資料彙整   /  概念  /  後結構主義相關資料:6.Lines of flight 逃逸路線 lignes de fuite
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提供者:莊士弘 (Stephen Shih-hong Chuang)
            

莊士弘 (Stephen Shih-hong Chuang)

July, 2010

 

Lines of flight 逃逸路線 lignes de fuite

 

Il s'agit toujours de libérer la vie là où elle est prisonnière

這總是關乎到解放生命被禁錮的生命。

──G. Deleuze. Qu'est-ce que la philosophie ? 162

 

逃逸路線係為一種對既有已知的價值,知識建構與構成(諸如:角色、功能、活動、欲望、品味、享受的形式、痛苦的形式等)做出一種逃逸,甚至叛離。其所循溯的是在平常社會建構那平實的線中,找出一個隙縫、缺口。[1]

關於線(line的討論,德勒茲與瓜達西(以下簡稱「瓜」)將它分成三種形式:(程153Bonta & Protevi 106 ; Lorraine 144-46

第一種是(克分子)固定的分割線(molar or rigid segmentary line):這是在一個國家,抑或條紋空間所強加的一條固定的、直線式(linear)、垂直式線,硬生生地區別一個體,以服膺於國家的規範之中。舉凡我們的國與家裡,生活到工作等都無所不在。如:人/動物、知識分子/工作、白人/黑人、異性/同性、老闆/工人、男人/女人、君主/臣子等。

第二種是(分子)柔順的分割線( molecure or supple segmentary line):這是一條與前者所不同的線。它屬於平滑空間,其構成的方式不是只是單一的、而是像塊莖一樣,多樣性、異常性與遊牧性地相互、交互的連結。它解除了組織、中心、整體等。[2]

第三種是逃逸路線(lines of flight)它是在前述兩條線的分叉、隙口( cracks ; félure)。它是一種逃逸的向量,在中間之間的移動。它是絕對的解轄域化,以進入堅實的平原,是新的型式與隘口(threshold)[3]Deleuze 說:/span>

It [the line of flight] is not a matter of adding a new segment on to the preceding segments on the line (a third sex, a third class, a third age), but of tracing another line in the middle of the segmentary line, in the middle of the segments, which carries them off according to the variable speeds and slownesses in a movement of flight or of flux. (Dialogues 131)

 

l      社會對生命形塑與構成的逃逸路線

PPhilippe Mengue在其<德勒茲文學思想中的逃逸路線與流變>[4]文章中指出:我們的生命就是一種禁錮(諸如各種像警察般鎮壓機器的連結網,像學校般的服務網等)。無論是以前的封建社會,抑或當今的民主社會,皆無所不在地由一種機構化社會的本質(l'essence du social institué/span>),統御我們生活的所說、所思、所做、所聞。而其統御我們所是的方式(what we are),就是語言藉由已建構的語義(significations établiées)來禁錮住我們思想;我們的思想不要陷入語言的牢籠裡。所以,有點吊詭的是,語言並非作家的「寶藏」,而是敵人

 

l      文學-生命-逃逸路線

德勒茲將文學看作是一文明的健康(health ; santé))。其所謂文明的健康,便是將生命從生命的牢籠裡解放。其書寫是為了那正在消逝的人們,以為召喚即將到來的人們,以及生命任何形式的可能。茲引兩句德勒茲在<文學與生命>[5]一文中極為重要的句子[6]

Health as literature, as writing, consists in inventing a people who are missing. It is the task of the abulating function to invent a people. [. . .] The ultimate aim of literature is to set free, in the delirium, this creation of a health or this invention of a people, that is, a possibility of life. To write for this people who are missing . . . (“for” means less “in the place of” than “for the benefit of”) (英譯 4; 法文14-15)

這秩序語言mot d'ordre& ; order-word[7]並非文學所特有的,/span>甚至連所有思想的形式都是如此主主要反映在哲學與藝術上。所以對思想的特殊目的是解放生命、創發出生命[8]的新的可能[9](Mengue 31)」該作者對此有一段充滿資訊的註腳。在其文中的註腳三中,作者Mengue說:「如此的表達,在尼采、傅柯、德勒茲身上都很常見,並且將其生機主義(/span>vitalism)植基於美學的基礎之上(依序是生命意志[will to power]的理論、力量[forces]與褶曲的理論、或其最後如同慾望或結合體[assemblage]的理論)。

根據Mengue的說法,其三個生機主義思想家對於生命的期待是一種純然解放式、創造式的、流變式的、革命式的。德勒茲對於生命是持肯定的態度的──肯定生命的歡愉、創發性、不受拘束性Braidotti說:

