摘要

本書出發(fā)點在于探討蒙太奇與德布林“整體性”思考、主體性批判、語言哲學(xué)以及和他的小說詩學(xué)之間的關(guān)系，旨在揚棄“蒙太奇源自電影攝影術(shù)”的陳詞濫調(diào)。顛覆性的假設(shè)需要另類的理論視角，本書借助德布林和中國道家哲學(xué)之間的關(guān)系，以及與作家同時期其他思想家（如海德格爾、里爾克、布洛赫）的哲思相通性，將莊子的“卮言”銳化為一種理論工具，一反常見的以西方理論指導(dǎo)中國文學(xué)現(xiàn)象的普遍做法，逆向性地用極具民族特色的文論話語去剖析一種典型的西方現(xiàn)代文藝現(xiàn)象。為充實闡釋的理據(jù)性，本書給出了一些新概念，如“文化同位素”，并對一系列看似無異議的概念進行了全新梳理與界定，如“蒙太奇”“整體性”“混沌”，等等。全書分為兩部分：哲學(xué)比較和文學(xué)比較。第一部分從本體論、主體性和語言理論三個維度，比較了德布林和莊子思想的親緣性以及和西方古往今來諸多大家的異同之處，以便用道家理論語匯（如“明”“心齋”“齊物”）更為契合地捕捉德布林詩學(xué)核心本質(zhì)；在第二部分里，“卮言”被視為語用原則，而由莊子提出的“象言”“寓言”和“重言”則成為具體的語用方式，以此三種方式將德布林作品中的蒙太奇片段歸納成類，從而提供了嶄新的考察視角和闡釋發(fā)軔點。

關(guān)鍵詞：蒙太奇，卮言，整體性，旋渦，象言，寓言，重言，文化同位素

Abstract

The present study sets out as a discussion of the relationship between montage and D?blin's reflection on totality,criticism of subjectivity,and philosophy of language,as well as of that between montage and the poetics of his novel,so as to sublate such cliches as“montage was derived from cinematic techniques”.Since subversive hypothesis is always underpinned by an original theoretic perspective,this study appropriates innovatively Zhuangzi's zhīyánas its theoretic framework to reject the general practice of employing western theories in the studies of Chinese literature.Based upon the close relationship between D?blin and Chinese Daoist philosophy as well as the philosophical affinities between the writer and other philosophers like Martin Heidegger,Rainer Maria Rilke and Ernst Bloch,it approaches a typical modern western literary phenomenon with the aid of a discourse of Chinese literary criticism.It introduces a number of new concepts including“cultural isotopes”,and re-defines a number of seemingly indisputable concepts like“montage”,“totality”and“hùndùn”so that the theoretical basis of its interpretation can be enhanced.The whole study is consisted of two parts,namely philosophical comparisons and literary comparisons.The first part examines,from the three persepctives of ontology,subjectivity and language theories,the affinity between D?blin's thoughts and those of Zhuangzi's,as well as the similarities and differences between D?blin's thoughts and those of the outstanding thinkers in the history of western philosophy.In this way,the book grasps the essence of D?blin's poetics compatibly with the help of Daoist theoretical terms like“clarity（míng）”,“fasting of the mind（xīnzhāi）”,and“equality of things（qíwù）”.In the second part of the book,“zhīyán”is regarded as the language application principle,while Zhuangzi's ideas of“xiàngyán”,“yùyán”,and“chóngyán”are appropriated as actual ways of language use.These three ways of language use are then employed as the starting points of interpretation to categorize the montage sequences in D?blin's works.

Key Words:montage,zhīyán,totality,vortex,xiàngyán,yùyán,chóngyán,cultural isotopes