本书出发点在于探讨蒙太奇与德布林“整体性”思考、主体性批判、语言哲学以及和他的小说诗学之间的关系，旨在扬弃“蒙太奇源自电影摄影术”的陈词滥调。颠覆性的假设需要另类的理论视角，本书借助德布林和中国道家哲学之间的关系，以及与作家同时期其他思想家（如海德格尔、里尔克、布洛赫）的哲思相通性，将庄子的“卮言”锐化为一种理论工具，一反常见的以西方理论指导中国文学现象的普遍做法，逆向性地用极具民族特色的文论话语去剖析一种典型的西方现代文艺现象。为充实阐释的理据性，本书给出了一些新概念，如“文化同位素”，并对一系列看似无异议的概念进行了全新梳理与界定，如“蒙太奇”“整体性”“混沌”，等等。全书分为两部分：哲学比较和文学比较。第一部分从本体论、主体性和语言理论三个维度，比较了德布林和庄子思想的亲缘性以及和西方古往今来诸多大家的异同之处，以便用道家理论语汇（如“明”“心斋”“齐物”）更为契合地捕捉德布林诗学核心本质；在第二部分里，“卮言”被视为语用原则，而由庄子提出的“象言”“寓言”和“重言”则成为具体的语用方式，以此三种方式将德布林作品中的蒙太奇片段归纳成类，从而提供了崭新的考察视角和阐释发轫点。

关键词：蒙太奇，卮言，整体性，旋涡，象言，寓言，重言，文化同位素

Abstract

The present study sets out as a discussion of the relationship between montage and Döblin's reflection on totality,criticism of subjectivity,and philosophy of language,as well as of that between montage and the poetics of his novel,so as to sublate such cliches as“montage was derived from cinematic techniques”.Since subversive hypothesis is always underpinned by an original theoretic perspective,this study appropriates innovatively Zhuangzi's zhīyánas its theoretic framework to reject the general practice of employing western theories in the studies of Chinese literature.Based upon the close relationship between Döblin and Chinese Daoist philosophy as well as the philosophical affinities between the writer and other philosophers like Martin Heidegger,Rainer Maria Rilke and Ernst Bloch,it approaches a typical modern western literary phenomenon with the aid of a discourse of Chinese literary criticism.It introduces a number of new concepts including“cultural isotopes”,and re-defines a number of seemingly indisputable concepts like“montage”,“totality”and“hùndùn”so that the theoretical basis of its interpretation can be enhanced.The whole study is consisted of two parts,namely philosophical comparisons and literary comparisons.The first part examines,from the three persepctives of ontology,subjectivity and language theories,the affinity between Döblin's thoughts and those of Zhuangzi's,as well as the similarities and differences between Döblin's thoughts and those of the outstanding thinkers in the history of western philosophy.In this way,the book grasps the essence of Döblin's poetics compatibly with the help of Daoist theoretical terms like“clarity（míng）”,“fasting of the mind（xīnzhāi）”,and“equality of things（qíwù）”.In the second part of the book,“zhīyán”is regarded as the language application principle,while Zhuangzi's ideas of“xiàngyán”,“yùyán”,and“chóngyán”are appropriated as actual ways of language use.These three ways of language use are then employed as the starting points of interpretation to categorize the montage sequences in Döblin's works.

Key Words: montage,zhīyán,totality,vortex,xiàngyán,yùyán,chóngyán,cultural isotopes