「心海」：保羅•策蘭詩中水之意象、時間、後奧許維茲的藝術及生命問題

Abstract

保羅•策蘭為戰後現代詩人，而對其而言語言實驗同時為生死議題；在此前提認知下，本篇論文著重於處理策蘭如何面對過去。藉由觀察在前、中、晚期的策蘭詩中水之意象的不同呈現，本篇論文歸納出三種不同的時間觀，分別為：一、線性的進步時間觀，過去導致現在而現在領向未來；二、在線性時間觀中等待逃逸和救贖，在此救贖時間裡，已沒有過去、現在及未來之分；三、∞，往復迴旋的時間觀，過去等著被重新啟動並賦予未來新的開始。此外，本篇論文也嘗試回答以下問題：如果奧許維茲作為西方歷史的分水嶺標誌了重新思考哲學、藝術與生命之間關聯的必要性，那麼藝術在其中的角色為何？而更精確地來說，策蘭詩的角色又為何？此篇論文便藉由探討阿多諾思想中數個重要詞彙，如客體的優先性、反思、藝術的擬仿功能及經驗（特別是Erfahrung和Erlebnis兩種經驗的差別）、「後」奧許維茲（nach Auschwitz）的意義、對教育（Bildung）的想法、阿多諾的文學批評以及其對於如何處理過去的沉思等，獲得以下答案：藝術作品能保存並傳遞歷史經驗，而此一經驗轉譯成欣賞者的美學經驗之後，能迫其突破自我界限思考過去。如此一來，正如策蘭詩中的往復時間觀所彰顯，藝術作品成為了過去的備忘；而此備忘能讓後奧許維茲的藝術欣賞者能不完全被過去的羞恥及罪惡籠罩，繼續生活。

This thesis, acknowledging Celan’s role as a modernist poet who experiments with his language in matters of life and death, focuses on Celan’s endeavor to deal with the past. With the help of the water motif from Celan’s poems in three different phases, this thesis is able to observe three distinctive modes of temporality. They are the following: first, the progressive time where the past results in the present that leads into the future; second, the time that is waiting for an escape from the linear order of time, a redemption where the differentiation between past, present and future does not exist anymore; and finally, ∞/the recurrent infinite circular movement in which the past that can be regarded from a new perspective of the present and therefore returns as a new beginning in the future. Moreover, my project poses the following questions: If the event Auschwitz, a watershed of Western history, requires a different mode of thinking about the relation between philosophy, life, history and art, then what role does art play? Then more specifically, what role does Celan’s poetry play? This thesis then turns to Adorno for possible answers. Having explored some key terms in Adorno’s thinking, including the primacy of the object, reflection, the mimetic function of art and experience (notably the difference between Erfahrung and Erlebnis), the meaning of “nach Auschwitz,” the idea of Bildung, his literary criticism and finally his reflections on how to work through the past, this thesis concludes that artworks are able to preserve and pass on mediated, historical experience that forces the experiencing subject to reflect upon the past. In so doing, as indicated by the third mode of temporality in Celan’s poetry, artworks serve as reminders of the past without keeping the receiving subject entirely in the shadow of shame and guilt from the past.