英文摘要 |
The Crystal-Image holds a key position in the Time-Image conceived by Gilles Deleuze. For one thing, Deleuze’s Crystal-Image is the productive dynamic mode of the Time-Image; for another, it works like a characteristic mode of thinking, i.e., thinking that links projection and neighboring. The Crystal-Image might also be regarded as the key node, through which Deleuze reflects on cinema, including the images. This Crystal-Image node thus has two senses, 1) as the mode of “visible-in(-)visible”, an autonomous production towards multiplicity, constituting the structure of the “all” of image, but in a genetic way; 2) as speculation about the “actual/virtual” in Deleuze’s thought. Therefore, the Crystal-Image in Deleuze transcends the category of figure while reflecting the dynamism of the figural, i.e., the element that endows the figure with the power of speculation. I situate this concept in Deleuze’s thought in order to probe more deeply into his manner of thinking. “Crystal” works like metaphor of his Image-Thinking, e.g., as “expression” with some necessary relations. This problematic reenacts philosophic questions of ‘60s, e.g., the problem of language and the problem of expression. Hence, it contains the dual aspects of the historic and the speculative. This essay compares Ricoeur’s notion of metaphor with Deleuze’s “Crystal-Image”. The former sought to clear up the openness and the uncertainty in the cognitive power of metaphor while the latter indicated the difference between metaphor and expression. This comparison between metaphor and expression leads to deeper reflection on the problem of expression of philosophic language, and through this reflection, we can better grasp the difference of thinking in Deleuze’s neologian text. |