視覺中的鏡像

Mirror Image Through Vision

「鏡子」曾經是權勢、品味與財富的彰顯與表徵，但如今已變成隨處可見的日常用品，隨之人們也在「鏡像」中更易進入觀看自己與他人的狀態。「鏡像」比繪畫更如實卻虛幻，是實存於物理世界的非物質型態，能自有形的物質跨入無形的思維層面。我們正處於科技網路發達的「圖像時代」，人的思維與活動顯著地受到資訊與圖像視覺的影響。本文從「視覺」的範疇探究「鏡像」，從符號引申象徵性，自拉康的「鏡像階段」理論闡釋與主體、自我和他人間的範例性（exemplary）關聯，爬梳梅洛龐蒂的主體建構論述，並嘗試解析「美術」與「電影」運用鏡像於視覺裡的意象與見解。

The mirror was once a symbol of wealth and decorative taste of the elite class. Over time, it has evolved into a commonplace fixture. Mirrors can alter the way human beings perceive themselves and others. The ''mirror image'' can produce a similar image more faithfully than a painting, but it still is a false and illusory one. Because the mirror image is a physical experience that has the capability to transform into an intangible form, humans can experience it as a tangible visual image or one of invisible thought and cogitation. The momentum of the internet and information technology has created an ''Image Age'' which appropriately reflects the mainstream trend of our tendency to recognize and appreciate the contemporary world. Hence, this article investigates the mirror image from the perspective of human vision, and subsequently extends to the semiotic point of view, sorting out the mirror’s symbolic form and function. Particular emphasis will be on Jacques Lacan’s ''mirror stage'' theory which clarifies the exemplary relationships between subjectivity, self-consciousness, and the mirror image. Discussions of Maurice Merleau-Ponty’s subjectivity construction will also be included, and the applications and visionary metaphors of mirror image as a concept in arts and movies will be analyzed.