Joining forces with others so as to enhance one's enjoyment of life is the key to Deleuzian ethics ; it is also the definition of a joyously lived life. [. . .] Life is the affirmation of radical immanence. What gets affirmed is the intensity and acceleration of existential speed characteristics of desire or the expression of potentia. The ethics of nomadic subjects asserts the positivity of potentia itself. [. . .] Life is an assemblage, a montage, not a given; it is a set of points in space and time; a quilt of retrieved material.  Put simply, for Deleuze what makes one's life unique is the life project, not a deep-seated essence. (149)

顯顯然,當德勒茲生命的歡愉與肯定的價值觀[10]受到壓抑時,其自殺,也未嘗不是一種與域外連結的逃逸路線。[11]也或許就是因為如此,德勒茲在臨終前,儘管醫生不斷叮嚀不要抽菸,然而這種醫生禁止式的「叮嚀」顯然無法阻止其生為尼采主義者對於生命歡悅的肯定性。於是,他發覺若生命不是歡悅的,肯定的,他寧願選擇以找尋一條「逃逸路線」,從其巴黎寓所窗口,將其生命帶到另一個他處。[12]

 

l      逃逸路線-美國文學的優越/span>

德勒茲獨鍾美國文學,而非其土生土長的法國文學。德氏認為,美國文學由於她幅員的不斷的向西擴張,也意味著向所謂的疆界(frontiers)的的不斷的跨越,使得美國文學的視域不斷的改變、流變。於是,德勒茲說:「流變是地理的。」[13]反之,他土生土長的法國,德勒茲說,他們太人性化(too human[14]了、也太有歷史感了,也太關切過去與未來。成天只埋首於深入地分析,對於流變卻一無所悉。他們想的是革命的未來,而非是「革命式的流變」 (revolutionary-becoming)。/span>

德勒茲援引DD.H. Lawrence 對美國文學的討論[15],他認為美國文學的優越性在於它離開、逃避了歐洲大陸那「太人性」、太文明的傳統包栿:

To leave, to escape, is to trace a line. The highest aim of literature, according to st1:City w:st="on">Lawrence, is “To leave, to leave, to escape. . . to cross the horizon, enter into another life . . . It is thus that Melville finds himself in the middle of the Pacific. He has really crossed the line of the horizon.” The line of flight is a deterritorialization. The French do not understand this very well. Obviously, they flee like everyone else, but they think that fleeing means making an exit from the world, mysticism or art, or else that it is something rather sloppy because we avoid our commitments and responsibilities. But to flee is not to renounce action: nothing is more active than a flight. It is the opposite of the imaginary. It is also to put to flight—not necessarily others, but to put something to flight, to put a system to flight as one bursts a tube. (Dialogues 36)

然而,筆者想質疑的是,沒錯,美國文學那不斷向西進與去疆域化的幅員改變,的確是美國文學從歐陸的法國或英國文學去疆域化的流變,並且將歐陸文學產生瞬間的斷裂((cracks or ruptures),這誠然是一種「小文學」的解疆域化與逃逸路線。但是,若我們用後殖民的角度觀之,德勒茲似乎忽略了美國文學向西進的文學面貌,其所隱蔽的倫理的面向:去疆域化,其本質上仍蘊含著「帝國主義」對正在消逝的[16]原住民、水牛等對自然生態的閥害。

 

Biblography

Bonta, Mark, and John Protevi. Deleuze and Geophilosophy: A Guide and Glossary. st1:City w:st="on">Edinburgh : Edinburgh UP, 2004.

Braidotti, Rosi. “lines of flight = suicide.” The Deleuze Dictionary. Ed. Adrian Parr. New York: Columbia UP, 2005.

Deleuze, Gilles. Negotiations. Trans. Martin Joughin. [1990]. New York: Columbia UP. 1995.

---. Essays Critical and Clinical. [1993]. Trans. Daniel W. Smith and Michael A. Greco. Minneapolis: U of Minnesota P, 1997.

---. Pure Immanence: Essays on A Life. Trans. Anne Boyman. Massachusetts: The MIT P, 2001. “L'immanence: une vie,” Originally published in Philosophie 47, Paris : Éditions de Minuit, 1995.

--- and Félix Guattari. Kafka : Toward a Minor Literature. [1975]. Trans. Dana Polan. Minneapolis: U of Minnesota P, 1986.

---. A Thousand Plateaus: Capitalism and Schizophrenia. [1980]. Trans. Brian Massumi. Minneapolis : U of Minnesota P, 1987.

---. What Is Philosophy? [1991]. Trans. Hugh Tomlinson and Graham Burchell. London: Verso, 1994.

