臺灣博碩士論文加值系統

本論文旨在以拉岡 (Jacques Lacan) 與心理分析之電影理論來探討珍．康萍 (Jane Campion) 在＜鋼琴師與她的情人＞ (The Piano) 這部作品中，女性主體之呈現。透過這部作品，珍．康萍在揭露男性之支配與暴力之餘，藉由艾達這樣一位沈默者來顛覆女性是弱者的刻板印象。在艾達這樣一位女子身上，珍．康萍將此一沈默角色塑造成一位在自己想像世界中強烈依戀、及在象徵世界具有強大意志力的女性。在艾達這麼一位尋求女性主體的女子身上，沈默者一角似比用語言發聲者更能明確的表達自己。
　　在第一章導論中，簡述珍．康萍作品之背景及其作品中女性角色之特徵來討論其電影手法。並介紹 ＜鋼琴師與她的情人＞的背景故事與珍．康萍在此片中所運用的文學及電影技巧。再者，此章並述及在本論文中對此作品論點的簡短介紹。
　　在以下的章節中，著重用拉岡心理分析及心理分析之電影理論來探討艾達的女性主體。每章均以心理心析理論為重心來閱讀此電影。在第二章中，我將借重拉岡之鏡像階段 (The Mirror Stage) 當做討論艾達不全之女性主體為理論背景。第三章將介紹同樣源自於心理分析凝視的電影理論（男性）凝視觀點。第四章則顛覆第二章所揭露此電影的男性支配特質與第三章所檢視的電影中的男性凝視。對艾達此一角色所定義的能言之沈默者，與此片中經由電影之凝視所表現具支配性質的女性主體，在第四章中均可見其詳。
　　第五章總結此論文，簡述之前章節所提及的論點以及我個人閱讀＜鋼琴師與她的情人＞的貢獻。

This thesis discusses the representation of female subjectivity in Jane Campion’s The Piano in terms of Lacanian and film-oriented psychoanalytical theories. In this work, Campion reveals the male dominance and violence, but reverses the image of women as victims by means of a selective mute Ada. In Ada, Campion fashions a mute woman’s strong obsession with the Imaginary, and her strong will to seak her desired father in the Symbolic. Ada, the mute in search of her female subjectivity, is more articulate than verbal speakers.
In the introductory chapter, I offer a background of Jane Campion concerning her films and the features of female characters in her works so as to survey her intention in filming. I also introduce the background of The Piano, and Campion’s use of literary as well as filmic elements in this film. Also in this part, I offer a brief introduction to my discussion of this film.
In the following chapters, I pay attention to Ada’s female subjectivity in terms of Lacanian psychoanalysis and psychoanalytical film theories. Each chapter hinges on the psychoanalytical reading of the film. I illustrate Lacan’s mirror stage as my theoretical background on Ada’s incomplete female subjectivity in Chapter Two. Stemming from psychoanalytical gaze, filmic theories on (male) gaze is introduced in Chapter Three. Following the discussion in previous chapters, Chapter Four discusses both the subversion of male dominance treated in Chapter Two and the filmic male gaze examined in Chapter Three. Chapter Four also proves my argument of Campion’s articulate silence in Ada, and subversive filmic gaze presenting a dominant female subjectivity in the film.
Chapter Five concludes my thesis, summarizing main points in the previous chapters, and the contribution that my reading of The Piano makes.

Table of Contents
Abstract………………………………………………………………i
Acknowledgements……………………………………………………iii
Chapter One
Introduction…………………………………………………………1
Chapter Two
Fragmented Female Subjectivity: Lacanian Perspectives……9
Chapter Three
Filmic Gaze in The Piano…………………………………………38
Chapter Four
Articulate Silence: The Subversive Gaze and Female Subjectivity in The Piano…………………………………………………………59
Chapter Five
Conclusion……………………………………………………………96
Works Cited…………………………………………………………112

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