無人的影子：策蘭的虛無話語

自詩集《語言柵欄》（1959）與《無人的玫瑰》（1963），策蘭被西方哲學、神學裡「虛無」這一觀念深度侵擾。這一方面表明策蘭拒絕與戰後歐洲和解，但更深層的原因可能還在於策蘭企圖把「虛無」從包括海德格在內的本體－存在論闡釋，以及猶太教卡巴拉神學的超越化中分離出來。策蘭將海德格所稱的「虛無之虛無化活動」變得可視、可觸，以帶出「無」在神學、政治與存在論上的隱蔽運行。策蘭中晚期詩裡沉重之物的自由懸浮不僅是一個天文或神秘學現象，從存在論上看，它帶有尼采式虛無主義的印記。策蘭終生研讀的哲學家很可能正是尼采，其虛無主義和永恆輪回學說深刻影響了策蘭詩。如果尼采的問題是如何從宗教、道德和形而上價值裡解放出來投身於生命之創造，那麼策蘭的問題則是如何以詩悖論地「凍結」虛無於瞬間，把虛無再一次帶入一種站立或終止。策蘭詩作敞開於虛無的時刻，懸浮其中，與其說「完成了」虛無主義，不如說把虛無主義本身維持在一個非虛無主義的視野內。

關鍵字

策蘭；虛無；虛無主義；海德格；尼采；自由懸浮

並列摘要

Since Speech-Grille (1959) and The No-One's-Rose (1963), Paul Celan's poetry has been increasingly punctured by negativity and the theo-philosophical notion of das Nichts (the nothing). Apart from his refusal to reconcile with postwar Europe, Celan's insistence on the nothing works primarily for its releasement from both Heidegger's ontological interpretations and Judeo-theological idealization. Giving voices and figures to what Martin Heidegger calls ＂the nihilation of the nothing,＂ Celan queries the intricate workings of this notion in various ontological, theological, and political discourses. The free-floating heavy objects in Celan's poetry are therefore not limited to certain astronomical or mystical phenomena; ontologically, they reveal an imprint of Nietzschean nihilism. In terms of nihilism (eternal recurrence), Nietzsche, rather than Heidegger, could arguably be the philosopher who influenced Celan most. If Nietzsche's question is how to free human life from religious, moral, and transcendental values and create new values ＂out of nothing,＂ as it were, Celan's then would be to ＂freeze＂ nothingness in(to) an instant, bringing it to a halt. Celan's poetry continuously opens up to the arrival of the nothing, and delights in its free-floating state; instead of claiming to ＂overcome＂ nihilism, Celan rather seeks to think nihilism non-nihilistically through poetry.

並列關鍵字

Celan ； nothing ； nihilism ； Heidegger ； Nietzsche ； free floating

參考文獻

馮冬（Feng, Dong）。〈石頭開花：策蘭與詩歌的（不）可能性〉“Shitou Kaihua: Celan yu Shige de (bu)kenengxing” [The Flowering Stone: Celan and the (Im)possibity of Poetry]。《中外文學》Chung Wai Literary Quarterly 44.4 (2015): 133-69。

Buhanan, Kurt. “A-voiding Representation: Eräugnis and Inscription in Celan.” Semiotica: Journal of the International Association for Semiotic Studies 213 (2016): 1-23.

Feldman, Daniel. “Writing Nothing: Negation and Subjectivity in the Holocaust Poetry of Paul Celan and Dan Pagis.” Comparative Literature 66.4 (2014): 438-58.

Feng, Dong. “Collapsing the Absolute: Early Celan and the Post-Romantic Strangeness.” Partial Answers: Journal of Literature and the History of Ideas 16.2 (2018): 205-24.

Groves, Jason. “‘The Stone in the Air': Paul Celan's Other Terrain.” Environment and Planning D: Society and Space 29.3 (2011): 469-84.

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無人的影子：策蘭的虛無話語

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