吾家即無家：《溫夫人的扇子》與《理想丈夫》中的家庭政治

Home(less): Politics of Home in Lady Windermere's Fan and An Ideal Husband

在王爾德（Oscar Wilde）最著名的的四部社會喜劇中，《溫夫人的扇子》與《理想丈夫》是以戳破維多利亞時代理想家庭的神話為劇情主軸，並以看似保守的夫妻重歸和好作為結局。這樣的情節發展背景，在於王爾德對於維多利亞時代將家庭理想化的批判。十九世紀的英國在工業革命後進入資本主義高度發達的社會，導致中產階級公私領域高度分離，從而對家產生高度的感傷與懷舊心態。同時代著名作家羅斯金（John Ruskin）將家視為與外界隔絕的避風港的文句，正反應了維多利亞時代中產階級的意識形態。本文援引拉岡學派精神分析的概念，試圖解析這兩齣劇作中家庭的排他性。家庭屬於拉岡所謂象徵秩序的一環，並非相對於社會的獨立存在，其自身就已經蘊含了性別關係不存在的對抗性。亦即，不是劇中道德觀念異於常人的花俏公子（dandies）和墮落女人（fallen women）成為擾亂理想家庭的他者，而是理想家庭本來就是無法實現的象徵建構。劇中的夫妻因為對彼此的幻想而成家，卻也因為堅持這種幻見而失去家庭。這兩齣戲的結尾是讓做為主角的夫妻接受無法完滿的象徵秩序，包括彼此在象徵界無法化解的差異性，以及那既維繫又擾亂中產家庭運作，來自真實界的資本基礎。藉著花俏公子和墮落女人另類的成家選擇和自我認同，王爾德也顯示在維多利亞典範家庭之外的，作為自我歸屬感的「家」的存在可能。亦即，吾家（建立在自我之上的家）即無家（家庭無法存續），無家（理想家庭的不存在）才有吾家（主體性存在的家庭關係）。

Oscar Wilde's Lady Windermere's Fan and An Ideal Husband both come up with plots that demystify Victorian idealization of the family yet end with broken relations patched up. Such plotting shows Wilde's criticism of the image of home propagandized in the Victorian age. Industrial capitalism in Victorian Britain leads to domestic-public dichotomy, which further incites great nostalgia for home. John Ruskin's well-known description of home as a shelter from injury represents such middle-class ideology. This paper appropriates ideas of Lacanian psychoanalysis to fathom the domestic exclusivity in both plays. As a symbolic construction, home is never an idyllic space demarcated from the society and cannot but internalizes the antagonism between the sexes. That is to say, the dandies or fallen women in these two plays are not so much the Others that disturb the ideal families as the flawless home is an unrealizable fantasy. Couples in these two plays construct their families out of fantasy on each other and almost destroy them for the same reason. Wilde ends the two play with couples accepting an unfulfillable symbolic order, including their irreconcilable differences and capital in the Real that simultaneously supports and disrupts their families. Via homing choice and self-identification of dandies and fallen women in his plays, Wilde discovers the possibilities of home outside the Victorian paradigm. Namely, one's (egoist) desire for home only leads to homelessness, while home comes true when idealization is abandoned.