褶子是一個(gè)由法國(guó)哲學(xué)家吉爾·德勒茲（Gilles Deleuze）創(chuàng)造的概念，用來(lái)描述世界的無(wú)限復(fù)雜性和變化性。德勒茲借鑒了17世紀(jì)德國(guó)哲學(xué)家萊布尼茨（Leibniz）的單子論和巴洛克（Baroque）藝術(shù)風(fēng)格，提出了褶子作為世界最小單元的理論。

Deleuze's fold is a concept that he develops in his book ?Le Pli. Leibniz et le Baroque?, where he explores the philosophy and aesthetics of Leibniz and the Baroque period. The fold is a way of thinking about the production of subjectivity, multiplicity, difference and complexity in a world that is composed of infinite monads, or simple substances, that express the whole universe from their own perspectives. Deleuze argues that Leibniz's work constitutes the grounding elements of Baroque philosophy of art and science. Deleuze views Leibniz's concept of the monad as folds of space, movement and time. He also interprets the world as a body of infinite folds that weave through compressed time and space.

The concept of the fold is influenced by Leibniz's philosophy, especially his metaphysics, logic and ethics. Deleuze draws on Leibniz's notions of expression, sufficient reason, incompossibility, pre-established harmony, theodicy and monadology to construct his own theory of difference and repetition. Deleuze also reads Leibniz through Spinoza, another major influence on his thought, and contrasts their views on substance, modes, attributes and affects. Deleuze acknowledges Leibniz as a "pure metaphysician" who tried to develop a metaphysics adequate to modern science and mathematics, but he also criticizes him for his theological conservatism and his inability to affirm divergence and multiplicity.

Deleuze's purpose in engaging with Leibniz is to create new concepts that correspond to the artistic practices of the Baroque period and to contemporary problems of philosophy. Deleuze considers himself an empiricist and a vitalist who seeks to liberate philosophy from the hegemony of one perspective. He uses Leibniz's concept of the fold as a tool to think creatively about the possibilities for non-human forms of subjectivity and to challenge the dominant models of representation, identity and recognition. He also uses the fold as a way to connect with other philosophers, artists and writers who share his interest in expression, difference and multiplicity.

The concept of the fold has had an impact on both philosophical and non-philosophical fields. Deleuze's work has been cited by and put to use by researchers in architecture, urban studies, geography, film studies, musicology, anthropology, gender studies, literary studies and other fields. The fold has also inspired artistic creations such as paintings, sculptures, installations, performances and digital media. However, Deleuze's work has also faced criticism from various perspectives. Some critics have accused him of misinterpreting or distorting Leibniz's philosophy, others have questioned his method of reading other philosophers or his style of writing, and others have challenged his political or ethical implications.

The current mainstream academic view on Deleuze's fold is not easy to determine, as there are many different approaches and interpretations of his work. However, some possible trends can be identified. One trend is to situate Deleuze's fold within the broader context of his philosophy of difference and repetition, and to examine its relation to other concepts such as event, virtuality, intensity, singularity and becoming. Another trend is to explore the connections between Deleuze's fold and other thinkers or movements that influenced him or were influenced by him, such as Spinoza, Nietzsche, Bergson, Foucault, Guattari, Derrida, Lyotard, Badiou, DeLanda, Massumi and others. A third trend is to apply Deleuze's fold to various domains of practice or research such as art, science, politics, culture or ecology.

德勒茲在他的《褶皺：萊布尼茲與巴洛克》一書(shū)中，對(duì)萊布尼茲的哲學(xué)和美學(xué)進(jìn)行了深入的探討，但他并沒(méi)有完全遵循萊布尼茲的神學(xué)前提。德勒茲承認(rèn)萊布尼茲是一個(gè)“純粹的形而上學(xué)家”，試圖發(fā)展一種適應(yīng)現(xiàn)代科學(xué)和數(shù)學(xué)的形而上學(xué)，但他也批評(píng)萊布尼茲的神學(xué)保守主義和他無(wú)法肯定差異和多樣性的傾向。

德勒茲對(duì)萊布尼茲的神學(xué)有意忽視或曲解主要表現(xiàn)在以下幾個(gè)方面：

• 德勒茲將萊布尼茲的單子論解釋為一種空間、運(yùn)動(dòng)和時(shí)間的褶皺，而不是一種對(duì)上帝創(chuàng)造的完美世界的反映。德勒茲認(rèn)為，單子不是上帝的鏡像，而是具有自己的表達(dá)力和創(chuàng)造力的實(shí)體。他也認(rèn)為，世界不是一個(gè)預(yù)先確定的和諧秩序，而是一個(gè)由無(wú)限的褶皺構(gòu)成的復(fù)雜網(wǎng)絡(luò)，其中存在著沖突、變化和創(chuàng)新。

• 德勒茲有意忽略了萊布尼茲的神義論，即上帝為什么選擇了這個(gè)最好的可能世界，并為其中發(fā)生的一切惡行提供了正當(dāng)理由。德勒茲認(rèn)為，萊布尼茲的神義論是一種對(duì)現(xiàn)實(shí)的辯護(hù)，是一種對(duì)差異和多樣性的壓制。他也認(rèn)為，萊布尼茲的神義論是一種對(duì)自己形而上學(xué)創(chuàng)造力的否定，是一種對(duì)自己哲學(xué)冒險(xiǎn)精神的背叛。

• 德勒茲有意曲解了萊布尼茲的邏輯，即如何從單子中推導(dǎo)出復(fù)合物和現(xiàn)象。德勒茲認(rèn)為，萊布尼茲的邏輯是一種分析性的邏輯，即從已知的真理中推導(dǎo)出必然的結(jié)論。他也認(rèn)為，萊布尼茲的邏輯是一種同一性的邏輯，即從同質(zhì)性和恒定性中推導(dǎo)出同一性和相似性。德勒茲有意曲解了萊布尼茲的邏輯也是一種合成性和區(qū)別性的邏輯，即從多樣性和變化中推導(dǎo)出復(fù)雜性和差異性。