偽裝的概念─反派角色的空間劇場

Camouflage-The Space Theater of Villains

范硯安(Yen-An Fan)

指導教授 ： 蔡仁惠

國立臺北科技大學/設計學院/建築與都市設計研究所/碩士(2014年)

https://doi.org/10.6841/NTUT.2014.00610

摘要

童話是經過人們口耳相傳並精簡、改編成的故事，流傳全世界並隨著時代演變更改其面貌，象徵著真實世界，而其中的反派角色的原型意象反映出人性的各種黑暗面。

　　因為人性有黑暗面，才會創造出反派角色，其中「偽裝」是故事中常見的情節，自由的轉換身份，以達成目的。反派角色讓人們經驗了偽裝、欺騙等負面印象，達到正面的訓誡，透過童話結束時反派角色的下場（懲罰或死亡），來解決內心正面、負面兩者交叉影響而構成的衝突而成為完整的人格。

　　本論文擬以「誘導式結構」為操作方法，以經典童話《小紅帽》的貝洛民間版本《小紅斗篷》為主，探討反派角色的原型意象，進而理解其深層意義──人們意識中的負面印象，並轉化成空間表達形式得到「面具背後的真實」、「慾望形塑出的空間」、「服從法則的世界觀」三項推論。

關鍵字

童話 ； 反派 ； 潛意識

並列摘要

Human behaviors are constantly amended by the real life. Childhood is a phase when both body and mind of a person are immature, therefore children are unable to understand socialized values and gender consciousness well enough to bear negative events. The persecution plot in a story works as a kind of stimulation for children, helping them to perceive all sorts of negative events.
Characters, themes and plots of fairy tales are transformed into concrete appearances through imagination, helping children to perceive unexperienced negative feelings in a compulsory way. When children are growing up, they would correspond fairy tales to their own experience, while fictional stories become realities. The result of this is that when persecution happens in a real life, people would treat it as a fictitious experience so that they could obtain certain temporary liberation through this dreamy “loss of reality”.
The same kind of persecution keeps occurring in world literatures. People expect to see persecution in texts. And our first contact to persecution plots is in fairy tales. This study attempts to analyze the prototype of persecution in Grimm’s Fairy Tales, how it fulfills people’s expectation for persecution and its relation with paranoid schizophrenia, and it will offer suggestions via analysis: : "True behind the mask", "desire to shape the space," "obey the laws of the world," the three inferences.

並列關鍵字

Fairy tales ； Villains ； Subconscious

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