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博碩士論文 etd-0703102-160943 詳細資訊
Title page for etd-0703102-160943
論文名稱
Title
鏡象, 文本及象徵界的架構: "朵蓮.格雷的畫像"中主角的書寫
Mirror, Text and the Symbolic Matrix: Writing the Hero in The Picture of Dorian Gray
系所名稱
Department
畢業學年期
Year, semester
語文別
Language
學位類別
Degree
頁數
Number of pages
88
研究生
Author
指導教授
Advisor
召集委員
Convenor
口試委員
Advisory Committee
口試日期
Date of Exam
2002-06-27
繳交日期
Date of Submission
2002-07-03
關鍵字
Keywords
鏡象、文本
Dorian Gray, mirror, text
統計
Statistics
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The thesis/dissertation has been browsed 5806 times, has been downloaded 4796 times.
中文摘要
論文名稱: Mirror, Text and the Symbolic Matrix:
Writing the Hero in The Picture of Dorian Gray.
頁數: 88 頁
校所組別: 國立中山大學外國語文研究所
畢業名稱與提要別: 90 學年度第二學期碩士論文提要
研究生: 蔣豐維
論文提要:

本文旨在討論王爾德”朵蓮•格雷的畫像”中之塑造議題. 在故事中, 主角藉由朋友們的反應/映得以認識自己, 並由此成為唯美頹廢的代言人. 主角可說是他的朋友們所形塑的產物. 是以, 本文將借用拉岡的”鏡象階段”理論及羅蘭巴特對”文本”的概念, 來討論此一塑造議題. 主角藉著週遭呈現的鏡象得以認識自己, 並對此產生自我認同. 然而, 主角所認同的鏡象, 本質上乃是拉岡所謂的他者. 一如巴特的文本, 此一鏡象, 如書中主角認同的畫像, 乃是在讀者閱讀/書寫中誕生的產物. 主角藉由對畫像的書寫, 進入了拉岡的”象徵界”的架構: 但也由此進入了所謂”能指”或”意符” (“signifier”) 的鎖鏈, 在與”他者”的認同中逐漸被異化.
第一章藉由重新定位亨利 (主角的精神導師) 與主角的關係, 說明書中腳色所扮演的”浮動的能指” (“floating signifier”) 及其與主角的互動. 第二章的重點在畫家巴索與主角的關係, 說明巴索的畫作, 就某層面而言, 乃是壓抑慾望的變相重現. 第三章討論以往常被忽略的主角的初戀, 藉此重申主角的慾望的轉移及自我認同. 在第四章中, 筆者將說明主角的畫像與其對自我的認同, 並進一步指出畫像的改變, 乃是”文本”的意義滋生. 作為腳色們的作品, 畫像實際上也在不斷的”書寫”著腳色們. 是以, 筆者將以重述文本的概念與”能指鎖鏈”的浮動關係, 說明人如何是語文的創造者及其造物.
Abstract
Abstract

My thesis aims to discuss the “creation” issue in Oscar Wilde’s The Picture of Dorian Gray. Depicting how Dorian is made a decadent hedonist, the novel is generally regarded by critics as a story of creation, in which what is created is not only the magical painting but the hero as well. Only through his image mirrored in the painting Basil offers can Dorian come to know himself; the hero is “produced” as what he is by his friends. Thus, to discuss how this creation of the hero takes place, I will employ Jacques Lacan’s theory of the mirror stage, along with Roland Barthes’ insight of “textuality.”
“Mirror, Text and the Symbolic Matrix.” By suggesting these three interlocking axes I seek to outline the process of creation that governs the novel. Through his image mirrored in the picture, Dorian comes to know himself. He identifies with the image and grows. However, the painting that reveals Dorian to himself is an artifact produced by Basil. What Dorian identifies with is a “text” he “reads” in Basil’s work, an other. Seeing how he changes the portrait, “writing” it with his “passions and sins,” Dorian comes to enter the symbolic realm. Yet it is also through such a move that Dorian is “objectified in the dialectic of identification with the other” as Lacan suggests. He is inserted into the chain of signifiers, in which the “real” Dorian is ceaselessly replaced.
In The Picture of Dorian Gray, it is through the complex work of texts and the interplay of influences that the hero is created; by analyzing these interactions I would like to disclose the creation issue. In my first chapter I begin by re-examining the relationship between Henry and Dorian, through which I aim at illuminating the characters’ function as “floating signifiers.” I proceed to throw light on Basil, the creator of Dorian’s image, in chapter two: by which I seek to reveal Basil’s influence over Dorian. In chapter three I would analyze how Dorian’s romance with Sibyl influences him—and what Sibyl signifies to him, while I would also discuss the significance of James Vane (Sibyl’s brother). The fourth chapter is a discussion dedicated to the picture, which functions not only as a Lacanian mirror but becomes the canvas upon which Dorian and Basil compete writing—while both are “written” by the text they produce. To conclude, I would re-examine the nature of text: to which man is both its cause and its effect.
目次 Table of Contents
Table of Contents

Introduction ------------------------------------------------------------- 1

Chapter One
Mephistopheles and/or Faust -------------------------------- 17

Chapter Two
A Romance So Colored by Taboo --------------------------- 31

Chapter Three
The Importance of the Signifier ----------------------------- 46

Chapter Four
Miscognition and the Subjected Subject ------------------- 65

Conclusion -------------------------------------------------------------- 79

Bibliography ----------------------------------------------------------- 84


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