本文旨在探討德勒茲從非人稱到非人稱性的發展，一個關乎二十世紀的創造理論。首先揭示德勒茲非人稱的哲學動機，及其悖論邏輯的操作設想；接著深入分析非人稱實踐，包括：藝術的非人稱性、哲學的非人稱性和文體的非人稱性等三種創造；並且延伸討論非人稱性的艾甬時間超越浪漫主義美學的理由，乃至艾甬時間探索未知的創造特性。最後發現德勒茲是以不定性的辨別力，穿梭於哲學、藝術和科學三者之間，進行複合性思索，勾勒創造理論，從而打開一種史無前例的藝術哲學視野。此舉越過了思想界對此三個領域的區隔或關聯之爭議，也走出了浪漫主義者到海德格所主張的藝術與美學之理想形象傳統。 This paper discusses the development of Deleuze's theory of impersonality from impersonal, a critical theory of creation for the 20th century. The paper first reveals the philosophical motivation of Deleuze's impersonal and its operational hypothesis of paradoxical logic. The paper then analyzes the application of impersonal, including impersonality of art, philosophy, and writing. The discussion extends to the rationale that the impersonality in time of Aiôn exceeds the scope of romantic aesthetics. The paper presents the creative nature of exploring the future in time of Aiôn. The paper concludes that Deleuze opened an new era in art philosophy by traveling among philosophy, art and science through his infinite discretion, proceeded with complex thoughts, and created his new theory. Deleuze's approach has transcended the conventional blockages that separated the philosophy, art and science, and stepped out from Romanticists to Heidergger, proposing an idealistic image of art and aesthetics.
政治大學哲學學報, 25, 1-45 The national Chengchi university philosophical