potem kaže, da je Diderot prav skozi kreacijo tega združevalnega jezikovnega korpusa tudi sam prišel do podobno radikalnega združevanja jezikovnih izrazov in s tem do svojega avtorskega glasu
