Download e-book for iPad: Deleuze and The Fold: A Critical Reader by Sjoerd van Tuinen, N. McDonnell

By Sjoerd van Tuinen, N. McDonnell

That includes contributions by means of best lecturers this assortment is a significant other to at least one of the main tricky of Deleuze's philosophical texts, articulating Leibnizian inspiration in the context of Baroque expressionism, characterised by way of its interdisciplinary method of philosophy. This reader bargains an incisive severe review of its key topics

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Sample text

Subjects are destined to live in the same world, insofar as they ‘come to’ the world that they each express from their individual perspective, as ‘a circle of convergence on which are distributed all the points of view’ (DR 273). This ‘distribution’ is nothing but divine harmony. Thus, insofar as it is created to express a world it was made for, the subject does not express lack of self-determination, but quite on the contrary the omnipresence of divine determination: the soul only expresses the world it was created to express, in perfect harmony with all the other souls.

Under the auspices of the principle of reason, contingency de dicto is thus far from involving the regret of some lost happiness or authenticity, but corresponds to the very condition under which we affirm providence, divine intellect and will; because it could have been otherwise, this world must be the best, because God must have had a reason to choose this and not that: ‘the world could not have been produced in any other way, because God cannot fail to operate in the most perfect way. For since he is supremely wise, he chooses what is best’ (A VI, iii, 364).

260–3. Or consider, for example, Deleuze’s warning at the outset of his course from 1980, which is clearly inspired by baroque allegory: ‘Assume that I’m telling you a story. This story consists in taking up one of the central points of Leibniz’s philosophy, and I tell it to you as if it were the description of another world, and there I also number the principal propositions that go into forming a funny thought (drôle de pensée)’ (CGD 15 April 1980). In itself, the concept of the fold, or rather, the trait of the fold, is not new in Deleuze.

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