从被看到反抗：凝视理论中“他者”的流变

发布时间：2018-10-04 20:01

【摘要】：“凝视”是当代文艺理论的重要术语,本文从多角度分析凝视行为中的看与被看的关系,并辅之以对具体电影文本的解读,展示凝视“他者”地位的流变。第一部分指出凝视他者对凝视主体的从属关系。西方传统将视觉作为所有感觉体验的中心,这种视觉中心主义及其伴生的主客体二元对立成为了西方哲学理性主义的源头之一。马丁·杰提出的“视界政体”,概括了视觉中心主义中“看”的主体的绝对权威地位。在后殖民主义批判理论中,作为被殖民的一方,无论是黑人,还是东方,都从属于宗主国的凝视权威。在女性主义批判理论中,女性他者居于从属地位,无法逃脱男性欲望和权力的凝视。第二部分通过对黑格尔主奴辩证法的阐述揭示了“他者”对主体的建构功能。萨特以注视为例,指出“我”在“他人”的注视当中才得以自在的存在,而萨特“他人即地狱”的思想,则使“我”与“他者”关系陷入冲突之中。后殖民主义批评理论认为,只有殖民者和被殖民者的相互依存和杂糅才产生了真正的殖民主体。女性主义批评理论也不再把性别关系看作是男性对女性欲望和权力的凝视,而是尊重两性之间的性别差异,将女性“他者”放置在与男性主体等同的地位。第三部分重点论述凝视理论中“他者”的反抗。拉康为“他者”的凝视辩护,指出凝视-客体并非总是居于从属地位的“他者”,反而会占据主体地位,并对凝视主体进行反凝视。齐泽克以实例证实凝视“他者”并非只是对主体从属或仅仅起建构作用,而是能对主体形成反抗,由于“他者”对主体造成的冲击,齐泽克通过对“征兆合成人”的论述来重新确立悖论性的主体。论文通过对电影文本《孤儿怨》和《末路狂花》进行文本分析,指出来自“他者”的凝视一直在以实在界向象征界回返的形式对主体形成反抗。
[Abstract]:"gaze" is an important term in contemporary literary theory. This paper analyzes the relationship between watching and being seen in gazing behavior from various angles, and shows the evolution of the status of gazing at "other" with the interpretation of specific film texts. The first part points out the subordinate relation of gazing at other to the staring subject. The western tradition regards the vision as the center of all sensory experience. This kind of visual centralism and its accompanying duality of subject and object has become one of the sources of western philosophical rationalism. Martin Jay's "Horizon regime" generalizes the absolute authoritative position of the subject of "seeing" in visual centrism. In the critique theory of post-colonialism, being a colonized party, both black and eastern, is subordinate to the staring authority of the sovereign state. In feminist critical theory, female otherness occupies a subordinate position and cannot escape the gaze of male desire and power. The second part reveals the construction function of the subject by the exposition of Hegel's dialectics of master and slave. Sartre takes gaze as an example and points out that "I" can only exist freely in the gaze of "others", while Sartre's thought of "other is hell" makes the relationship between "me" and "other" in conflict. The theory of postcolonial criticism holds that only the interdependence and hybridity of the colonists and the colonized persons produce the real colonial subjects. Feminist critical theory no longer regards gender relations as the gaze of men on the desire and power of women, but respects the gender differences between the sexes and puts the "other" of women in the same position as the subject of men. The third part focuses on the resistance of the "other" in the gazing theory. Lacan defends the gazing of the "other", pointing out that the gazing-the object is not always in the subordinate position of the "other", but will occupy the subject position, and carry on the countergaze to the staring subject. As an example, Zizek proves that gazing at the "other" does not only play a constructive role to the subject, but also forms a resistance to the subject, because of the impact of the "other" on the subject. Zizek reestablishes the paradoxical subject through the exposition of "omen synthesizer". By analyzing the film texts Orphan resentment and the Last Flower, the paper points out that the gaze from the other has been rebelling against the subject in the form of the return of the real world to the symbolic realm.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：I0

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