巴迪歐針對「我思」概念的反抗與創造：關於「貝克特式我思主體」

Badiou’s Resistance and Creation to the Concept of‘‘Cogito’’: About‘‘Beckett’s Subject of Cogito’’

阿蘭‧巴迪歐既反抗在哲學場域中將主體侷限於「一」的笛卡兒「我思」概念，同時又超越在精神分析場域中讓主體抵達「多」的拉岡「我思」概念，在藝術場域中根據薩繆爾‧貝克特的作品，創造出特屬於巴迪歐他自身的「我思」概念。而這種巴迪歐「我思」概念內涵，則涉及到一種抵達「多」的「真的主體」，一種「貝克特式我思主體」的嶄新內容，並且有別於其他思想家，巴迪歐從他自身「多的本體論」之核心概念的「多」的角度上，詮釋和賦予這種「貝克特式我思主體」以獨創性與價值。

The philosopher Alain Badiou used the artist Samuel Beckett’s works to create his own concept of“cogito”—a concept of“Beck-ett's subject of cogito.”The concept resists Descartes’“cogito,”which limited the subject to“one”in the field of philosophy.The concept of“Beckett's subject of cogito”is itself inspired by Lacan’s concept of“cogito,”which allowed the subject to reach“multiple”in the field of psychoanalysis. However, unlike Lacan’s“cogito,”Badiou’s—a concept of“Beckett’s subject of cogito”—in-volves a“true subject”which reaches“'multiple”in the field of art.Therefore, unlike Descartes and Lacan, Badiou creatively inter-prets and endows a new“cogito”in the field of art from the per-spective of the“multiple,”which is the core concept of his own“on-tology of the multiple.”