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本文探讨的是当代中国文化场域内不同话语模式中所蕴含的不同主体功能,以及它所相应面临的不同快感维度。本文借用拉康有关四种话语的理论,论述四种不同的政治文化角色——主人能指、知识、小它物(objet petit a)、分裂主体——如何由于处在不同地位上而形成不同的互动关系,特别是(分裂)主体的不同面貌,以及小它物作为创伤性快感——即“绝爽”(jouissance)——的各种意味。这四种话语形态在当代中国文化语境下表现如下的面向:(1)革命时代所建立的主人话语在主流意识形态上的主导功能;(2)后革命时代占重要地位的学院话语在现代社会、法律和商业体制中的首要作用;(3)分析师话语作为知识分子启蒙话语的具体表现,以及与其同构的倒错话语在娱乐文化中的意义;(4)癔症话语在先锋文学和艺术领域表达分裂主体的声音。
This article explores the different main body functions contained in different discourse patterns in the contemporary Chinese cultural field and the different dimensions of pleasure that it faces. Using Lacan’s theory of four discourses, the dissertation discusses four different political and cultural roles - the masculine signifier, the objet petit a, and the divisive subject - how to be different because of their different positions , In particular the different aspects of the (divisive) subject, as well as the various meanings of small things as traumatic pleasure - ie “jouissance”. The four forms of discourse in the context of contemporary Chinese culture are as follows: (1) the dominant role of the masters’ discourse in the mainstream ideology in the revolutionary era; (2) the discourse of the academic discourses which are important in the post-revolutionary era; Social, legal and commercial systems; (3) the analyst’s discourse as a concrete manifestation of the enlightenment discourse of intellectuals and the meaning of the inverted discourse which is isomorphic with it in entertainment culture; (4) The art field expresses the voice of the divided subject.