當代中國文化場域中的主體與絕爽

Abstract

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 ɑ）、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 essay examines the different subjective functions in different modes of discourses，as well their different dimensions of jouissance. In light of the Lacanian concepts of the four discourses，I discuss how the four culturo-political roles—master signifier，knowledge，objet petit a，and split subject—form different relations and different subjective appearances，and especially the various significances of objet petit a as traumatic enjoyment，i.e.，jouissance. These four discourses express the following aspects in the context of contemporary Chinese culture：1）the dominant function of the master’s discourse established in the revolutionary era，in the mainstream ideology；2）the principal role of the university discourse in the postrevolutionary era in modern society，law and commercial institution；3）the analyst’s discourse as the specific expression of the enlightenment discourse，as well as the meaning of the pervert’s discourse in entertainment culture；and 4）the voice of the split subject in the hysteric’s discourse expressed in avant-garde literature and art.