精神分析記號學與古典夢詩研究

本論文乃是佛洛伊德(Freud)及拉岡(Lacan)的精神分析記號學與中英古典夢詩的結合，讓兩者互為對話，以加深對夢詩、潛意識、夢機制的理解。中西夢詩中，以柯爾雷基(Coleridge)的〈忽必烈汗〉(”Kubla Khan”)與李白的〈夢遊天姥吟留別〉最為豐富與深刻，而且兩者亦可謂迥異，堪為中英夢詩討論的典範文本，故本研究即從此兩文本切入。同時，拜倫(Byron)〈黑暗〉(”Darkness”)一詩，可謂是「夢詩」與「諷刺」(satire)文類的綜合，對「夢詩」全域有所重要提供，故亦深論之。本論文以佛洛伊德的夢原理、夢機制、與潛意識理論，分析夢詩中的夢結構，探求夢詩中的首度壓抑（即與libido有關的壓抑）與二度的文化壓抑（即文化體制與制約所產的各種壓抑）。同時，並應用拉岡的「鏡子」理論及語言理論深化之，尤其是應用其「主體」建構時「認同」(identification)、「誤識」(meconnaissance)、與「異化」(alienation)三者雜存的模稜境地以探討「詩人」與「夢中自己」或「夢中人物」的關係。在討論中，我們同時引進普爾絲、雅克慎、洛德曼等人的記號學理念，促進精神分析學與記號學的對話。最後，以杜鐸洛夫(Todorov)的三元中介文類模式，歸納研究所得以建構「夢詩」的通體模式作結。顯然，我們分享索緒爾(De Saussure)的信念，憑著幾個例子的話語(parole)，即可建構其背後的系統(langue)。

關鍵字

心理分析記號學；夢詩；李白夢遊天姥吟留別；柯爾雷基忽必烈汗；拜倫黑暗

並列摘要

This article is a combination of the Freudian-Lacanian psychoanalytic semiotics and the study of classical Chinese and English dream poetry, trying to construct a dialogue of the two, so that we could arrive a better understanding of dream poetry, dream mechanism, and the unconscious. After a long investigation, I believe that Coleridge's ”Kubla Khan” and Li Po's ”A Tour to Mt. Tian-Mo in Dream, Saying Farewell to Friends” are most rich and inspiring-more importantly, these two poems well illustrate the difference between their literary and cultural traditions. Meanwhile, Byron's ”Darkness” represents quite a different category: a merge of dream poetry and satire, which opens the window for us to investigate how literary geme and dream meet. It is clear that we undertake our investigation with the De Saussurean belief that several examples of the parole could be adequate to construct the langue behind them. Our investigation is based on Freud's psychoanalysis, dream theory and dream mechanism, analyzing the general dream structure of dream poetry, investigating the primary suppression (related to the libido) and the secondary or cultural suppression (related to the discontent of culture). Meanwhile, Lacan's psychoanalytic view of language and his theory of mirror in the formation of the subject are also applied. Indeed, the simultaneous presence of identification, meconnaissance, and alienation in the complex process of the formation of the subject shed light to the ambiguity and hybrid of the dream triad: namely, the poet as the dreamer, the poet as the protagonist in the dream, and the other persons or objects in the dream. In the process of discussion, we also introduce into our discussion the semiotic concepts from C.S. Peirce, Jakobson, and Lotman, to allow the merge as well as competition between these two disciplines. At the end, we shall briefly describe dream poetry as a genre, based on what we have observed and Todorov's theory of literary genre.