本文[1]透過傅柯《性特質史》第3卷《關注自我》一書中討論阿爾泰米朵爾的《夢想要訣》，指出這當中蘊含對人文「經驗」的批判存有學、系譜學思考與隱含的美學之軸，本文稱之爲「雙引號」思考。本文認爲晚期傅柯的方法論中包含了一種自我關注的技術，傅柯指出，阿爾泰米朵爾把夢的影像當作「能指」，他的工作並不是從「所指」的角度去進行夢的詮釋，換句話說，諸如亂倫慾望、同性戀欲望、自戀這些精神分析釋夢工作所設定的「所指」，並藉以規定慾望主體無意識潛內容意義的基本槪念和理論框架。而傅柯本人則再度把阿爾泰米朵爾的釋夢學置入希臘羅馬時期「自我關注」的工夫系譜中，透過這種系譜化的雙引號思考，對意義的形上學與去歷史化的思考題採取距離。
註解
傅柯、阿爾泰米朵爾、釋夢學、夢影像、美學之軸
This paper aims for the philosophical meaning of the Foucauldian way of double-quotation-marks thinking. It focuses on Michel Foucault's discussions about Artemidore text La Clef des songes in Histoire de la sexualite III, Le souci de soi and attempts to point out how a critical ontology, a genealogical methodology and an axis of aesthetics are implied in such a way of thinking as well as a technique of the self. Foucault showed that Artemidore put the dream images as signifiers and did not search in them for some definite signified. In this way, Foucault insists on his earlier critical position in remarks on Ludwig Binswanger Dream and Existence against Sigmund Freud's psychoanalysis. Through the confrontations of Freud's theology of meaning and the internalization of meaning, Foucault invented a technique of self from the outside, from the praxis of genealogical subjectivization.
Foucault, Artemidore, dream image, Onirocriticon, axis of aesthetics
