私語言與玩具馬：史騰、維根斯坦與哲學的喜劇

Private Language and the Hobby-horse: Sterne, Wittgenstein and the Comedy of Philosophy

喜劇的物質嘉年華文本似對思想命題進行文學解構，並為哲學的反哲學轉向提供一個語言基礎。然而史騰（Laurence Sterne）的哲學喜劇小說《項狄傳》（Tristram Shandy），與受到史騰影響的維根斯坦（Ludwig Wittgenstein）後期後設哲學著作《哲學研究》（Philosophical Investigations），仍可見哲學向度在普世生活與日常語言等等反哲學的空間中繼續存在。本文通過《哲學研究》的「私語言」（private language），重讀《項狄傳》中的「玩具馬」（hobby-horse）及相關的喜劇與哲學，討論反哲學如何藉由喜劇文法重置哲學、探問哲學的起始。史騰的喜劇點出哲學與反哲學是一體兩面，同時並存於語言混亂與不協調中，兩者無法通約卻也必須並置。喜劇以反哲學的語言為哲學分配空間，透過「不協調論」（incongruity theory）的文法為兩者分流，使哲學從知識系統的總體架構變成選項之一。

Comic language has been proven useful for antiphilosophical approaches to crumble philosophy into carnival of signs and therefore redirects its concerns. But Laurence Sterne's Tristram Shandy and Ludwig Wittgenstein's Philosophical Investigations, two critiques of philosophy mediating through comic language, nonetheless create a space for philosophy in antiphilosophical domains such as common life and ordinary language. This article rereads the ''hobby-horse'' in Tristram Shandy through the notion of ''private language'' in Philosophical Investigations to explore the ways in which the grammar of comedy relocates philosophy and conducts inquiries into the conditions in which philosophy emerges. Drawing on the ''incongruity theory'' in eighteenth-century comic discourse, it discusses the way in which comedy represents philosophy and antiphilosophy as two sides of the same coin of linguistic confusion, which coexist in the absence of mutual commensurability. By diverging philosophy and antiphilosophy into incongruous and parallel gradations, comedy allocates a space for philosophy, turning it from a totalizing framework of knowledge into an option.