馬英九擔任市長時遭逢多次危機事件並因此受到非議，但施政滿意度依舊居高不下，此現象促使本文關注媒體於其中扮演的角色，試圖透過新聞報導的分析，重建媒體觀看「危機事件中的馬英九」的視野，並解讀其中的意義與真實。 本文採取語藝觀點，運用Ernest G. Bormann所提出的幻想主題分析與符號輻合理論，分析聯合報與自由時報於2000年到2004年間「危機事件中的馬英九」相關報導。試圖探究新聞媒體所建構的語藝視野，其次，探討讀者投書是否會對新聞有所覆頌，以重建媒體與閱聽人所構成的語藝社群，最後，比較兩報語藝視野的差異，追溯其背後的政治社會脈絡，期對「馬英九現象」的研究有所開拓。 研究結果顯示，聯合報與自由時報報導的「危機事件中的馬英九」相關新聞，分別出現重複的戲劇情節，具有特定的幻想主題，並且可歸納成幻想類型，最後分別建構不同的語藝視野，其中聯合報是「困境中崛起的新領袖馬英九」，而自由時報是則「馬英九美好表象背後的危機」。從兩報的語藝視野，可發現其與當時的政治社會脈絡相互呼應，並且使用特殊的修辭與文體增進戲劇幻想的傳播。而由讀者投書的檢驗，也確認了讀者確實對新聞論述有所覆頌。除此之外，從兩報迥異的場景、角色設定，以及相互競爭、對立的語藝視野，也可追溯到兩報互為極端的政治立場。

本研究探討真實自我、理想自我與品牌人格的一致性以及消費幻想，對於消費者品牌偏好度之影響，並將真實自我、理想自我與品牌人格的一致性分為五大構面，探討各構面對於消費者品牌偏好度之相對影響。採用Aaker (1997) 所發展出來的品牌人格量表來衡量真實自我、理想自我以及品牌人格，消費幻想的衡量則是採用黃依婷 (2006) 所發展之幻想程度的量表。 本研究選擇進行問卷調查的品牌包含象徵型及功能型兩類型，且具高知名度、不同來源國、消費者使用目的及產品價格等特質，經由與專家討論，選出台灣的宏碁 (Acer)、法國的路易威登 (LV)以及美國的星巴客 (Starbucks)，並將問卷以品牌分為三類，採隨機發放，共收集428份有效問卷，其中Acer品牌問卷有134份、Starbucks品牌問卷有143份、LV品牌問卷有151份，透過一般線性模式分析，驗證品牌人格與自我一致性以及消費幻想，對於消費者品牌偏好度之影響。 研究結果顯示，真實自我及理想自我與品牌人格的一致性、消費幻想及品牌對於消費者品牌偏好度均無影響，但是真實自我及理想自我與品牌人格的一致性與消費者品牌偏好度間的關係，會受到消費幻想及品牌的影響。對於象徵性品牌而言，消費幻想高的人並不在意品牌與自己之真實自我或是理想自我有無一致，只要品牌的象徵性意涵豐富，能夠滿足其幻想，消費者就會對品牌有較高的偏好，消費幻想低的人比較務實，所以對於象徵性品牌的偏好度較低；就功能性品牌而言，消費幻想高的人除了產品基本的功能性訴求之外，還希望品牌能夠用來表達真實自我或是理想自我，但是消費幻想低的人比較實際，較注重產品的功能面，所以比較不在意品牌是否能展現自己。若將真實自我一致性分為五個構面來看，真實領先自我一致性對於消費者品牌偏好度有影響，且此關係亦會受到消費幻想的影響，真實誠懇自我一致性與消費者品牌偏好間的關係，會受到消費幻想及品牌的影響。 對於廠商而言，若其品牌屬於象徵性品牌，應該將品牌之象徵性意涵更為突顯吸引更多消費幻想高的人，不需在意品牌人格是否與消費者之自我一致，若其品牌屬於功能性品牌，廠商對於消費幻想低的人應該著重加強品牌功能的宣傳，對於消費幻想高的人要使得品牌具有人格特質以表達消費者的自我。對於消費者而言，若能先瞭解自己消費幻想的程度，將有助於選擇適合自己的品牌。消費幻想高的人，在選購象徵性品牌時，可選擇象徵性意涵豐富的品牌，在選購功能性品牌時，建議選擇符合自己所追求人格特質的品牌；若為消費幻想低的人，不建議購買象徵性品牌，在購買功能性品牌時，要特別注意其功能的表現。 本研究將品牌人格與自我一致性分五大構面，探討其對於消費者品牌偏好的影響，確實瞭解真正影響消費者對於品牌偏好度之品牌人格與自我一致性的特質，能夠給予廠商明確的建議。在本研究之前，對於消費幻想的研究僅止於理論的發展及量表的建構，本研究將消費幻想進行品牌偏好度的實務驗證。 / The main purpose of this research is to investigate the effects of real-self congruity, ideal-self congruity, and consumer fantasy on consumers’ brand preferences. Furthermore, the research divided real-self congruity and ideal-self congruity into five dimensions to discuss the effects of each dimensions on consumers’ brand preferences. The American brand personality scale proposed by Jennifer Aaker in 1997 was used to measure brand personality and self congruity, while consumer fantasy was measured using the fantasy scale by Huang, Yi-Ting (2006). Brands in the research included both symbolic brands and functional brands, that are well-known, come from different countries of origin, used for different usage purposes, and carry different prices. After discussions with a professional, Acer, Louis Vuitton (LV), and Starbucks were selected. Questionnaires for each brand were developed and were distributed randomly. 428 valid questionnaires were collected, among which 134 were Acer brand questionnaires, 143 were LV questionnaires, and 151 were for Starbucks. Data was analyzed by general linear model. The results of the research are in the following. 