塞托的空間寓⾔

Certeau’s Parable of the Space

〈潛航的與監獄的〉是《日常生活實踐》的第八章，恰好位居全書中心位置。作為探討「空間實踐」的三章之一，這篇文本卻具有散文詩般的精煉措辭與豐富意象。為了回應傅柯透過全景監獄刻劃的緻密規訓，塞托藉由深描列車，發展一則兼顧社會治理「封閉」性與「遁逃」可能性的空間寓言。否則，塞托所主張的，旅行、居住、鄰里等空間是由「使用方式」塑造，豈不流於空談？列車的車窗玻璃與鐵軌刻劃現代主體的感知方式：束手無策的旁觀，遁逃一隅的冥想，重劃空間的生硬，馬不停蹄的驅力，等等。塞托將這種主體性的根源追溯到杜勒的《憂鬱》版畫，並且納入凡爾納筆下的「鸚鵡螺號」潛艇、以及笛福筆下的《魯賓遜漂流記》。為了闡述「運用比喻」（metaphorisation）以及這對於戰術的重要性，本文也適時參酌台灣近來圍繞無家者的相關文獻，以便提供更貼近我們感性的舉例。透過列車空間寓言，我們可以領略，空間、感知與想像的關係是解鎖塞托龐雜思想的一把鑰匙，以及，《日常生活實踐》是引導人們如同賞析詩作般看待身邊事物的一本詩學著作。

“Naval et carcéral”(“Railway Navigation and Incarceration”) is the eighth chapter of The practice of everyday life, which happens to be located at the center of the book. As one of the three chapters exploring“Spatial practices”, this text has the refined wording and rich imagery of a prose poem. In response to the overwhelming disciplining depicted by Foucault through the Panopticon, Certeau develops a parable of the space that takes into account both the“closed”nature of social governance and the possibility of“escape”through a deep description of the train. Otherwise, Certeau’s claim that spaces such as travel, residence, and neighborhood are shaped by“how they are used”will become empty talk. The window glass and rails of the train depict the perceptual modalities of the modern subject, such as the helpless onlooker, the meditation of escaping to a corner, the rigidity of redrawing space, and the drive of being nonstop. Certeau traces the origins of this subjectivity to Dürer’s Melencolia, and takes into account Jules Verne’s submarine Nautilus and Defoe’s Robinson Crusoe. In order to explain the importance of“metaphorisation”and its tactical significance, this article also refers to recent references on homelessness issue in Taiwan to provide examples that are closer to our sensibilities. Through the train as spatial parable, we can discover that the relationship between space, perception and imagination is the key to unlocking Certeau’s complex thoughts, and that The practice of everyday life is a treatise on poetics that guides people to look at things around them as if they were appreciating poems.