愛、認同與女性主體性: 以拉岡派精神分析閱讀達芙妮·杜莫里哀小說《蝴蝶夢》

Abstract

本論文旨在以拉岡派精神分析之觀點針對達芙妮·杜莫里哀所著小說《蝴蝶夢》(1938) 提出一種新的詮釋方式。相對於傳統父權體制觀點傾向於將蕾貝卡解讀為負面的壞女人代表,本文從拉岡派精神分析的角度出發,認為蕾貝卡實則對書中的敘事者「我」的女性主體性之形塑扮演著重要的協助角色。不同於將蕾貝卡與「我」視為情敵關係之常見解讀,本文第一章首先試圖以拉岡所提出的鏡像理論來重新剖析蕾貝卡與「我」這兩位前後任狄溫特太太之間的關係。拉岡鏡像理論中描述自我如何經由對其鏡像的認同而得以形塑其主體,使之由想像層進入象徵層;本文運用此理論來說明「我」是如何透過對蕾貝卡的認同而逐漸由懵懂青澀的少女成長為具有女性意識的女性主體。 接著,第二章則進一步探討兩位前後任狄溫特太太及她們的丈夫麥可辛·狄溫特三人之間的關係。本章企圖以拉岡於其第二十講座中所提出的性別圖解及性別關係理論來重新界定三人之間的關係,並藉此顛覆將此三人關係視為愛情三角習題關係之傳統詮釋。透過對蕾貝卡的認 同,「我」終於得以形塑其自身的女性主體性;由此作者杜莫里哀也寄寓了其對於二十世紀新的女性主體崛起之可能性。

This thesis aims to propose a new interpretation to Daphne du Maurier’s Rebecca (1938) by means of Lacanian psychoanalysis. Contrary to traditional patriarchal reading, which tends to read Rebecca as a negative symbol of ‘bad woman’, based on Lacanian psychoanalysis, this thesis argues that Rebecca in fact plays an important helping role in the formation of the narrator I’s feminine subjectivity. Chapter One attempts to reanalyze the relationship between the two Mmes. de Winters, Rebecca and I. By resorting to Lacan’s Mirror Stage theory, which delineates the process of ego formation through identifying with the mirror image and the traverse from the Imaginary Order to the Symbolic Order, this chapter explains how I is transformed from an unsophisticated young girl to a feminine subject by identifying with the gestalt figure, Rebecca. Subsequently, Chapter Two further investigates the relationship between the two Mmes. de Winters and their husband, Maxim de Winter. This chapter not only intends to reconsider the relationship between these three characters via Lacan’s sexuation diagram and sexuation theory proposed in his Seminar XX, but also simultaneously subverts the traditional reading of their relation as a love triangle. Through identifying with Rebecca, I is able to form her feminine subjectivity, and from this, the author du Maurier suggests the possibility of a rising new feminine subjectivity in the 20th century.