重覆的夢境：論達芬˙茉莉兒之懸疑浪漫小說《蝴蝶夢》中的雙重快感

Abstract

本文研究暢銷懸疑浪漫小說《蝴蝶夢》（Rebecca, 1938）中所蘊含的大量閱讀快感，並試圖以羅蘭˙巴特對於快感之論述，融合羅曼史小說相關之大眾文化理論，勾勒出「雙重快感」之原型構想，並以此理論解析《蝴蝶夢》文本中的快感運作。「雙重快感」理論點出，不論是巴特提及的「一般快感（plasir）」與「極樂（jouissance）」，或者是大眾文化研究中，與父權社會合作的「共謀式快感（complicit pleasure）」以及相抵觸的「抵抗式快感（resistive pleasure）」，都無法帶來徹底的滿足。相反地，正是在這兩類快感之間的游移、模糊的地帶，才是衍生更巨大快感之所在。讀者能藉由文本中的多重角色身分，在兩類快感的擺盪中，激發出更強烈的雙重快感。第一章首先對《蝴蝶夢》文本及相關評論作概略統整的介紹，並針對其歷久不衰的暢銷性，切入閱讀快感的主題。第二章針對「快感」的定義，做一系列的文獻回顧，並以巴特的快感理論為基礎架構，融合大眾文化研究領域裡的快感相關論述，構築出「雙重快感」的理論模型，並以圖像方式清楚呈現。第三章進入文本分析，討論文本中的重要角色如何反映了「雙重快感」的運作：莉碧嘉大膽享受著表裡不一的衝突生活所帶來的雙重快感，而無名的女主角抱持著對莉碧嘉的憧憬與模仿慾望，與莉碧嘉進行幻想式的重疊，再由自身複雜多重的身分認同之中，獲得雙重快感。第四章著重探討《蝴蝶夢》的讀者們如何能與角色進行心理重疊，脫離了日常自我的框架，游移擺盪於各種位置之間而獲得雙重快感。最終章將點出，《蝴蝶夢》的半開放（迴圈）式的結局，巧妙呼應著羅曼史文類「過程重於結局」的本質，也諭示出：羅曼史讀者重複閱讀、購買浪漫小說的普遍習慣，亦是試圖回歸雙重快感的一種表現。

This thesis aims to analyze the working of pleasure in the popular romantic suspense Rebecca through the “double pleasure theory” that is mainly based on Barthes’s pleasure theory of “plasir” and “jouissance.” Chapter One introduces the novel Rebecca and the pleasure issue involved within, a widely discussed topic raised by theorists in the field of cultural studies. Chapter Two seeks for the definition of pleasure by providing a general review of how the remarkable theorists, including Freud, Lacan, and Barthes, have discussed and analyzed the meaning of pleasure. From their observations, it can be deduced that pleasure are mainly divided into two kinds: the pleasure of the “Plasir” (the release of excitation) and the pleasure of the “Jouissance” (the intensification of excitation). The double pleasure theory inherits this basic structure, while adding a new point that the greatest pleasure cannot appear alone in either kind of single pleasure, but can only exist in the shifting process between these two. The theory can also be brought to the cultural layer of discussion about female pleasure, suggesting that women’s greatest pleasure occurs exactly between patriarchal ideologies and feminist values. Chapter Three focuses on textual analysis of the novel, revealing that the most important characters of the novel, Rebecca and the narrator/protagonist, have both proven the successful working of double pleasure throughout the whole story. Chapter Four discusses how the readers can also receive this double pleasure by identifying themselves with the female characters in the novel, and how the novel’s circular narrative structure can also help readers to retain that double pleasure. Much emphasis is put in Chapter Five to show that the novel’s special narrative structure also highlights the very phenomena in the romance genre—that the process of romance is far more significant than the ending—which presents as well a fact that romance reader’s repetitive reading/buying tendency is originated from the wish to regain double pleasure.