因奧斯維辛之後重要德語詩人保羅‧ 策蘭（Paul Celan, 1920-1970） 作品對西方詩學內部產生的斷裂性衝擊，本文將採取一個較為迂迴的 討論策略，不直接詮釋策蘭詩歌，而是致力於思考災難對詩歌的言說 主體／我產生的變異作用，以及當代思想把握此種表象變異的可能途 徑。本文第一部份通過考察斯坦納、斯叢狄等研究者對策蘭詩歌的置 放與解讀，嘗試勾勒策蘭災難之詩對詩歌與思想這一古希臘以來的雙 面體所給予的內在界限、劃痕，描述策蘭詩學內生於當代思想與話語 的絕境態勢。第二部份討論災難之思與災難之詩的相互啟發，嘗試著 去理解後奧斯維辛藝術與詩如何突破納粹對世界的過度表象，突破詞 與對象一一對應的關係，走向先驗統覺破裂之後的表象自身的間距。 策蘭對陌異者的期許，暗示災難之後的詩歌要求言說主體摒棄對災難 的自然態度，從話語法則的變更入手進行詩化創造。

Considering the decisive interruption within Western poetics introduced by Paul Celan’s work, this essay takes a devious path in discussing Celan’s importance for contemporary thought. I avoid direct engagement with interpretation of any poem by Celan but try to think through the alterations of the speaking subject caused by the historical disaster of the Holocaust. Examining how critics like George Steiner and Peter Szondi situate Celan’s work, the first part of the essay delineates the inner limit/cut that Celan’s poetry of disaster has inflicted upon the double face of poetry-thought, which can be traced back to its Greek origin. The second part is focused on the thinking and poeticizing of disaster as a direct response to the Nazi’s excessive representation of the world. Celan’s poetics, I will argue, originates in the fissure of Kantian transcendental apperception, or the inner spacing of representations. Celan’s calling to “the strange” urges post-Auschwitz art and poetry to abandon any natural attitude towards disaster and to address the alterations of representational discourse in the form of poetic aporia.