幽灵之舞:德里达论拟像

Spectral Dance:Derrida's Discussions on Simulacrum

"幽灵"问题始终贯穿着德里达的哲学思考。他通过解读马拉美的《摹拟》使幽灵、拟像或幻像进入相互游戏,使柏拉图的"临床范式"和摹仿论不再发挥作用,开启了与德勒兹"颠倒柏拉图主义"不同的"没有颠倒柏拉图主义及其传统的移位"。通过"哈姆雷特的鬼魂"使幽灵系列与精神系列相互交织,德里达阐释了一种介于生与死、可见与不可见之间的拟像性的"面甲效果",又以幽灵的重复性阐释了一种指向未来的幽灵性逻辑,最终德里达如马克思一样承继了自相矛盾的柏拉图主义传统,提出了"幽灵性拟像",开启了拟像研究的幽灵学维度。

The problem of the spectre always runs through Derrida＇s philosophical thought. By interpreting St6phane Mallarme＇s ＂Mimique,＂ he brings the spectre, the simulacrum and the phantasm into play, and makes Plato＇s clinical paradigm and his theory of imitation out of work, hence launches ＂the displacement without inversing Platonism and its tradition,＂ which is different from Gilles Deleuze＇s ＂the reversal of Platonism.＂ By intertwining the series of the spectre and the series of the spirit by ＂the ghost of Hamlet,＂ Derrida interprets a ＂simulcral effect of the visor＂ between life and death, the visible and the invisible, and he also elaborates a spectral logic which leads to the future through the repeatability of the spectre. Finally, Derrida, like Karl Marx, inherits the paradoxical tradition of Platonism, putting forward ＂the spectral simulacrum,＂ hence opens the spectral dimension of the research of the simulacrum.