|Abstract: ||班雅明在〈論語言本體與人的語言〉裡，提到亞當為動物命名時，注視著上帝帶到 他面前的動物，立即用適切的語言說出上帝以「話語」創造的動物，「在上帝扮演創造 者的同樣語言裡，人是認知者」(323)。這段堪稱代表班雅明翻譯理論最高層次的論述， 展現上帝的神性與人類的知識如何在翻譯裡完美轉換。在德勒茲的《哲學的表現主義： 史賓諾莎》裡，史賓諾莎與萊布尼茲一致推崇擁抱的「表現」概念，與班雅明的翻譯概 念同樣植基於存有論的基礎上，關切焦點都放在代表絕對真理的上帝與人類的知識如何 「交通」。不過，史賓諾莎的「表現」概念偏向身體與身動力的議題，而班雅明的翻譯 概念大多在於闡述純粹語言與溝通語言之間的關聯。 本三年期計畫從「表現」概念重新檢視班雅明的翻譯理論，企圖拓展翻譯的適用範 圍與核心觀念，進而以新的翻譯概念分析研究身體與身動力，冀能引進身體相關議題研 究的新視野。本計畫的基本構想，是翻譯必須從語言、文學，乃至跨國文化流動的研究， 進一步跨足進入身體領域的研究，而翻譯也有一些獨特的視野有助於身體與身動力研究 的提升。第一年將深入閱讀史賓諾莎與萊布尼茲的相關著作，以及德勒茲對此議題的論 述，並整理發表對「表現」概念的研究成果。第二年從身體與身動力研究的角度，探討 翻譯與「表現」該如何互動、調整。第三年直接從新的翻譯概念分析研究身體與身動力， 並檢視其對文學與文化研究可以有什麼啟發。|
In Benjamin’s “On Language as Such and on the Language of Man,” the prelapsarian Adam is presented as knowing instantly, when gazing at creatures God brought before him, the language God used to create each of them and naming accordingly. “This creativity, relieved of its divine actuality, became knowledge. Man is the knower in the same language in which God is the creator” (68). In this scene of contemplation and naming, translation is shown at its best, intuitively connecting God’s creativity with human knowledge. The concept of expression as reinvented by Spinoza and Leibniz in the seventeenth century out of creation and emanation also exhibits a grounding of human knowledge on God. “The concept of expression applies to Being determined as God, insofar as God expresses himself in the world. It applies to ideas determined as true, insofar as true ideas express God and the world. It applies, finally, to individuals determined as singular essences, insofar as singular essences express themselves in ideas” (Deleuze, Expressionism in Philosophy 321). With all their ontological preoccupations, expression and translation, nevertheless, diverge in their applications. The concept of expression embraced by Spinoza concerns itself mainly with body and affect while translation envisioned by Benjamin concentrates on the relationship between pure language and communicative languages. This three-year project will investigate translation in the light of expression in order to craft a new concept of translation that will approach body and affect fruitfully, thus opening up new fields in their studies. The basic assumption of this project proceeds from the idea that the concept of expression has something in it to transform translation creatively into a concept that applies not only to the studies of language, literature, and transnational cultural flows, but also to those of body and affect. The first year will be devoted to an extensive reading of writings by Spinoza and Leibniz as well as Deleuze’s works on them so as to come up with a systematic study on the concept of expression. In the second year, I will explore how translation shall adapt and develop in its interaction with expression, based on the perspective of body and affect studies. The third year shall witness a research on body and affect from the angle of translation, examining what we can learn from it in literary and cultural studies.