: Fold: Leibniz and the Baroque (): Gilles Deleuze: Books. GILLES DELEUZE. The Fold*. MATERIAL COILS1. The Baroque does not refer to an essence Gottfried Wilhelm Leibniz, Philosophical Papers and Letters, vol. Title, The Fold: Leibniz and the Baroque. Author, Gilles Deleuze. Edition, illustrated, reprint. Publisher, University of Minnesota Press, ISBN,
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English translation Original Language: French –This text refers to an out of print or unavailable edition of this title. Would you like to tell us about a lower price?
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The Fold: Leibniz and the Baroque
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Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. Deleuze’s book is, at least for no other reason, a worthwhile read for its sheer imagination. Secondly, it is worth reading as it shows just what is so wonderfully interesting about Fols.
If you know Leibniz, read this book, even just a single section, and then you baroquw understand why there do exist, in small obscure places, Leibnitians. If you are looking for a splendidly imaginative perspective, read up. I have indicated the degree to which I have appreciated this purchase and how it his been of value to me. Hope you have the same experience that I did and that it will be beneficial to you. One person found this helpful. This is, indeed a very good book, but you need to have some background in philosophy and keibniz to get the full of it.
Merely a passable English translation of Le Pli, a late masterpiece by the sublime Gilles Deleuze, would merit five stars on the amazon. The explanation of how such a travesty can be perpetrated must involve both the necessity of publishing that presses upon young academics – if you can believe it, this Tom Conley is a professor of French! The most amazing thing about Batoque performance is that most of this sentence is anf even new Deleuzian prose, expressing a novel late-twentieth-century idea, but a direct quote of Leibniz, referring to a well-known aspect of his system: The “individual notion” of each monad leibbiz everything that will ever happen to that monad and is thus seemingly – that is the question!
In the back of his book, Conley lists the editions of Leibniz that Deleuze himself would have consulted and informs us that he has relied upon previous English translations, where available.
: Fold: Leibniz and the Baroque (): Gilles Deleuze: Books
Elsewhere he has “directly translated Deleuze’s quotations or translations of material taken from those texts Likewise, he interprets “arrivera” literally, “will come to,” rather than idiomatically, and accurately, as “will happen. In this case, however, he has totally missed the primary meaning! When Conley writes the exact opposite of the French edition, one may suspect that a compositor has dropped a negative.
But too often the confusion is clearly Conley’s own – for example, when Deleuze [pg. And then there are matters of taste. Where Deleuze describes a state of indecision and the contemplation of his options of spending the evening at a nightclub or staying in and working [pg.
The Fold, explained
Anyone who’s ever seen or read about Deleuze’s fingernails would be unable to picture him typing. Why did Conley decide that Deleuze’s phrase needed updating?
The philosopher’s longhand seems symbolic of the time he took to formulate his thought and the infinite care he took in transmitting the thought of others. This translation is still better than nothing for someone interested in Deleuze and unable to read him in French. But since the real shame is that, with this on the market, no one is likely to undertake another English translation anytime soon, it is to be hoped that Tom Conley will seek to correct some of the flaws of his effort.
I find Deleuze’s earlier books on figures from the history of philosophy Nietzsche, Kant, Spinoza, Hume far more interesting and coherent than his collaborations with Guattari.
However, this book finds itself in the middle of these two tendencies: And since Leibniz’s philosophy is schizo at times, the pairing is near perfect the best of all possible worlds. The opening image of the Baroque is a bit vague, but then again, Deleuze has always been short on precise connections and plentiful on creative and unorthodox imageries.
Some sections are plain impossible to decipher. The are best imagined than really thought-through. For example, how is Deleuze using Leibniz’s calculus? I’ll probably never understand. But somehow, I think that he may be right about this–whatever he may be suggesting in evoking the calculus.
The book is also full of other interesting and elusive scientific theories in the realm of physics, mathematics, and set-theory.
I don’t know much about any of these subjects and so I shall remain silent on these matters. Unlike the earlier writings on the history of philosophy where Deleuze remained faithful in his readings, “The Fold” is definitely a performance of Deleuze-Leibniz–more Deleuze than Leibniz but Leibniz as, shall we say, a creative inspiration?
In this sense, “The Fold” is closer to Deleuze’s book on Foucault in that he creates a new philosopher: But then again, does Deleuze top Leibniz in outrageousness? Who was more out-there? Somehow, I think that Leibniz was a bit more out there While my French is not good enough to judge others, I find it very easy to believe that this translation is not good. I found this book the most difficult of Deleuze’s works, and I think the translator did not understand his task.
To recover I needed to undertake a rereading of Leibniz so I could see through the English text before me and re-establish the original terms and questions. Still, if you do not read French well, this very important book should not escape you even in this edition. Leibniz was a giant at the watershed between faith and science who was able to span this divide and think with complexity and innovation about the soul and mathematics.
Since then, few can handle either vocabulary with such perspective, and almost none, save Deleuze, have tried to understand the demands of both. If one does not, as almost all do, take for granted the givens of the centered subject and the rational world, their mutual differences demand a theory as powerful as the complexities they evoke. This book attempts to place that theory in play again with vigor.
The Fold: Leibniz and the Baroque by Gilles Deleuze
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