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DE-COINCIDENCE：Where Art and Existence Come From

為了解決含有英文的問題，作者FrançoisJullien 這樣論述：

　　40多年來，法國哲學家、希臘學學家和漢學家朱利安（François Jullien），運用了中國語言的思想資源，重新審思並拓展歐洲思想。迄今，他出版了40多本論著，這些書已被譯成25種語言。他所建構的哲思概念已在法國、歐洲以及歐洲域外產生影響，不僅在思想領域，也在其他領域：藝術創作、企業管理、精神分析等等……引發了眾多迴響。 　　本書DE-COINCIDENCE《去相合》是他眾多哲學思想中的一個關鍵詞。此書含有英文翻譯版及法文原版。 　　De-coincidence 　　Where Art and Existence Come From 　　Two edges o

f the painting, along an oblique line, are unpainted (see the small painting done by a young Picasso in Barcelona). There are works of classical painting with areas left unpainted, but in this case the whole painting seems offset from its medium: it no longer coincides with the medium in the primary

—geometric—sense of the term, where lines or surfaces align exactly when superimposed. In this painting we can detect a new possibility—as yet only hinted at—that begins to sap the whole edifice of what had come before in painting. The close-fitting adjunction, familiar and adequated, is undone, and

in the undoing something unexpected and unthought-of surreptitiously emerges and comes to be. Such is the power of de-coincidence to unfurl. 　　Artists ever since have been methodically applying themselves to the enterprise of de-coincidence. They have striven to undo the capacity for coincidence t

hat lies at the core of art’s previous apparatus—and specifically of representation (the observance of shapes and proportions as well as the demands of perspective, the reproduction of colors, and anything that produces resemblance), which they denounce as an illusion. The purpose of the enterprise,

however, is not merely to establish a rupture with the past, to break free from constraints and norms, to mark out deviance or assert dissent—i.e., to denounce an adequation that smacks of conformity. As a concept de-coincidence goes back further, to the origin of the écart that made modernity and

elucidates it in its principle. This while demonstrating that "coinciding" (entering into complete adequation), although it satisfy and perhaps even amount to an exploit, is not viable and, at bottom, lacks exigency: it is at once fake and sterile. Thus de-coinciding 　　returns our attention to, and

legitimizes, the other meaning of coincidence: that of the purely adventitious encounter ("sheer coincidence"), the encounter with no apparent justification. In the play (jeu) of this single term’s opposite meanings—the fortuitous or the adequated, the accidental or the adapted—can we not discern th

e very possibility, the more primal possibility, from which art and existence come to us? 　　De-coincidence undoes the enterprise of coincidence on which classical art rests (did perhaps the great painters of the past not have a secret sense of such a de-coincidence and its exigencies?), but a paral

lel de-coincidence just as thoroughly undoes the ontological enterprise that establishes truth as adequation (between "thing" and "mind"). Or, indeed, undoes the moral of wisdom: living "in conformity with nature." Modernity founds itself on this new suspicion that there is no "nature" or Being to s

erve as possible substructure and foundational order anymore. To de-coincide, however, is to open an écart with respect to a congruity that brooks no further latitude or initiative; it is to extricate oneself from an order that, in its fulfillment, inhibits its possibles and sterilizes. Coincidence

is death. To coincide is to bog down, whereas to de-coincide is to promouvoir (elevate and valorize) and dégager (extricate, extend, and develop). 　　What elevated (s’est promu) as "man" had already de-coincided with previous animal forms (with other "hominids") by introducing an écart with respect

to their preceding adaptation (by "ex-aptation," one might say). Whereas coinciding buries the possibility of consciousness, it is, on the contrary, by de-coinciding that consciousness can, by dis-adhering, break free and unfurl its capacity. (Zen too makes use of this effect.) Or, in still other wo

rds, the subject elevates by de-coinciding with its integration in a world. If to ex-ist is precisely to "opt to remain outside," then what one remains outside of is, first of all, the coincidence that constitutes the world. It is because they have been exiled from the perfect coincidence of terrest

rial paradise that Adam and Eve can begin to exist as subjects and gain access to a History. If "man alone ex-ists," he does so insofar as he can de-coincide with the world and thereby introduce a margin of initiative or liberty. This de-coincidence is something art is duty-bound not so much to expr

ess as to activate. 　　「去相合」藝術與暢活從何而來 　　在兩邊上，隨著一條不明顯的線，這張圖並沒畫（請看年輕的畢卡索在巴塞隆納所畫的那張小圖）。在歐洲以前的繪畫當中已經有畫家留下沒畫的部分。然而這一次，整幅圖畫相較於它的畫布，顯得有落差：因為按照相合最初的——幾何——定義，線條或者表面是完全恰合的，但是這圖畫不再與畫布相合了（ne coïncide plus）。此處就還相當含蓄地透露了一種新的可能性，使之前的整座繪畫建築物開始衰弱：期待中的合宜銜接被拆解了，某種沒構想的意料之外的東西含蓄地湧現而存在。这就是「去相合」（dé-coïncidence）要開展的大能。 　

