映像之欺、异化规训和秩序超越--对严歌苓《扶桑》人物主体建构的拉康式解读

Image deception,alienation discipline and order transcendence:Lacanian interpretation of the character subject construction in Geling Yan’s The Lost Daughter of Happiness

严歌苓在其作品《扶桑》中再现了第一代华人移民在异域的生存和精神困境,基于对拉康三界论的释读,剖析小说中三位主要人物的主体建构历程,发现他们皆遭受想象界中“小他者”的映像之欺和象征界中“大他者”的异化规训。小说人物在象征界屡受重创后,陷入主体建构的僵局;透过知觉的缝隙,认知到符号秩序的荒谬,企图回归实在界实现自由。这无疑在警醒主体需要保持反思的意识,审视虚妄的他者映像和既存的符号教化,从实在界中积攒力量,超越不合理的秩序。

Geling Yan,in her work The Lost Daughter of Happiness,presents the love entanglement across races and the survival and spiritual dilemma of the first generation of Chinese immigrants in foreign countries.Based on the interpretation of Lacan’s theory of three orders,this thesis analyzes the course of subject construction of three main characters respectively representing the Chinese woman,Chinese man and Chinese guardian in the novel,finding that they are deceived by the image of the“other”in the Imaginary and are alienated by the discipline of the“Other”in the Symbolic.After suffering from various traumas in the Symbolic,the characters in the novel fall into the deadlock of subject construction;through the gaps of consciousness,they are aware of the absurd existence of the symbolic order,attempt to return to the Real to seek the internal driving force and pursue the independence of their minds.The purpose is to alert the subject to retain their self-awareness,examine the illusory image of others and the existing symbolic indoctrination and accumulate strength from the Real so as to transcend the order and move forward all the way.