以榮格學說探究個體心理功能與多元主體性：解構藝術創作者

Using Jung’s Theory to Interpret Individual Psychological Function and Multiple Subjectivities:Deconstructing Artistic Creators

徐玟玲(WEN-LING HSU)

指導教授 ： 陳瓊花

國立臺灣師範大學/藝術學院/美術學系/博士(2012年)

摘要

個體主體性之形塑與其心理傾向息息相關，但現有藝術教育就此領域之探討實屬稀少。研究者首先針對研究題目與研究問題，以跨學科取徑探討與藝術創作個體有關之心理功能與主體性，包括：個體的形成與自我概念、藝術表達個體之心理現象、藝術表達個體之主體性、藝術教育中的個體主體性，並以此統整Jung學說相應的理論，而成為本研究之背景知識脈絡。
研究實施上，主要探討Jung的心理類型學說和超越性功能理論，以及九位藝術家的創作心理功能與多元主體性，並以其相關文本為主要研究對象而發展質性探究方法。研究過程實際涉獵到的Jung學說面向，從優勢心理功能類型的解構開始，屬其意識性心理學；又從藝術家創作轉型歷程遇見劣勢心理功能和轉化作用，屬其深層心理學；再來回追緝一種過渡於優勢／劣勢、意識與潛意識、理性與非理性之間的退返與復原，屬其超越性功能心理學。據此，本研究提出新的理論模式「優勢／劣勢心理動力機轉七階連續系統」（優勢機轉、調節機轉、適應機轉、消解機轉、轉化機轉、變形機轉、蛻變機轉），使Jung的心理類型學說和超越性功能理論得到全新的整合和詮釋。
當研究者把Jung這些來自對於人的深刻認識，化作觀看藝術家的目光時，看到美的形式背後所存有的美感心理世界。例如：Cezanne透過與自然的心理距離，表現超我；Picasso涉入被思維壓抑的情感陰影，表現內在我和自我；張柏舟把自我投射於自然，表現了內在我也看見客體我；黃心健藉著與幼年記憶的交疊，不但遇見原型我也用原型我表現客體我和超我；呂坤和移情於自然，同時表現內在我和客體我；譚伊舒與生活記憶的互滲與拉距，使她同時投射內在我也體驗了客體我；賴純純從心房與心經的鍛鍊中，回歸內在最原初的我，而走向準備體現大我之路；王挺宇從現代和後現代主義的交疊之中遭逢陰影，完成一趟自我轉化、變形和蛻變的英雄之旅；劉伊歆在現實生活與創作場景的頻繁轉換中，覺察出自身的感覺我、思維我、直覺我、情感我。
這些許許多多隱晦的「我」，正是人的心理功能所創造的主體性，可被辨識出來同理之，正如同本研究文獻探討結論提出的主體性探討原則那樣，要辨識代表藝術創作者的「我」，在於：一、把握個體的實體性和非實體性；二、分辨個體主體性、集合性主體性和集體性主體性在藝術表達上的差異；三、探究個體多重主體性的完形心理動力。四、解讀藝術創作主體的自我覺察和藝術形式。本研究從個體的主體與外部關係、主體性與存有場域、主體性與存有時程、主體心理運作探討等四個結構向度，發展出十六個架構，再經由八個藝術家個案研究關注這些架構的心理內容物，一共延展出一百一十九個可以被辨識的「我」。
綜合機械觀和終極觀，研究者嘗試打開一個具體通道來收納Jung龐大而抽象的複雜概念，從「四種心理功能原型」、「八種心理類型」，到「三種優勢心理機轉」、「四種劣勢心理功能的積極想像階程」，到「優勢／劣勢心理機轉七階連續系統」；終於一步步印證Jung龐大論述的本質，即個體乃透過某一心理通道而不但立足於生活世界也與自然宇宙保持共振，並展現多重的主體性。又，主體性之表現取決於優勢功能與全體心理功能的結構關係；而劣勢功能機制形成之主體性反轉能促進個體多元性發展。
終究，這樣多元的心理世界並非藝術家獨有，它蘊藏在每個人潛在的空間之中，可待未來被心理學界和藝術教育學界深入研究，成為主體性教育的參考。

