根據語言學的常識，詩歌語言是詩詞、文學中的語言，就是能夠產生比日常語言多一些效 果，有語言中的剩餘之稱。語言基於重複，而重複平常被認為是冗餘的。怎麼從重複建造的語 言創造文學作品？本論文運用德勒茲(Gilles Deleuze)的重複概念來進入這個問題。德勒茲的重 複概念與差異不能分開，因此含有創造的潛力。他分別的裸露與蒙面重複基於三種時間綜合： 習慣、記憶與永恆回歸。本論文思考，語言是否也是三種綜合的集合。對德勒茲來說，語言只 是再現的形式，不過，他遵守文學，所以反之認為，是文學能夠帶來語言中的變化。藝術作品 就含有第三種綜合，而能夠減少日常生活中的日常性與帶來新穎性。從這個角度來探討語言， 可見，德勒茲給語言能夠跨越再現的邊疆的可能性，這就是所謂的口吃的語言。揭開重複、語 言、文學等互相結的繩結表現，語言也可以有創造的潛力。
Poetic language is commonly believed to be the language found in poetry and other literary works that can produce more effects than ordinary language and is considered as language with a surplus value. Language is based on repetition and repetition is usually considered to be redundant. How can then language that is constructed from repetition, produce artistic works? The thesis takes Gilles Deleuze's concept of repetition to approach this problem. For Deleuze difference is an irreducible part of repetition, therefore repetition is a creative force. Deleuze’s bare and masked repetitions are based on three syntheses of time: habit, memory and eternal return. This thesis attempts to answer the question, if language is also a construct of three syntheses. According to Deleuze, language is just a form of representation and he believes that it is the literature, which brings changes into language. Artistic works can reduce the banality of everyday life and bring in new. Approaching language from this aspect shows that language can cross over the limits of representation, becomes stuttering language, language with creative potential.
