柄谷行人《日本现代文学的起源》出版至今，学界的研究多将之视为现代理性批判的一个环节。若考虑到柄谷同时期理论创建，将《起源》置于他一贯的理路中考察，则会发现其中亦涌动着视差的暗流，现代文学中所存在的“装置”也正是视差缺失的结果。“装置”欲在现代文学中突显的“自我意识”不过是对自我意识的排除，并通过将“排除”这一动作隐藏起来形成一个封闭的“场”。如此一来，关于现代文学的诸多争论如深度、情节等都只是在“装置”内部的争论，不仅无法达到对“装置”的瓦解，反而成为对“装置”的补足与活性化。视差所揭示的是“起源”“终结”与“现代文学”的症候性地位，暴露出文学观念的历史性与被建构性。本文试图从“视差”维度对“装置”进行再次解明，将“起源”与“终结”视为同一“场”中相互转化与补足的两者，并对装置的产生与作用进行认识论层面的反思——视差的介入则提供了一条跳出“装置”并从外部将其瓦解的路径。

Since Kojin Karatani's Origins of Modern Japanese Literature was published, it has been regarded as an example of modern criticism based on rationalism. Considering Karatani's theoretical constructions at that time and his entire academic career, a hidden concept of parallax can be found, and the apparatus that exists in modern Japanese literature, as Karatani sees it, results from the lack of this parallax. In contrast to modern literature's emphasis on self-consciousness, the apparatus excludes self-consciousness and engenders a closed field by means of this exclusion. Therefore, arguments on modern literature, such as depth and plot, remain inside the apparatus; not only do they fail to disintegrate the apparatus, they reinforce and activate it instead. Overall, parallax unveils the symptomatic nature of the concepts such as "origin", "end," and "modern literature" and uncovers the historicity and constructiveness of literary conception. This article attempts to unravel the Karatanian apparatus through the lens of parallax. Taking "origin" and "end" as interactive counterparts in the same field, it revisits the formation and functions of the apparatus on the epistemological level. The conclusion, however, is that the involvement of parallax offers an opportunity to get free from the apparatus and undermine it from the outside.