本文選題：齊澤克 + 辯證唯物主義��； 參考：《山西師范大學》2017年碩士論文

【摘要】：本文試圖以唯物主義理論來概括齊澤克的電影思想。當然,齊澤克的唯物主義與馬克思的唯物主義有著本質的區(qū)別,它是經過解構后的黑格爾辯證法與拉康精神分析的綜合。齊澤克所說的“物”是一個精神分析學概念,可以理解為康德的“物自體”。它居于實在界之中,指的是人類被禁止的原欲或性驅力,即對母親的亂倫欲望,但這種欲望是不可能得到滿足的,而只能通過象征的方式表象出來。但是對實在界的象征化總會遭到失敗,它產生一些剩余。而這些剩余就是“物”自身。正是這些剩余維持了主體的欲望,故“物”也被拉康稱為“對象a”。“物”利用主體生產欲望而返回死亡之實在界。實在界是一個界域,而“物”只是其冰山一角。但主體卻只能通過“物”去了解實在界。不過,齊澤克的唯物主義是辯證的。但這個辯證不是強調“正題-反題-合題”的正統(tǒng)黑格爾辯證法,而是強調否定與具體的辯證法。齊澤克認為,辯證過程就是直接從個別性向普遍性飛躍,而無須經過中間的特殊性。在辯證法的每個階段,電影線性敘事的普遍性總會被某個元素(例外)所玷污,從而使普遍性成為這個例外的一部分。因而,齊澤克的唯物主義,也可以稱為辯證唯物主義,它是一種強調電影線性敘事的普遍性及其例外(物)的悖論性地結合在一起的理論。其悖論性在于,這個例外既是對敘事普遍性的顛覆,也是敘事普遍性得以可能的基礎。因而,所謂唯物主義就是圍繞物之實在界為核心,在辯證過程中展現物的創(chuàng)傷性與顛覆性的分析理論。齊澤克認為,電影是一種幻象屏幕,它使現實所不允許的創(chuàng)傷性實在界得以安全呈現出來。故物作為一種原初壓抑,在電影虛構的偽裝下悄然回歸。雖然它給主人公帶來致命的創(chuàng)傷,但對觀眾來說卻毫發(fā)無傷。圍繞“物”之實在界,本文通過影片分析闡釋了它的定義,性質、顯現及其與主體的遭遇。因為實在界的創(chuàng)傷性,經典偵探電影成為主體避免與之遭遇的重要電影類型。在視覺領域與聽覺領域,物分別顯現為凝視與幻聽語音。凝視意味著主體在觀看過程中被畫面上的污點誘發(fā)了欲望,但這個污點抵抗一切符號化而把主體貶低為客體,使主體原本客觀的觀看距離被打破,從而被電影畫面所囊括在內�；寐犝Z音是沒有載體的聲音,觀眾找不到它的聲源,無法確定聲音究竟是由誰發(fā)出來的,它像幽靈一樣自由漂浮著。作為一種惰性存在,它打亂了主體內在的平衡,撕裂了主體符號身份的一致性。但作為一種無意義的自動重復,幻聽語音自身也浸滿了極權主義意識形態(tài)的快感。物在性別主題上顯現為大寫的女人,而電影中的蛇蝎美人與貴夫人形象是其最重要的兩種化身。這兩種形象都是經驗女性暫時占據了物的位置而被崇高化,故她們都是無性的冷漠的非人性化女性。如果男性過于接近這種幻象女性,那就面臨著死亡的誘惑。因為在她們身上不存在男性所要的小客體。她們只是暫時填補了大他者的裂隙,而非快感客體。相對蛇蝎美人的致命性,貴夫人就高雅多了。但作為亂倫客體,她也是不可能的欲望對象。故典雅愛情也是不存在的。這意味著性關系是不可能的。因為在兩性關系中存在著實在界這個創(chuàng)傷性內核,它頑固地阻止著完美的性關系的發(fā)生,故主體必須通過幻象來屏蔽它。但幻象的身份是含糊的,一旦與它靠得太近,那將陷入致命的快感漩渦。而電影中四種不同性場景的呈現正說明了幻象與快感實在界之間的微妙關系。齊澤克認為,標準的縫合理論是不可能的,所以他通過三種電影敘事的唯物主義邏輯:普遍性及其例外,縫合與界面,主觀與客觀之間的短路來闡釋線性敘事中的例外,并用這一不可能被縫合的例外來顛覆標準的好萊塢縫合理論。本文最后試圖圍繞基耶斯洛夫斯基的電影文本來呈現齊澤克的唯物主義電影理論的具體應用。而這種分析理論就是以實在界為核心,來展現例外在辯證分析過程中的顛覆性與否定性。
[Abstract]:This article tries to sum up the film thought of Zi Zi with materialist theory. Of course, Qi Zeke's materialism has an essential distinction from Marx's materialism. It is the synthesis of the analysis of Hagel's dialectics and Lacan's spirit after deconstruction. It is in the real world. It refers to the forbidden desire or sexual drive of the human being, that is, the incest desire of the mother, but this desire can not be satisfied, but can only be represented in a symbolic way. But the symbolization of the reality will always be defeated, and it produces some surplus. And these remainder are " "Things" themselves. It is these remainder that maintains the desire of the subject, so the "thing" is also called "object a" by Lacan. "Thing" returns to the reality of death by using the desire of the main body to return to the reality of death. The reality is a boundary, and the "thing" is only the corner of its iceberg. But the subject can only understand the reality through the "thing". It is dialectic. But this dialectic does not emphasize the orthodox Hagel dialectics of "the question of the question and the question", but emphasizes the negation and the specific dialectics. The universality is defiled by a certain element (exceptions), which makes universality a part of this exception. Thus, the materialism of chic can also be called dialectical materialism. It is a theory that emphasizes the paradox of the universality and exceptions of the linear narrative of the film. It is the subversion of narrative universality and the basis for the possibility of narrative universality. Therefore, the so-called materialism is the analytical theory of the traumatic and subversive