　藝術家自此之後就堅持地實踐「去相合」。他們致力拆解「相合」力（coïncidence），這種相合力之前是藝術構作的核心，而首先就拆解「再現」的構作之相合力，揭發「再現」的構作是幻象：尊重形式和比例﹑透視法的要求﹑色彩之再造和一切產生相似的。然而，那不只是導入一個斷裂，從限制和規範裡自我解放出來，做出偏航或者確認某種異議；就是說，那不在於揭發某種因被懷疑是循規蹈矩的「相等」（adéquation）。「去相合」確實是一種上溯到更靠近製造了現代性的「湧距」（l’écart）出發之處的概念，並且在「湧距」的原則上照明了「湧距」。那凸顯出進入完美相等的「相合」是令人滿意的，甚至可以是一項英雄偉蹟；但是

行不通的並且究竟是缺乏嚴謹要求的，「相合」既是矯作的也是毫無孕育力的。由此，「去相合」讓人重新聽見「coïncidence」的另一個意思，並且給予它合理性：純偶然的巧遇（「純偶遇」）而且沒有任何事物似乎可證明其合理性。在「coïncidence」那兩種相反的意思──偶遇或符合，偶然的或調整順應的──所打開的「間遊」（le jeu）當中，我們難道沒偵察出那產生藝術與暢活（existence）的更原初的可能性嗎？ 　　正如「去相合」拆解了歐洲以前的藝術賴以建立（並且憩於其上）的「相合」（不過，偉大的畫家們倒是暗地裡感覺到「去相合」及其嚴謹要求，不是嗎？），「去相合」也同樣地拆解了那把真理看作（「

物」與「心」）相等的本體論的工作。「去相合」還拆解了「順從大自然而生活」這種聖人之道的道德。現代性的確就安營在這個新起的懷疑之上，就是不再有「大自然」或「存有」作為可能載體和根本秩序。與之不同的，「去相合」乃針對一個不再具有「間遊」和「主動性」的合宜性，打開「湧距」；這是從一種井然有序當中抽身出來，該井然有序因填滿自己而阻擋了多種可能性並且造成貧瘠。相合就是死亡：相合是沈溺萎縮（enlisement），「去相合」反倒是推動（promotion）與脫展（dégagement）。 　　那提升為「人」者，早已與人的動物性（「人科」hominidés）從前的種種表現形式有了「去相合」，而且在面對他們

之前的調適時（我們也許可以說通過「脫除調適」« ex-aptation »）導入了「湧距」。相合埋藏了人有意識的可能性，與之相反的，人的意識乃因「去相合」而能夠通過除掉附著去開拓它的能力──「禪」也運用這種作用。或者換個說法，那是經由與他所整合入的世界「去相合」來自我推動的主體。如果「ex-ister」正表示「挺身於……之外」（« se tenir hors »），它首先就表示挺身於形成世界的相合之外，亞當和夏娃正是因為被放逐而走出了地上樂園那完美相合的秩序，才開始以作為主體存在並且才可能進入一個歷史過程。如果「只有人可以暢活」，這是只要人可以與世界「去相合」，為了在世界裡面導入主動性或自由的

餘地。藝術的任務，不是表達而是實現「去相合」。

含有英文進入發燒排行的影片

從歌詞中看語言使用--以英文語碼轉換為中心

為了解決含有英文的問題，作者鄭佳凌 這樣論述：

本文主旨在探討中文歌詞中之語言使用、英文語碼轉換的現象及其社語功能。從十張專輯總共收集四百七十五個詞數。之前的研究主要著重在口頭會話中的語碼轉換(code switching/code mixing)及少許研究廣告、報紙或雜誌上的語碼轉換，然而很少有人注意到歌詞中語碼轉換的現象；因此，在此篇論文裡主要研究歌詞中的語碼轉換現象。此外，在社會語言學中，性別是一個被廣泛討論的議題，也是此篇論文調查研究的重點之一，藉以了解男女歌手之語碼轉換情形。另外，由於全球化的緣故，英文之重要性日益增加。此重要性顯現於日常生活、教育及政府政策上。人們在生活上使用越來越多英文，例如:報紙、雜誌、電視節目…等。有鑑於

此，我們假設在歌詞上也會使用越多的英文。藉由探討專輯出版年和語碼轉換之關係，可以了解：隨著時間過去，會否有越多的英文詞彙出現在歌詞中。在此論文中討論四個研究主題。第一個問題：從金曲獎裡最佳國語男/女歌手得獎人的專輯歌詞中，哪一種語碼轉換類型最常被使用？第二個問題：性別和語碼轉換之關係為何？第三個問題：專輯出版年和語碼轉換之關係為何？第四個問題：從金曲獎裡最佳國語男/女歌手得獎人的專輯歌詞中，語碼轉換有哪些社語功能？根據收集到的資料分析，歌詞中有七種不同類型的英文語碼轉換。包括：英文字母、縮寫、形容詞片語、副詞片語、名詞片語、動詞片語、感嘆詞、子句及句子。這些語碼轉換類型中最常被使用到的類型是感

嘆詞。此研究也發現，男人與女人使用語言方式並不相同。在此論文中，我們發現中文歌詞中含有英文語碼轉換的比率，男女歌手並不一樣。其中，男歌手的中文歌詞裡含有英文語碼轉換的比率高於女歌手。針對此發現的可能解釋是:男性企圖展現出比女性擁有更高的社會地位。最後，歌詞中語碼轉換的社語功能主要根據王炳勻(Wang 2006)的研究來討論和分析。從收集到的詞數中，總共發現了十三種的社語功能：重複、音樂性填補、可靠性、資訊補充、指示特定人、強調歌名、表情、修辭、表意、指令、應酬、後設語言功能以及其他。大部分的語碼轉換不止包括一樣社語功能，而是包含多種社語功能。