發表論文

〈喬峰/蕭峰：從L圖看大他者與武俠小說的悲劇主體之間的關係〉

中文摘要

這篇文章看的是金庸《天龍八部》的主角之一，喬峰，以及他的悲劇。近年來像齊澤克那樣用拉岡理論探討類型文學或流行文化，已經司空見慣。武俠小說之為流行小說、類型小說，卻少有拉岡學者問津。在《天龍八部》裡，身為丐幫幫主的喬峰，睥睨群雄，丐幫也在他的悉心經營之下以俠義稱譽天下，但就在他處於事業巔峰的時候，一場「認同危機」出現了：謠言紛傳，喬峰雖由宋人撫養長大、授業恩師也是宋人，他身上其實流著契丹的血。一開始，喬峰對大他者充滿信心：他一生行俠，作為真理與正義的評判者的大他者，不可能不「站在他這邊」。喬峰認為謠言必然是小人的中傷，或是某個惡人的陰謀。他的判斷可說是受了想像界、「自我-小他者」關係的局限。喬峰因此把小他者的惡意陷害，誤認為來自一個有如「大他者的他者（The Other of the Other）」的『大惡人』，卻不知這一切的幕後黑手，是他以為早已死去的親生父親，蕭遠山。在這裡，我們可以看到蕭遠山，以父之名加上裝死（play le mort），站穩了L圖裡的大他者的有利位置，才能遙控自如，讓喬峰疲於奔命的各種小他者維度的鏡像復仇遊戲。

不過，真正的幕後黑手，不是蕭遠山作為父親的角色，而是蕭遠山作為父親的欲望的體現。欲望，大他者的欲望也。蕭遠山的欲望，是契丹作為一個祖國的欲望。只要是姓蕭的，都應遵循效忠祖國的指令，力圖附和大他者的欲望。兩個父姓，兩個祖國，喬峰的祖國大他者，是劃槓的大他者：漢人、契丹勢不兩立。這個劃槓與撕裂，才是喬峰命運改變的根本原因。喬峰作為武俠人物，不能不遵守「為國為民，俠之大者」的武俠小說倫理規範。規範很清楚，但規範本身也是空的：到底應該效忠哪個國、服務哪一國的人民，大他者並不會告訴你，也無法告訴你。

但也正因為規範是空的，喬峰才能成為真正的主體，用一己的作為，成為「俠之大者」，成為悲劇英雄喬峰/蕭峰。拉岡的主體，本來就是被劃槓、撕裂的。真正的英雄事蹟，也只有在不可為的空裡面，才得以完成。

The Other and the Tragic Subject in Chinese Martial Arts Fiction, Viewed Through Lacan’s Schema L

Abstract

This paper looks at the tragedy of Qiao Feng in Jin Yong’s The Demi-Gods and the Semi-Devils. While it is common practice for Žižekean scholars to examine genre writing and popular culture with Lacanian theory, the martial arts genre has received little attention. In Demi-Gods , Qiao Feng experiences an ‘identity crisis’ at the peak of his career: rumour has it that though he was raised and trained in China, he was born a Khitan. Qiao Feng at first believes it is a just conspiracy, and henceforth is blind-sided by the imaginary relation between his ego and small others. He mis-recognises others’ scheming as ‘the Other of the Other,’ while his supposedly deceased Khitan father occupies the corner of the Other in the schema L to orchestra the manipulation game. However, what Qiao Feng is really under prey is the desire of the father, and of the two fatherlands, one Han-Chinese, one Khitan: his tragedy lies in the split of the national Other, in the impossibility of the ethical imperative: Your duty is to be loyal to your country. And yet, it is exactly because of the emptiness in the ethical call that Qiao Feng can start to act as a subject, a subject that is by definition already always split. This paper thus interprets the actions of Jin Yong’s hero according to Lacan’s schema L, and also provides variations of the schema based on the twists and turns of this martial arts tragedy. 

賴彥穎博士發表論文

圖片來源：https://www.lacan.com/seminars1.htm