analysis of things in the dialectical process of the core of the reality of things, and the film is an illusion screen, which makes it possible for the traumatic reality that is not allowed by reality. Security is presented. As a kind of original repression, it comes back quietly under the fictional disguise of the film. Although it brings a fatal trauma to the protagonist, it has no injury to the audience. Around the reality of "things", this article explains its definition, nature, appearance and the encounter with the subject through the film analysis. The classic detective film becomes the main type of film that the subject avoids with it. In the visual field and the auditory field, the object shows the stare and the auditory speech respectively. The stare means that the body induces the desire in the viewing process by the stain on the screen, but this stain resists all the symbolization to degrade the subject as the object. The original objective viewing distance is broken, which is included in the film. The phonetic sound is a sound without carrier. The audience can't find its sound source. It is unable to determine who has come out of the sound. It floats freely like a ghost. As a kind of inertia, it disrupts the internal balance of the subject and tearing the main character. As a meaningless automatic repetition, but as a meaningless automatic repetition, the auditory hallucination itself is also filled with the express of the totalitarian ideology. Things appear on the gender theme as the upper case, and the snake and scorpion beauty and the image of the lady are the two most important incarnations in the film. These two images are both experienced women temporarily occupied. The position is sublime, so they are all indifferent and indifferent women of indifference. If men are too close to this illusion woman, they face the temptation of death. Because they do not have the small objects that men want. They only temporarily fill the big other's fissures, not the pleasure objects. Relative to the deadly beauty of the snake. As an object of incest, she is much more elegant. But as an object of incest, she is an impossible object of desire. So elegant love does not exist. It means that sexual relations are impossible. Because there is a traumatic core in the relationship between the sexes, it stubbornly prevents the occurrence of a perfect sexual relationship, so the subject must pass the illusion. Masking it. But the identity of the illusion is ambiguous, and once it gets too close to it, it will fall into a deadly swirl of pleasure. And the presentation of the four different scenes in the film is a subtle relationship between the illusion and the pleasure reality. Logic: universality and its exceptions, suture and interface, subjective and objective short circuits to explain the exceptions in linear narration, and subvert the standard Hollywood suture theory with the exceptions that may not be sutured. This article finally attempts to present the materialist film theory of Kieslowski around the film text of the paper. The application of this theory is to show the subversive and negativity of exceptions in the process of dialectical analysis.
【學位授予單位】：山西師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J90

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本文編號：1927097