英文摘要 |
This paper draws on Kant, Hegel, Žižek and Lacan to discuss representations of repressed “negativity” in Wei Te-Sheng’s movies. These negativities are often repressed, disciplined, and regulated by the ruling class. Taking recourse to Lacanian and Žižekian psychoanalysis, I attempt to show how popular culture narratives of history perpetrate violence upon the psyche via a process in which the ruling class construct and reinforce a master’s discourse beneficial to them. The result of this process is that the public will feel compelled to follow the master’s discourse qua the social order in order to be accepted as a member of society. This, moreover, prompts the public to actively generate and project the received ideological fantasy onto their personal lives in order to avoid encountering traumatic negativity. In the second part, I explore the meaning of negativity from the perspective of Kant, Hegel, and Lacan. When the negativity resurfaces, it threatens to disturb or impede the operation of signification. Although the negativity must be repressed so that signification can function properly, it offers us the opportunity to perceive the excluded parts of the collective history. As Wei’s films focus on the negativity, I stress that we can reflect on our history via plots and characters in his films. In the final part of this paper, I compare the master’s discourse with the analyst’s discourse to underscore the violent nature of the master’s discourse. The analyst’s discourse aims to overthrow the master signifier. In the analyst’s discourse, the analyst enables the analysand to perceive the emptiness behind its objet petit a, but forces it to confront the traumatic negativity. Through a discussion of negativity, I show how Taiwanese viewers were encouraged to abandon the master signifier as well as the master’s discourse. It proposes a means to avoid the reproduction of oppressive or subjugating narratives of history. |