I am not What I am-the Contradiction and Assimilation of Othello and Hamlet's Images

「我非我」─論奧賽羅與哈姆雷特兩角形象裡的矛盾與同化

陳憶綺(Yi-Chi Chen)

《高應科大人文社會科學學報》 8卷1期 (2011/07) Pp. 105-125

https://doi.org/10.29888/KUASJHSS.201107.0006

摘要

在莎士比亞的劇作中，「我非我」一向是他運用來描繪每個角色所可能賦有的多種形象的一個重要意涵。而這些形象裡的矛盾所點出的是在文藝復興時代舞台上所呈現出的對情慾的焦慮還有情慾的不可確定性。當時的舞台上所盛行的變裝演出使得性別與情慾的界限變的模糊難辨。情慾和性別也因此而具有可被建構及可被演出的特性。同時，情慾的可流動性也使得莎士比亞得以在其中操弄其魅力與危險。在奧賽羅與哈姆雷特劇中，許多角色都是以這樣多重形象的模式來呈現。而兩位主角的形象呈現了多重的面象因為他們其實是對他者的慾望所投射出的形象。藉由拉崗的鏡像理論以及其與他者慾望的關係，以及佛洛依德的線軸理論，本文欲探討兩位主角多重的形象裡所互相矛盾之處其實為他們所想要展現的形象與他們真正所呈現出來的形象的落差。也因他者身份的不同，慾望也因此不同，導致所反映出的形象也有所不同。而這些形象間同化或轉化的過程也象徵著他們面臨愛、背叛、與死亡時，所經歷的困境與掙扎，直到他們重新定位自我的存在。而藉由奧賽羅和哈姆雷特多變的形象，莎士比亞也為我們提供了更多元的可能性來解讀人性。

關鍵字

情慾 ； 拉崗 ； 佛洛依德 ； 矛盾 ； 同化

並列摘要

In Shakespeare's plays, ”I am not what I am” is a crucial notion that the dramatist constantly applies to portray the various possibilities of one's images. The contradiction refers to not only the ambiguity but also the anxiety of sexuality on the Renaissance stage. With cross-dressing, the boundary of gender and sexuality is blurred. Sexuality and gender are thus constructable and performable. The fluidity of sexuality enables Shakespeare to play between the fascination and danger of sexuality. In ”Othello” and ”Hamlet”, each character's sexuality is also variously presented and interpreted. Both Hamlet and Othello's images are contradicted and fluid since they are the reflection of the Other's desire. The fluidity of their images is viewed by Lacan's theory of the mirror stage and its relation to the desire of the Other as well as Freud's theory of the fort-da game in this thesis. Moreover, the assimilation and transformation of the two heroes' images further indicate their predicament confronting love, betrayal, and death. By the multiple images of Othello and Hamlet, Shakespeare renders us not only the various possibilities of reading human psyche but also of a better understanding of who we are.

並列關鍵字

sexuality ； Lacan ； Freud ； contradiction ； assimilation