Deleuze, Gilles, and Claire Parnet. Dialogues. Trans. Hugh Tomlinson and Barbara Habberjam. New York: Columbia UP, 1987. [1996] 

Lorraine, Tamsin. “Lines of Flight.” The Deleuze Dictionary. Ed. Adrian Parr. New York: Columbia UP, 2005.

Mengue, Philippe. « Lignes de fuites et devenirs dans la conception deleuzienne de la littérature ». Gilles Deleuze : hors séries. Ed. Stéfan Leclercq. Belgique: Sils Maria, 2003. 30-83.

 



[1] 可參閱德勒茲對批判「美國夢」作Fitzgerald的討論,他說:

Fitzgerald says something else, at the same time: there are lines of crack [félure], which do not coincide with the lines of great segmentary cuts. This time we might say that a plate cracks. But it is rather when everything is going well, or everything goes better on the other line, that the crack happens on this new line—secret, imperceptible, marking a threshold of lowered resistance, or the rise of a threshold of exigency: you can no longer stand what you put up with before, even yesterday; the distribution of desires has changed in us, our relationships of speed and slowness have been modified, a new type of anxiety comes upon us, but also a new serenity. (Dialogues 126)

[2] 關於這兩條線的討論,詳見德-瓜千重台第九章,<Micropolitics and Segmentarity>。

[3] 原文參見“A relative line of flight is a vector of escape, a move between milieus [. . .] a move to a pre-established attractor. An absolute line of flight is an absolute deterritorialization to the plane of consistency, the creation of new attractors and bifurcators, new patterns and thresholds” (Bonta & Protevi 106).

[4] Mengue, Philippe, « Lignes de fuites et devenirs dans la conception deleuzienne de la littérature » Stéfan Leclercq 30-83.

[5] 收錄於Essays Critical and Clinical, trans. Daniel W. Smith and Michael A. Greco. (Minneapolis: U of Minnesota P, 1997).

[6] 參照楊凱麟對德勒茲與文學間的討論<虛擬與文學德勒茲文學論。收錄於楊凱麟譯的《德勒茲論傅柯》(台北:麥田出版, 2000) 233-61。尤其頁 252

[7] 這詞在【少數文學】的詞彙曾提過。簡言之,秩序語言係指日常生活中,將語言只是在語言結構穩固的系統中,只是做溝通或再現的用途而已。

[8] 其例如可參照Pourparler 131, 135, 160生存模式的創造或生命新的可能、生命的風格(125)、書寫風格(138)  【原文】Pour cette expression commune à Nietzsche, Foucault et Deleuze, et qui caractérise leur vitalisme sur fond d'esthétique (soit respectivement une théorie de la volonté de puissance, une théorie des forces et de leur pli, ou enfin une théorie du désir comme machine désirante ou agencement), voir par exemple, PP, pp. 131, 135, 160 (création de modes d'existence ou de nouvelles possibilités de vie), style de vie (p.125), un style d' écriture (p. 138).

[9] ce mot d'ordre n'est pas propre à la littérature, mais à toutes les formes de pensée, dont principalement la philosophie et l'art. C'est l'unique objet de la pensée que de libérer la vie, inventer de nouvelles possibilités de vie. (Mengue 31)

[10] 關於德勒茲對生命的討論可見他死前最後的一篇文章<內在性一種生命>,其英譯收錄於Pure Immanence: Essays on A Life, trans. Anne Boyman ( Massachusetts: The MIT P, 2001). 由於這篇文章十分有名與重要Agamben也曾經對此文章作出討論可見其 « Absolute Immanence »收錄於Potentialties: Collected Essays in Philosophy, trans. Daniel Heller-Roazen (California: Stanford UP, 1999).

[11] 這是筆者擷自Rosi Braidotti的說法 “Yet, death is still interconnected with the ‘outside' and always on the frontiers of incorporeality” (150).

[12] 將「逃逸路線」拿來與自殺來做討論,筆者乃擷自Rosi Braidotti<德勒茲字典>所書寫的概念。有興趣的讀者亦可參考頁148-150.

[13] “American literature operates according to geographical lines: the flight towards the West, the discovery that the true East is in the West, the sense of the frontiers as something to cross, to push back, to go beyond. The becoming is geographical.” (Dialogues 37)

[14] 這個字不難讓我們想到尼采在其《人性、太人性》中所批判的人文主義中心傳統。

[15] D.H. Lawrence, Studies in Classic American Literature (Harmondsworth: Penguin, 1971) 146-47.

[16] 筆者欲諧仿德勒茲所說的文學的目的:“To write for this people who are missing . . .”( Ecrire pour ce peuple qui manque . . . )(15).

 

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