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| 論文名稱 | 那若隱若現的撒旦之母 |
| 發表日期 | 2017-06-01 |
| 論文收錄分類 | 其他 |
| 所有作者 | 陳信彰, 羅宜柔 |
| 作者順序 | 第二作者 |
| 通訊作者 | 是 |
| 刊物名稱 | 語言與國際研究 |
| 發表卷數 | |
| 是否具有審稿制度 | 是 |
| 發表期數 | 17 |
| 期刊或學報出版地國別/地區 | NATTWN-中華民國 |
| 發表年份 | 2017 |
| 發表月份 | 6 |
| 發表形式 | 紙本 |
| 所屬計劃案 | 無 |
| 可公開文檔 |
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| 可公開文檔 |
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| 可公開文檔 |
[摘要] :
每逢論及《蒼蠅王》（Lord of the Flies），諸多學者如吉丁（James Gindin）必將之與有｢邪惡王子｣之稱的撒旦，又稱Beelzebub連上等號。然而，儘管全文盡是青少年，看似無女性角色，事實上小說中的豬頭（即撒旦象徵）卻來自深具母性光恩的母豬（Golding 104），此外小說一開始，全島瀰漫女巫哭喊（3），加上除為海水包圍，島內也多處有水池或相關地景，如此氛圍令人思及克莉絲提娃（Julia Kristeva）所謂的陰性空間（chora），也進而足證小說中的陰性存在不容忽視。
本論文因此將從女性心理學者，克萊恩（Melanie Klein）的客體關係論出發，重讀《蒼蠅王》中的幻思（phantasy）體現。我們認為透過看似陰性角色的缺席，反而導引出客體關係論中對於餵養母親之存在與否所產生的恐慌，此一恐慌激發潛意識之幻思（phantasy），由於對生存之恐懼與受挫，透過投射（projection）與內射（introjection）等作用，形成激烈行動，導致悲劇之產生。如克萊恩所言，客體關係狀態實成長必經過程，而小說中的青少年最終也須面對遠方｢童稚喪失｣之必然現實（Golding 225）。
[英文摘要] :
When speaking of “Lord of the Flies,” many scholars, as James Gindin, associate it with “the Prince of the Devils” (Gindin 15) or Beelzebub; masculinity is therefore imbued. In Lord of the Flies, however, the pig head equally connoted as “Lord of the Flies” is actually a mother sow bearing “deep maternal bliss” (Golding 147). Despite the seeming lack of female roles in Lord of the Flies, the sow and especially the initial “witch-like cry” (1) in Chapter One foretell the unknown island as chora—a female space by Julia Kristeva. An ignorance of these feminine elements, in this regard, might read this novel unfairly, for the hidden maternal influence is unidentified.
This paper as a result intends to re-read Lord of the Flies with a focus upon the maternal power by means of Melanie Klein’s phantasy—an unconscious representation—and to claim that the seeming absence of the maternal role and the absolute existence of the feminine aura (chora) construct a unique setting that brings about contrastingly-rendered characterization manifested by Jack and his followers and by Jack’s counterforce, Ralph. Also, their phantasy is incited, urging to defend, yet mostly met with failures, their fear and anxiety. All in all, the phantastic visibility and invisibility of a mother—mainly represented by the pig head, a Satanic role—pose a serious impact to these juveniles and throw them into a chain of events in which they witness “the end of innocence” and cruel reality, awaiting them “in the distance” (Golding 225).
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