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。
德勒茲 、符號體 、圖表 、問題性、反再現
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.
Gilles Deleuze, regimen of signs, diagram, problematicalism, anti-representation
