Please use this identifier to cite or link to this item:
標題: 瑪麗雪萊《科學怪人》中的符號經濟學
The Economy of Signs in Mary Shelley's Frankenstein
作者: 陳彥銘
關鍵字: Creation As the Outset of Catastrophe
The Monster's Genesis
The Real Monster
出版社: 外國語文學系
摘要: 摘要 很多讀者初次看到瑪麗雪萊的《法蘭肯斯坦》(科學怪人)時,常常會誤以為書名即是那怪物的名稱,而非是那造物者的姓名。其實這樣的誤解,正好符合小說中所刻意留下的意象。法蘭肯斯坦之所以會侵犯神的領域,去從許多死人身上蒐集材料,運用科學的方法,去創造一個具有超強能力的新生命,其實是個體受到符號系統宰制的必然結果。他這種扭曲的內在,與扭曲的創造過程,還有因為全力投入而使得他的外表因而扭曲,所有這種創造的內在、外在、與過程,使得法蘭肯斯坦更像怪物。相反的,小說中的怪物是依法蘭肯斯坦的形體所創造,除此之外,它在一開始所展現的美德,與後來展現的語言的技巧,使它比它的主人更像人類。或者我們可以說其實怪物反映的是人類最原始的自我,而它的悲慘經歷,就像人類成長的過程。這樣的過程,其實就是符號從侵入我們的意識,到建構我們的慾望系統,我們的人格特質的一種過程。就某方面來說,怪物代表的是,對於這樣的符號宰制的一種反動,但是這樣的反動其實也是符號系統運作中的一個必然。 本篇論文一開始是從馬克思所描述資本主義中生產的過程去探討怪物的創作過程。這樣的極度理性化的過程,其實充滿了疏離的意象。人與人關係轉換為抽象的物與物、或機器與機器、或數目字之間的關係。人與其產品那種和諧自然的關係轉換為一種相互的敵意,就像法蘭肯斯坦之於他的創造物的關係。其實所有這些理性當中的非理性現象,或非自然的現象,都是在這生產過程中資本主義系統運作的結果。這樣的現象,不僅影響人與人之間的關係,更建構了我們的內心世界。本篇論文,我運用的鏡像原理去詮釋怪物人格發展的過程;這個過程是人類發展的過程,也是符號系統運作的軌跡。自我的形成其實都是來自非我的領域,而這個非我的領域其實是一個全然受到符號系統所宰制的領域,所以其實根本沒有自我,所有個人或團體的行為或想法都是這個至高無上、無所不在、萬能的符號系統所呈現的一個效果。
Abstract At the first sight of the name of Frankenstein, many readers may mistake it for the name of the monster. Such misunderstanding somewhat corresponds to the interaction or even the duplication between the creator Frankenstein and the monster in the novel. Frankenstein's application of human knowledge, his zeal for the creation of a new being, and his infusion of the physical and spiritual essence into the dead bodies are the inevitable outcome of the domination of the symbolic system. The twisting process of creation followed by the twisted mentality makes Frankenstein look more like the monster. However, in his sympathy toward other creatures, his master of human language, and his need for companionship, the monster is perhaps more human than his creator Frankenstein. Or, we can say that the monster represents our most organic and natural “self”, and his miserable experience symbolizes the process of the civilization and cultivation of human beings. It is the process by which the arbitrary laws of the symbolic system intrude the human consciousness, construct artificially the world of desire, and dominate the construction of human identities. From another perspective, the monster represents the subversion of or antagonism to the omnipotent system of signs. Actually, such subversion or antagonism is also the inevitable part of this system. Shelley's novel reflects or represents the same economic moment Marx describes, the moment in which the dominant mode of production becomes a socially symbolic act. The ostensibly rational process of production is made up of irrational elements characterized by the image of alienation. The most obvious representation of alienation in Shelley's text lies in the relation of Frankenstein's creature to his creator and to the entire world around him. Such alienation from nature and from other men, through the mirror structure, actually has a great impact on the construction of human identity. Thus, the mirror-image seems to be the threshold of the visible world. And, the shaping of the monster's identity resembles vividly that of human beings', which is the end product of the symbolic system. In other words, the formation of the “I” comes from the individual's projection onto and identification with the sphere of “Other” that is dominated by the sign system. Then, all of consciousnesses, identities, or desires are nothing but the epiphany of the lofty and almighty system of signs.
Appears in Collections:外國語文學系所



Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.