幻設轉向
「千禧年」之「喻」

白瑞梅*

摘要

The Speculative Turn
Parables for the Millennium

Amie Parry*

Abstract

人外與「外人」
探究旁若文本的跨物種政治與世界構築

洪凌*

摘要

Extra-Humans and Other-Than-Humanity
Extrapolating Interspecies Politics and World Buildings in Paraliterary Writings

Lucifer Hung*

Abstract

控制社會中的昆蟲式反抗
以《Psycho-Pass 心靈判官》為例

林宛瑄*

摘要

傅柯觀察十八世紀十九世紀的歐洲社會，提出了規訓社會一詞，指涉仰賴各種拘禁場所或管制場所的權力運作模式。德勒茲則指出，到了二十世紀初，因應遍布的網路與各種監控科技的發明，權力的運作已經脫離這些場所的侷限。面對鋪天蓋地的新興數位監控體系，我們是否還有反抗權力體制的可能性？可能的話又是如何發生？

不論是從數位生物科技如何組構社會或是網絡型政治組織興起的角度切入，不少當代論者都以昆蟲做為方法來探討當代社會的權力運作模式與從事反抗的可能性，也一再指出「蟲群政治」（politics of swarms）的內在矛盾或說曖昧性。本論文將從上述脈絡出發，以《Psycho-Pass 心靈判官》動畫系列為例，探討在控制社會中進行昆蟲式反抗的可能性。本人主張在昆蟲模式的曖昧性中找到驅動流變為蟲群的張力，乃是昆蟲式反抗動力迸發之處；而「無臉」昆蟲對「臉性」概念的衝擊，以及擬態所帶動的流變為不可察覺（becoming-imperceptible）邏輯，則提供了昆蟲式反抗的行動策略。

Lessons of Swarm-Style Resistance in the Societies of Control from the Psycho-Pass Series

Wan-shuan Lin*

Abstract

The beginning of the 20th century witnessed the invention of digital networks and new surveillance technologies. New paradigms of control, according to Gilles Deleuze, thereafter pervade modern societies. With an allencompassing and sophisticated digital system of surveillance immersing itself in every aspect of the society, is resistance possible at all? And how might it be possible?

A number of scholars have employed the notions of insects and swarms to investigate the impact of information technology and biotechnology on society as well as the configuration of network political organizations. Many find the insect metaphor useful in analyzing the relationship of resistance to power in control societies. However, since swarming can inform both modes of resistance and control, repeated references to contradictions within the so-called “politics of swarms” have been raised. This paper takes as its aim to explore applicable strategies to cultivate resistance while circumventing its
inherent contradictions. The Psycho-pass Series is drawn as an example to set
up a swarm-style resistance in control societies. Two of the most noteworthy
lessons from the series would be swarming without a face to undermine the machine of faciality and resorting to mimicry to trigger the process of becoming-imperceptible.

論柏拉圖《斐德羅篇》中的修辭
從蘇格拉底的戰車寓言到修辭的空間形構

蔡仁傑*

摘要

論者對於柏拉圖《斐德羅篇》及《高爾吉亞篇》中的修辭，大致上是從知識論、形上學、倫理學等方面進行理解。然而，這些視角卻忽略了《斐德羅篇》是柏拉圖唯一一次讓蘇格拉底身處在雅典城外實際進行哲學討論的對話錄：於該空間，他未如在《高爾吉亞篇》中極力否定修辭，反而認可植基於知識的修辭實踐。於此，本研究認為，此空間面向可用來探討蘇格拉底於《斐德羅篇》中對於修辭的再概念化，且具體而微地隱含在該對話中提出的靈魂為馭手、駿馬、戰車三者一體的比喻中。該比喻透過其移動、行旅、升騰、迴轉、沉淪等意象，串連、支配了對話中各種可能的空間形式：除了蘇格拉底修辭之旅帶出的城裡城外的分別，尚有對談的優美勝地（梧桐樹場景）、形上形下空間的二分、哲學疆域的開放與鞏固，以及修辭在地視角與全知空間的對比。因此，本研究認為有必要就空間此範疇思索《斐德羅篇》中修辭於對話中的空間定位及移動，並進一步配合戰車寓言，爬梳修辭的本質及特徵，而指出，《斐德羅篇》其實重述了《高爾吉亞篇》中棄卻修辭的基調。

Rhetoric in Plato’s Phaedrus
From Socrates’ Chariot Allegory to the Spatial Configuration of Rhetoric

Jen-chieh Tsai*

Abstract

Scholars have generally tried to explore rhetoric in Plato’s Phaedrus and Gorgias from the perspectives of epistemology, metaphysics, and ethics. Such attempts have paid little attention to the fact that the Phaedrus is the one and only dialogue by Plato in which Socrates ratiocinates about matters outside Athens—where he might feel less obligated to challenge rhetoric than in the Gorgias and rather endorses rhetorical practice based on knowledge. Accordingly, this paper proposes that the notion of “space” should be used to explore Socrates’ reconceptualization of rhetoric in the said dialogue. It turns out that the space in the Phaedrus is largely informed and dominated by the chariot allegory proposed by the philosopher through images of movement, journey, rising, revolving, and falling. Specifically, the spatial forms in the Phaedrus include the contrast between the inside and the outside of Athens, the locus amoenus (the plane tree scene), the antithesis between metaphysical and physical space, the de/reterritorialization of philosophy, and the localization of rhetoric vis-à-vis the holism of knowledge. Hence, this paper argues that, considering such forms and the chariot allegory in approaching rhetoric, Socrates reterritorializes philosophy by rejecting rhetoric once more just as in the Gorgias.