關鍵字

榮格 ； 心理類型 ； 優勢/劣勢 ； 超越性功能 ； 積極想像 ； 個體化 ； 心理功能 ； 多元主體性

並列摘要

The construction of the individual’s subjectivity is closely related to its psychological tendencies. However, in the field of art education, few studies exist that focus on individual psychological function and subjectivity. Therefore, new inter-discipline research is urgently required. This study first focuses on the research topic and research question, various psychological functions and subjectivity of interdisciplinary discussions and the individuals in artistic creation were conducted, including the formation and self-concept of individuals, the psychological phenomena of individuals engaged in artistic expression, the subjectivity of individuals engaged in artistic expression, the subjectivity of the individuals in art education, by using the mentioned concepts to integrate theories corresponding to Jungian discourse to form the knowledge context of this study.
This study employs Jung’s theory of psychological types and transcendent function to investigate the creative psychological function and multiple subjectivities in nine artists. It aims to identify corresponding Jungian theories through qualitative research of the texts, beginning with the deconstruction of dominant psychological functions and types, which relates to the psychology of consciousness; then, it observes the process of the artist’s creative evolution and the inferior psychological function and transformation, which relates to depth psychology; thus, it identifies a repetition of recess and recovery between the poles of the favoured/inferior, conscious/subconscious, and rational/irrational, which is related to the transcendent function psychology. Based on this, the study proposes a new theoretical model, the “7-stage continuous system of favoured/inferior psychological motive mechanisms,” so that Jung’s archetypes and transcendent function theory can undergo a brand new integration and interpretation.
As these Jungian conceptions of man are applied to the artists, a world of aesthetics psychology is revealed behind the appearance of beauty and its form. For instance, Cezanne expresses the transcendent self via his psychological distance from nature; Picasso crosses into the emotional shadow repressed by thinking and expresses the introverted side and the self; Zhang Bo-Zhou projects the self unto nature and expresses the introverted side and reveals the objective self; Huang Xin-Jian encounters the archetypal self by the overlapping of childhood memories, which expresses the objective self and transcendent self; Lu Kun-He simultaneously expresses the introverted side and the objective self through transference onto nature; Tan Yi-Shu projects the introverted side and experiences the objective self through mutual participation of and competition with memory in life; Lai Chun-Chun returns to the archetypal self within through the training of the Heart Sutra and prepares to realize the totality of the psyche. Wang Ting-Yu encounters shadow in the midst of modernism and postmodernism and completes a heroic journey of self-transformation, metamorphoses and renewal; Liu Yi-Xin identifies the self of sensation, thinking, intuition, and feeling through her experience in the frequent alternations between real life and creative scenes.
These various and inconspicuous presentations of the self are the subjectivities created by man’s psychological functions, and are capable of being identified. Just as literature review in Section 7 of this study has already proposed the principle for exploring subjectivity, the keys to identifying the “I” of artistic creators are: 1. Grasp the reality and non-reality of individuals. 2. Discern the differences of individual subjectivity, aggregate subjectivity, and collective subjectivity in artistic expression. 3. Explore the psychological motivation process of individual multiple subjectivities. 4. Interpret the self-perception of the art creation subject and the art creation process. This study has used four structure dimensions to develop 16 structures on subject and external relationships, subjectivity and existing contexts, subjectivity and existing times, exploration of subject psychological functions. Concern for the content of these structures leads to 119 identifiable “Is”.
At the same time, such psychological world is not exclusive to artists; it also exists in everyone’s subconscious-constructed space, which remains to be explored by research in psychology and art education, as a reference point in subjectivity education.

並列關鍵字

Jung ； psychological types ； favoured/inferior ； transcendent function ； active imagination ； psychological fuction ； individuation ； multiple subjectivity

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