與鬼魂共生：在（不）可能的哀悼中成為幽靈性的我們

Abstract

本篇論文旨在探索生者與死者之間的對位關係，及其在記憶與哀悼拓樸關係中的幽靈性影響。不同於精神分析對哀悼的傳統論點，此論文著重於哲學與文學轉向，從傳統上對主體苦難的重視，轉向倫理關懷，試著重新將他者視為他者，以避免將自我與他者關係視為二元對立。為了處理這些議題，得希德討論了記憶的幽靈性與哀悼的不可決定性，並研究兩者之間的困境。本論文從此觀點出發，並思考生者該如何回應死者留下的幽靈痕跡、以及此責任如何影響自我與他者間的共融與再連結。哀悼議題除了得到哲學性的理論關注，亦受到當代文本的關切。因此，本論文亦比較分析兩部維多利亞時期、與兩部後現代的驚悚文類，以討論何種情況會使哀悼成為不可能，並深入分析哀悼中與鬼魂的共生模式。

本研究分為五個主要章節。第一章以體內化為主題，爬梳佛洛伊德精神分析對憂鬱症的研究，解析此學說如何從主體的角度來看待客體關係、並檢視此觀點對哀悼產生的限制。此章節亦閱讀兩部維多利亞時期的驚悚文本，包括約瑟夫・謝里登・樂法努的《卡蜜拉》（1872）與奧斯卡・王爾德的《格雷的畫像》（1890）。兩部作品都展現了當時社會對生者拒絕放棄失落客體關係的不安、與生死邊界鬆動的負面想像。第二章闡述了尼可拉斯・亞伯拉罕與瑪莉亞・托洛克如何檢視佛洛伊德理論中懸而未決的問題。這兩位理論家於此發展的密室概念啟發了德希達對於記憶與哀悼的反思，使其探討自我與他者關係間的拓墣辯證之可能性。記憶的內外拓墣性質會共存於自我與他者之間，也因此，德希達對哀悼的思考進而促使他留心人們在悼念過程中常見的自戀性內部化，並延伸探討幽靈纏繞的對位關係與幽靈性的彌賽亞特質。這部分會在第三與第四章中討論。儘管德希達的觀點為哀悼提供了更有希望的實驗方向，但仍有其未足之境。也因此，第五章分析兩部後現代驚悚文本，包括佛朗索瓦・吉拉德執導的電影《紅色小提琴》（1998）與唐・德里羅的中篇小說《身體藝術家》（2001）。經由文本分析，我們除了可以探究德希達觀點的可能性，也能延伸解析在文本中，要如何實踐生者與其密室幽靈的互動、以在不可能哀悼中的達成哀悼的可能性。

This dissertation aims to explore the contrapuntal relationship between the living and the dead and its spectral influence on the topography between memory and mourning. Moving away from the classical psychoanalytic accounts of mourning, this dissertation deals with the philosophical and literary turns from a conventional focus on the subject’s suffering from loss to ethical attention on the potential for re-appropriating the other as other, avoiding a binary-oppositional view on the self-other relation. Founded on Derrida’s meditations on the aporetic relation between the spectrality of memory and the undecidable possibility of mourning, this dissertation revolves around a revolutionary concern about the living’s duty to respond to the spectral trace left by the dead and its contribution to a mutual communion and reconnection between self and other. Critical analysis of literary texts will be carried out with a detailed comparison between two Victorian and two Postmodern gothic narratives, suggesting alternative ways of mourning by learning to live with the ghost.

Five chapters mainly structure this research. With a central discussion on the mechanism of incorporation, Chapter One examines, first, how the Freudian lines of melancholia study give a glimpse into the dynamics between the structure of subjectivity and object relations, and then, how their subject-centered model limits the work of mourning. This chapter also analyzes two Victorian gothic texts, Joseph Sheridan Le Fanu’s Carmilla (1872) and Oscar Wilde’s The Picture of Dorian Gray (1890), both of which well exemplify the negative imaginations about the survivor’s refusal to give up the lost object relation and the unsettled borderline between the living/dead. The second chapter explicates Nicolas Abraham and Maria Torok’s reflection on the questions left in the Freudian theories, addressing their conception of the crypt and how it inspires Derrida’s essay “Fors,” in which he re-thinks the topographical possibility of self-other relation in memory and mourning. Based on this dialectical inside-outside topography of memory coexisting in between self and other, Derrida’s meditations on mourning, as the third and fourth chapters will delineate, help cultivate his awareness of narcissistic interiorization and ideas of contrapuntal relationship of haunting and spectral messianicity. Chapter Five tries to perform and extend the Derridean promise of the (im)possible mourning by investigating both the interactions between the survivor and the heterocryptic ghosts and their union as the “uneditorial we” in The Red Violin, the drama film directed by François Girard released in 1998, and The Body Artist, Don DeLillo’s novella published in 2001.