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臧棣诗中显见的语言快感可以从拉康有关爽意的理论中来观察,而对拉康语言观与主体观的考察又可连结到庄子学说中对寓言、心斋等问题的阐述。本文主要探讨的是臧棣的抒情主体与诗歌语言如何同时体现了拉康关于主体与他者双重缺失的精神分析学概念和庄子关于心与道的虚的概念。具体而言,本文经由拉康对“语言噱”的理论和庄子对“谬悠之说”的论述,分析了臧棣的诗如何在转义的层面上展示出语言的裂隙或吊诡,从而以喜剧的形态探测真实域的创伤性快感的。从这样的意义上,臧棣的诗也通过对符号他者的挑战,体现了当代诗学的文化创造性。
The language pleasure manifested in Zang Di’s poems can be observed from Lacan’s theory of coolness, and the investigation of Lacan’s linguistic view and subject view can be linked to the elaboration of the allegorics and the heart of vegetarianism in Zhuangzi’s theory. This article mainly discusses how Zang Di’s lyric subject and poetry language simultaneously embody Lacan’s psychoanalysis concept about the subject and the other’s absence and Zhuangzi’s concept of the heart and the Tao. Specifically speaking, through Lacan’s theory of “language gimmick ” and Zhuangzi ’s comment on “eroticism ”, this article analyzes how Zang Di’ s poems display the fissure of language at the level of escaping or Paradox to detect real traumatic pleasure in the form of comedy. In this sense, Zang Di’s poems also embody the cultural creativity of contemporary poetics through the challenge of the symbolic one.