本文以身兼學者及詩人雙重身分的台灣現代詩學家翁文嫻（1952-）的詩學論述為研究焦點，並透過法國漢學哲學家朱利安（FrançoisJullien，1951-）思想體系中之「去相合」（dé-coïncidence）概念，作為描述及梳理翁氏整體詩學發展與建構的分析理路。首先，本文將回顧朱利安整體哲學的發展流勢，並著重梳理「去相合」此概念的思想內涵與論述潛能，進一步析論翁文嫻的詩學建構。接續，追索翁文嫻的詩意實踐路徑與其詩學背後的思想資源，釐清這些異質多元的論述資源如何轉化成為翁氏「對應、變形、敘事」三類進入華文現代詩歌語言結構的詮釋框架，以及後期「字思維」詩學觀念彼此交織互動下，前述三組框架對於現代詩學所能開展的詮釋學路徑。最後，探討翁氏近期詩學頻繁對話的「間距」（écart）概念，嘗試說明此概念如何在認識論層次上支撐並深化「字思維」觀念所能內爆的「孕育力」潛勢。藉著「去相合」的詩意實踐，翁文嫻將華文現代詩研究推向更遼闊之境域，亦刻劃了台灣當代詩學精湛而獨特的路徑。

This essay investigates the development and construction of Yung Man- Han’s (1952-) poetic discourse and creative practice through the lens of French sinologist-philosopher François Jullien’s (1951-) concept of “dé-coïncidence.” Born in Hong Kong and trained in multiple areas (Taiwan, Hong Kong, and France), Yung Man-Han is one of the most productive and innovative poetscholars based in Taiwan. However, the existing scholarship regarding Yung’s poetic discourse and creation remains insufficient. This essay begins with a systematic overview of Jullien’s philosophical discourse, with a particular focus on his recent concept of “dé-coïncidence” so as to better understand Yung’s discursive formation of poetics. Next, I discuss the way in which Yung incorporates the kernels of both Chinese classics and Western theories into three poetic notions (derived from Classic of Poetry)―reflection, transfiguration, and narration―and how she analyzes modern poetry from the perspective of “character/word-thinking.” Lastly, this paper scrutinizes how Yung utilizes Jullien’s theorization of “l’ecart” to further enrich her poetics, or more precisely, to fully reveal the fecundity of modern poetic language through her distinctive poetics. By considering Yung’s poetic discourse and creation a form of poetic “dé-coïncidence,” this paper argues that Yung’s poetics has largely pushed the boundary of modern Sinophone poetry studies and constituted itself as a unique poetics situated in Taiwan.