摘要
本文旨在探討德勒茲的圖表思想特徵。第一部分說明硏究重點。第二部分評述《千高台》的符號體理論，內容包括：符號體脫胎自符號學、流變、機器動力論、創作過程、問題性和藝術家。第三部分討論《培根：感覺邏輯》的圖表思想，分別從藝術哲學角度比較《千高台》和《培根：感覺邏輯》之間的關聯，以及分析圖表的靜態觀點和動態觀點。最後發現，在圖表思想裡，德勒茲營造出一個放射狀的、沒有邊界的「問題性論述」，不僅不同於再現和同一性的哲學，而且異於叔本華一尼采的美學傳統，其去疆域化的藝術思想直接衝撞藝術學科和藝術的固有範圍。
關鍵詞
德勒茲 、符號體 、圖表 、問題性、反再現
Abstract
This paper discusses Gilles Deleuze's thoughts on the diagram. The first part presents the research goals. The second part criticizes the regimen of signs in A Thousand Plateaus and discusses their origins, including semiology, becoming, mechanical dynamism, creative process, problematicalism, and artists. The third part discusses the ideology o f the diagram in Francis Bacon: The Logic of Sensation. This section compares this work with A Thousand Plateaus from the angle of art philosophy and analyzes the static and dynamic aspects of the diagram. It concludes that Deleuze created a radiational and territory-free problematical discourse, which is not only different from the philosophy of representation and identity, but also from the aesthetic tradition of Schopenhauer-Nietzsche. Its idea of de-territorialization poses a direct impact on the discipline and conventional boundary of art.
Keywords
Gilles Deleuze, regimen of signs, diagram, problematicalism, anti-representation
