幻思．母性．系譜：《時時刻刻》的精神分析閱讀

Abstract

英國導演史戴分．道卓藉《時時刻刻》電影，以特殊的影像魅力向維吉尼亞．吳爾芙的《戴洛維夫人》小說致意。該片以小說中主角戴洛維夫人為敘述中心，編織出三個不同世代的女性系譜，她們分別以創作者、閱讀者、及實踐者的角色在命運的轉輪下相會。二零年代倫敦作家吳爾芙夫人正構思《戴洛維夫人》小說的情節，她希望藉由戴洛維夫人擁抱生命的態度，來克服自己在現實生活中所面臨憂鬱症復發的恐懼。五零年代洛杉磯的布朗夫人雖是平凡的婦人，但藉由閱讀《戴洛維夫人》探索自己內心深處蕾絲邊的情結，因而決心遠離家園，追尋自我。當代紐約的戴洛維夫人則是吳爾芙原著中主角的原型，一心想慶祝前任男友理查詩作獲獎而舉辦晚宴，不料理查卻選擇自殺結束生命。本文擬以克萊恩的「幻思」及克李絲蒂娃的「賤斥」等精神分析理論，剖析片中不同時空下身為母親／妻子／女兒三個面向的女性所面臨的掙扎與轉變。《時時刻刻》影片中三位不同世代的女性心靈因《戴洛維夫人》的連結而交會，進而產生「幻思」的空間，這種類似回歸前伊底帕斯的母性想像空間，是客體關係中自我與異我的相容介面，從而衍生出獨特的母性書寫影像風格。

Virginia Woolf has become a model of the foremother in Modernist literature and her works have also had a profound influence on later postmodernist works and various film adaptations. Among Woolf’s works, Mrs. Dalloway offers a visionary interpretation to construct a Kleinian matricentric world to replace Freudian paternal genealogies. Bearing this as a major focus, Michael Cunningham’s The Hours contributes to conceptualize Woolf’s maternal aura into a postmodernist re-interpretation of Woolf’s Mrs. Dalloway by weaving it as a world of female genealogy in the multicultural cities located from the continent to the Untied States. The essay, thus, presents a comprehensive study of Stephen Daldry’s cinematic version, The Hours, along with David Hare’s same name script as the major contexts to concentrate on Woolf’s rhetoric of m/other with psychoanalytic feminist approaches, namely Melanie Klein’s object-relations and Julia Kristeva’s abject. Contrary to the dominant oedipal focused concepts, the genealogical project of psychological mothering, thus, has shaped an alternative view on mapping the possible world of female phantasies.