Abstract The essay examines solitude not as fate, sacrifice or passion, but as an experience that is actively initiated, that is perceived ambivalently, sometimes painfully, but also sensually, and that functions as context as well as occasion for the practice of cultural techniques – talking (to oneself), reading, writing, drawing or painting. Solitude techniques are analysed as “technologies of the self” (Michel Foucault) and “techniques of the body” (Marcel Mauss), as strategies for self-perception and “internal policy” (Paul Valéry). The history of these self-techniques as solitude techniques is unfolded using examples from Stoic philosophy and early Christian theology. An emphasis is placed on self-doubling or splitting techniques: those who are alone with themselves also see themselves as more or less resilient objects that can be strengthened against the influences of other voices and people. Among the techniques of solitude is, above all, the quest for suitable places that are often – desert, sea, mountain peak, etc. – characterised not only by being devoid of humans, but also by a kind of uniformity. In this way, they resemble writing or drawing surfaces on which meanings can be brought to light through sketches or graphic characters.

中文翻译：

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独自一人

摘要 本文考察的孤独不是命运、牺牲或激情，而是一种主动发起的体验，它被矛盾地感知，有时是痛苦的，但也是感性的，它作为文化技术实践的背景和场合—— （自言自语）、阅读、写作、绘画或绘画。孤独技术被分析为“自我技术”（米歇尔福柯）和“身体技术”（马塞尔莫斯），作为自我感知和“内部政策”的策略（保罗瓦莱里）。使用斯多葛哲学和早期基督教神学的例子来展示这些作为孤独技巧的自我技巧的历史。重点放在自我加倍或分裂技术上：独处的人也将自己视为或多或少具有弹性的对象，可以增强抵抗其他声音和人的影响。在孤独的技巧中，最重要的是寻找合适的地方，这些地方通常是沙漠、大海、山峰等，其特点不仅是没有人，而且还有一种统一性。通过这种方式，它们类似于书写或绘图表面，可以通过草图或图形字符在其上揭示含义。