夢想傾斜：「運動──詩」的可能－－以零雨、夏宇詩作為例

The Dreaming-Slope: A Study of Lin Yu and Xia Yu’s Poems under the Concept of “Movement-Poem”

本文嘗試結合法國哲人巴什拉（Gaston Bachelard）、德勒茲（Gilles Deleuze）的論述，自二者思想體系裡提取些許可供對話、焊接、相互深化的概念， 從中推論「運動── 詩」（movement-poem）的詩學想法，並以零雨、夏宇之詩作進行文本閱讀。分兩部分論析巴什拉與德勒茲思想內部可能的接隼：一、巴什拉早期關於火、水、氣、土四大物質的論述，到了後期《夢想的詩學》，逐漸從物質認識論之層次轉向存有的探索。「安尼瑪」（anima）與「安尼姆斯」（animus）的概念，揭示了主體存在之能動性，「我」在移動的過程中超越主體而來到另一個「非我」：一種「跨主體」的存有。透過德勒茲與瓜達里「游牧主體」的概念，巴什拉所謂「我的非我」在游牧、變成的解析下得以具體地描述。二、結合巴氏「夢想的斜坡」與德勒茲「平面」之概念，讓我們將目光投向「運動」（movement）的狀態本身，「運動」因此得與「詩」產生連結，論證出「運動──詩」的詩學理念。在如此之理論架構下，透過對零雨、夏宇詩作的實際批評，使「運動──詩」的詩學理念具體展現。經本文之論析：零雨詩主體「我」以「表演」的形式穿越自身與外在物質，在身體整體與局部之間任意結合、鬆脫，以「扮演」和「假裝」演現變成與運動的張力。夏宇則嘗試將詩的主體隱匿，藏在任何事物與事件的「反面」，成為戲外的旁觀者、「變成攝影機」，透過消失不見的想法「更趨向存在」。「運動──詩」的概念不僅提示著詩另一種存有的姿態，更讓讀者產生不同的認識論，感知詩可感知與不可感知的一切，在感知運動與移動的過程裡，「幸福的容積」得以於審美經驗中逐漸成形。

This paper discusses the poems of Lin Yu and Xia Yu under the concept of “movement-poem” derived from Gaston Bachelard and Gilles Deleuze. Firstly, Bachelard describes the ontology of trans-subject by the notion of “anima” and “animus”, which marks the turning-point of his poetics. Bachelard’s thought can be clarified in certain degree by citing Deleuze’s insight on nomadism. Secondly, I illustrate “the slope of dream” by Bachelard and “the plane of immanence” by Deleuze in order to extract the idea of “movement”, and turn to the poetics of “movement-poem”. Then, I analyze the poems of Lin Yu and Xia Yu under the concept of “movement-poem”. After the textual interpretation, this paper shows that the subjects in Lin Yu’s poems display the movement by means of dramatic performance, whereas Xia Yu creates a kind of “hidden-subject” that transforms into an observer or a “becomingcamera” to probe another way of existence. The notion of “movement-poem” brings the different ontology and epistemology of poetry, provides us another aesthetic to read and experience.