德希達書寫理論中之藝術動力研究
摘要
到目前為止，論及藝術領域的相關問題，自由一直是大家不可否認的事情，尤其談論到想像力與創造力的類似問題。但是在哲學的歷史上，以理性為主導而形成的結構性思維，使理論與直接經驗的隔閡越來越大，尤其面臨主客問題時的詮釋活動，經常性的使理解停留在某種規範的結構之下。但與此相對照我們姑且稱之為單純藝術生發的過程卻不受這種結構思維的控制，或者說這種難得的不受控制在藝術上也難以掌握，卻可以成為哲學反思的重要課題。單純重新論及型態化藝術類別，也許在對這種未經分別但又難得的過程與價值上施展有限。
不過在德希達的書寫理論下，卻可以找到另一種理解的契機，以各種策略與書寫實踐動搖過去哲學觀點下的固有理論，似乎暫時的消除了一種對立與分離所產生的限制。不過在一種在策略與雙重性之下所產生的副作用，卻也是在實踐上最有價值的產物，然而此副作用卻在過去如同痕跡般不受重視。
這篇對於藝術與動力的討論，不從已經出現的藝術形式開始談，也不從類似於操作手冊的方式談論，純粹就藝術思維與內在經驗的提取談起。透過書寫模式與閱讀的多重置換，企圖使隱喻與銘刻在經驗中得到啟發。
關鍵詞：德希達、書寫、痕跡、銘刻、隱喻、替補、解構
Abstract
As far as art is concerned, Freedom is undeniable, especially when it comes to such issues as imagination and creativity. However, in explaining the problem of subject-object, theory and direct experience differs stage by stage under the predominantly historical-metaphysical structure of rationality, so that understanding is limited by rules and system. On the other hand, the coming up of art is not controlled by the structural thinking, and this scarce uncontrolled state is what philosophy needs to reflect. Just mentioning formal type of art without paying attention to this invaluable and undivided process makes no advance of our understanding of art.
In Derrida, the existing philosophical theories are shaken by strategies and practices of writing and opposition as well as division seems temporarily eliminated. The “side-effect” of duality and Derrida’s strategy becomes the most valuable product on practice; however, it is un-present like trace and neglected.
The discussion of art and force in this thesis starts neither from artistic from, nor does it follow style of operation manual, but from metaphor of art and internal experience. The multi-transformation of writing and reading reveals the working of metaphor and inscription in our experience.
Keywords: Derrida, writing, trace, inscription, metaphor, supplement, deconstruction