晶體－影像（image-cristal）在時間－影像（image-temps） 中具有其特殊的位置，一是就其在時間－影像的特殊位置而言， 晶體－影像作為時間－影像生產的能動模式；二是其影像型態作 為一種思維模式的特殊性，意即連結映射與鄰接的思維表現。換 句話說，我們可以將晶體影像視為德勒茲（Gilles Deleuze）將其 思維跨入電影或影像範疇的核心環節，這個環節同樣具有兩個意 涵，一是該影像作為「可見－不可見」的模式，是一種指向多樣 性（multiplicité）的自發生產，既使得影像的全體具有結構，而 同時又是一種生成性的結構；二是它作為德勒茲討論潛在／實在 （virtuel/actuel）的重要線索。所以，晶體－影像已經不屬於圖 像（figure）的範疇，而同時是圖像化（figural）的動力與令圖像 具有思辯動力的元素，這篇論文就基於這個關懷上，並將這個在 電影中發展出來的概念，置放在德勒茲的思維表現中進行對其思 維的深入探討。就「晶體－影像」這一詞彙而言，論者集中在「晶體」究竟 作為這影像思考的一種隱喻，還是一種存在著必要聯繫的表達， 也就會牽涉到「晶體」究竟作為一種隱喻還是表現（expression）， 而這個問題首先就可以溯回六○年代共通的哲學問題，意即哲學 的語言問題與表現問題。所以，這問題便具有歷史性與思辯性的 雙重面向，論文的進行選取了里柯（Paul Ricoeur）的《活潑隱 喻》（La Métaphore vive）來同德勒茲「晶體－影像」的表達作 一比較，前者企圖通過詮釋學的細緻分析，開解出隱喻中的開放 性與不確定性的思維力量，後者則極力地區分出隱喻同表現之間 不可化約的差異。通過這關於隱喻與表現的比對，對於他們所共 同面對的哲學語言的表現問題，能夠有更為深入的討論，讓我們 在進入充滿自創新詞的德勒茲式文本時，能夠更為精確地捕捉其 中關乎題旨核心的思維差異究竟為何。

The Crystal-Image holds a key position in the Time-Image conceived by Gilles Deleuze. For one thing, Deleuze’s Crystal-Image is the productive dynamic mode of the Time-Image; for another, it works like a characteristic mode of thinking, i.e., thinking that links projection and neighboring. The Crystal-Image might also be regarded as the key node, through which Deleuze reflects on cinema, including the images. This Crystal-Image node thus has two senses, 1) as the mode of “visible-in(-)visible”, an autonomous production towards multiplicity, constituting the structure of the “all” of image, but in a genetic way; 2) as speculation about the “actual/virtual” in Deleuze’s thought. Therefore, the Crystal-Image in Deleuze transcends the category of figure while reflecting the dynamism of the figural, i.e., the element that endows the figure with the power of speculation. I situate this concept in Deleuze’s thought in order to probe more deeply into his manner of thinking. “Crystal” works like metaphor of his Image-Thinking, e.g., as “expression” with some necessary relations. This problematic reenacts philosophic questions of ‘60s, e.g., the problem of language and the problem of expression. Hence, it contains the dual aspects of the historic and the speculative. This essay compares Ricoeur’s notion of metaphor with Deleuze’s “Crystal-Image”. The former sought to clear up the openness and the uncertainty in the cognitive power of metaphor while the latter indicated the difference between metaphor and expression. This comparison between metaphor and expression leads to deeper reflection on the problem of expression of philosophic language, and through this reflection, we can better grasp the difference of thinking in Deleuze’s neologian text.