Please use this identifier to cite or link to this item: https://ah.nccu.edu.tw/handle/140.119/100681


Title: 暫時而存在:德希達〈郵寄〉中的時間與再現
Other Titles: For the Time Being: Time and Representation in Jacques Derrida's "Envois"
Authors: 柯嘉瑋
Ko, Chia-Wei
Keywords: 明信片;時間;再現;無目的抵達;增補
postcard;time;representation;adestination;supplement
Date: 2014-09
Issue Date: 2016-08-23 17:54:54 (UTC+8)
Abstract: 本論文探討德希達(Jacques Derrida)在《明信片》(The Post Card)〈郵寄〉("Envois")一文中如何藉由時間來解構再現體系所預設的線性時間。德希達並且進一步探討「明信片」之於書信體系,能如何撼動原先書信體裡頭所預設的「本真」/「在場」之可再現性質,而提出時間之於再現,實為彼此「增補」(supplement)之關聯。明信片作為書信體裁之一份子,對於傳統的書信體裁、以及其背後所預設的所有哲學傳統,無疑提出了偌大的提問,此提問甚至危及原先看似穩固的哲學知識體系。本文首先提出德希達奠基「時間譬喻」,佈下「時間陷阱」、佐以帕里斯所繪的柏拉圖與蘇格拉底,捕捉書信再現體系的不可再現之特質。正由於再現中總存在著「反再現」的因子,書信一寄出便發散「無目的抵達」的狀態。而此狀態,更進一步透過德希達於〈郵寄〉一文的「共時」(synchronic)與「歷時」(diachronic)批評策略,說明明信片與書信體兩者間實則以「增補」之邏輯呈現「再現」之情景。也因為「增補」的邏輯運作,使得再現看似能夠呈現其所欲再現之物。再現體系所必備的線性時間觀若被打亂,再現與被再現之間的二元關係就不再穩固,進而浮現的就是「增補」的邏輯運行。明信片的存在,也揭示著「增補」之於「再現」的是與不是,以及可能與不可能。
This paper examines the tactics of deconstructing representational faculties applied by Jacques Derrida in "Envois," the first chapter of his "The Post Card", through his critique on time. While Derrida provides post cards addressed to his "lover," he simultaneously embarks on the path towards unveiling the inherent instability in the post card as an epistolary medium. To further his investigation, Derrida questions the long-held belief in representation, which has been thought of as aguarantee of authenticity in epistolary literature. The post card is thus a field where all of the established epistolary traditions collapse. This paper begins with an analysis of Derrida's choice of the post card as a site to reveal the openness of this medium. Such openness refers not only to its materiality, which exposes the text to anyone who sets eyes on it, but also to the undecidability of meaning in Derrida's text. The picture on the chosen post card, on which the reader sees a curious pair of Socrates and Plato, is itself the most blatant attack on the epistolary discourse. Tracing the "origin" of the picture with Derrida, the paper focuses on how the picture disturbs the representational intention inscribed in the post card, or even every post card, that attempts to be sent to its destination but ends up being "adestined." It is argued that in "Envois," Derrida employs a "trap of time" that captures the non-linearity embedded in the façade of linearity in time. By elaborating how time is critiqued, the paper asserts that it is Derrida's idea of supplementarity that reveals how representation works as a supplement of its assumed "origin," just as how a post card reveals the non-representational faculty in letter-writing.
Relation: 文化越界,1(12),123-147
Cross-cultural Studies
Data Type: article
Appears in Collections:[文化越界 ] 期刊論文

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