Catherine Wilson

A collection of essays covering a range of topics related to Leibniz. The monads and the pre-established harmony make numerous appearances, and so do Leibniz's discussions of causality, relations, individuation, nature, freedom, consciousness, and divinity. In addition to sections on Leibniz's physics and his theory of substance, a number of papers are included on his philosophy of mind that draw heavily on the New Essays, along with several articles on metaphysical and theological issues, and a section on Leibniz's relationships with his contemporaries and predecessors.

In this fascinating but sometimes baffling book, the reader engages with a series of conditionals like the following: “If [the psychiatrist] Clérimbault manifests a delirium, it is because he discovers the tiny hallucinatory perceptions of ether addicts in the folds of clothing”. “If Leibniz’s principles [of identity and sufficient reason] appear to us as cries, it is because each one signals the presence of a class of beings that are themselves crying and draw attention to themselves by these cries...”. Deleuze’s study is concerned with Leibniz and with leibnizianism; with the Baroque considered as a historical period and with the baroque considered as a persistent impulse in architecture, decoration, and in human thinking and system construction. Baroque and baroque are explorations, in his view, of curvilinearity, and Deleuze explores Leibniz’s use of mathematical analogies from topology, projective geometry and the calculus. But his attention in the book is mainly fixed on two Leibnizian images. The first image is that of the two-storied house, typically represented in baroque painting by an angelic realm in the upper half of the picture hovering above the human realm. In Leibniz’s writings, this translates into the world of matter and the world of intelligent, self-conscious spirits on the upper level. The second image is that of the fold, which appears in the pleats and draperies of Baroque costume, sculpture, and interior decoration, and which reappears in Leibniz’s mind-as-folded curtain, in his enveloped organisms, preformed under folds, and in the continuum, from whose recesses ever more numbers or particles can be pulled out. In clothing, waves, the brain, pleats of all sorts, surface disappears into interior. Deconstruction! But is it philosophy? Yes! Though Deleuze pulls his comparison-objects out of every corner of contemporary French culture, they are never arbitrary, and the book is focused clearly on its subject.

Die Ansicht, dass Leibniz urn 1700 oder einige Zeit danach ein überzeugter Idealist war oder wurde, der allein an die Realität der Geister und ihrer Ideen glaubte, hält sich merkwürdigerweise in der neueren Sekundärliteratur. In diesem Beitrag beurteilen wir die Textgrundlage für diese Behauptung nach von uns für solide gehaltenen Kriterien einer historischen Interpretation, wobei sich die Behauptung unserer Ansicht nach als unzureichend erweist. Obwohl Leibniz zur Überzeugung gelangt war, dass wirkliche "Atome" der Natur keine Ausdehnung hätten, war er sein Leben hindurch auf die Geistesunabhängigkeit lebender Kreaturen festgelegt, in der Art, die eindeutig Idealismus ausschließt. Wir versuchen, die tieferen Gründe für die Beharrlichkeit der idealistischen Sichtweise, trotz ihrer textlichen und konzeptualen Schwierigkeiten, aufzudecken, indem wir sie letztlich in den ahistorischen Präferenzen der Kommentatoren lokalisieren