Please use this identifier to cite or link to this item: http://hdl.handle.net/11455/6736
標題: From Techno-Jouissance to the Traversing of Fantasy: A Psychoanalytical Reading of J.G. Ballard's Crash and The Atrocity Exhibition
從科技激爽到穿越幻設:從心理分析觀點論詹姆斯.巴拉德的《超速性追緝》與《至惡的大體解剖展覽》
作者: 朱雁玲
Chu, Yenl-Ling
關鍵字: death
死亡
drives
desire
fantasy
jouissance
the Real
驅力
慾望
幻設
激爽
真實
出版社: 外國語文學系所
摘要: In Crash and The Atrocity Exhibition, J.G. Ballard, the British writer, examines the connection between the body and technology as well as the relation between reality and fantasy. Characters in the two novels are obsessed with car crash, which gives them painful pleasure and realize their wish for an ideal contact with others. After car accidents, they are physically and psychologically transformed. Throughout Crash, the techno-hoodlum, Vaughan, desires for his sexual and mortal combination with Elizabeth Taylor in collision. He believes that once they ram into each other in front of camera, he and Taylor will be able to unit eternally as part of simulacrum. The wounds caused by cars become the titillating objet petit a, through which one is able to gaze at and in turn to be gazed by the Real. Unlike Vaughan, who still lives in and for his fantasy and desire, Travis in The Atrocity Exhibition has traversed fantasy. His world of atrocity displays the realm of the Real, where nothing but the pure death drive and the eternal return of the same remain. Via the total destruction of the individual and the society, the void inherent in media fantasy will be exposed and the world will be possibly reborn. This thesis intends to demonstrate the transformation of the subject who at first lives in fantasy and ends up traversing it. The process of transformation simultaneously reflects one's struggle with the overwhelming media culture.
在《超速性追緝》與《至惡的大體解剖展覽》兩書中,詹姆斯.巴拉德所欲探討的是科技與人體的連繫,以及現實與幻設之間的關係。兩本書中的主角都沉溺於車禍撞擊所產生的瞬間快感當中,因為撞擊不但能讓他們享受疼痛,同時也實現了主角心中欲與他人做完美接觸的渴望。在遭遇激烈的撞擊之後,他們所體認到的不只是身體上的改變,同時也感受到內心世界上的轉變。在《超速性追緝》中,科技叛客馮(Vaughan)渴望能在車禍的瞬息間實現與伊麗莎白•泰勒致命的情慾結合。他相信在致命的短暫撞擊之後,他與泰勒能夠在影像中永遠結合;車禍所撕裂的身體片斷,變成了誘人的小物件(objet petit a),透過它,馮(Vaughan)能看見真實(The Real)且被真實所凝視。但是當馮(Vaughan)仍受慾望所掌控以及幻設所環繞包圍而無法脫身時,《至惡的大體解剖展覽》中的特維斯(Travis)早已超越了幻設的界限。他的至惡世界展現出真實層次的虛無以及不停重覆出現的死亡驅力。透過個體及社會的毀滅,媒體幻設中的空渺虛無才得以顯現出來,藉此世界也得以重生。 本篇論文期望透過分析馮(Vaughan)及特維斯(Travis)中這兩個角色來研究主體、科技激爽、與幻設間的關係,並同時探討後現代主體如何抗拒並試圖顛覆無所不在的媒體文化。
URI: http://hdl.handle.net/11455/6736
Appears in Collections:外國語文學系所

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