1. There were no effects of real-self congruity or ideal-self congruity, consumer fantasy, and brands on brand preferences. 2. The relationships between real-self congruity and brand preferences or ideal-self congruity and brand preferences are affected by consumer fantasy and brands. 3. For symbolic brands, consumers with high fantasy don’t care whether the personalities of the brands are consistent with their real-self or ideal-self concepts. As long as the symbols of the brands can satisfy their fantasy, they will have high brand preferences. 4. For functional brands, consumers with high fantasy still hope that the brands can express their real-self or ideal-self concepts. In contrast, people with low fantasy are realistic so they focus a lot on the function that the brands can provide them and don’t care whether the brands can express themselves. 5. The relationship between real-leading-self congruity and brand preferences is affected by consumer fantasy. 6. The relationship between real-sincere-self congruity and brand preferences is affected by consumer fantasy and brands. Businesses whose brands are symbolic ones should emphasize the symbols of their brands to attract more consumers with high fantasy levels but don’t need to be as concerned with whether the personalities of the brands are consistent with consumers’ real-self or ideal-self concepts. On the other hand, businesses whose brands are functional brands should emphasize the great functionality of their brands to attract consumers with low fantasy and make the brands have personalities to express consumers’ real-self or ideal-self. Moreover, consumers should understand the degree of their fantasy to help them purchase suitable brands. When purchasing symbolic brands, consumers with high fantasy can select brands with rich symbols, while when purchasing functional brands, they should buy brands with personalities that fit their real-self or ideal-self. Consumers with low fantasy should buy less symbolic brands and should pay attention to the functions of the brands when purchasing functional brands. This research contributes by dividing the real-self congruity and ideal-self congruity into five dimensions and discussing the effects of each of them on brand preferences. This can lead to a better understanding of how the real personalities of brands and consumers’ self concepts affect brand preferences which will be useful to help companies form branding strategies. In addition, prior to this research, the studies about consumer fantasy were limited to the development of theories and the construction of the scale to measure consumers’ fantasy. This research connects consumer fantasy and brand preference to study the relationship between them.

南西. 弗萊德的《我的秘密花園》在探討女性思想，身體透過對和性意識的議題上被認為是其中一本最重要及有用的書。透過對性廣泛及露骨的討論，女性不僅在幻想中，甚至在現實面也能對其生理的欲望和需求有非常深入的了解。 在第一章中，我首先討論南西. 弗萊德搜集女性性幻想的意圖，緊接著強調女性對性並非是沉默的一群，因為在《我的秘密花園》中女性而非男性對性愛握有主控權。為了要明顯區隔《我的秘密花園》與男性為主的色情之差異，我討論女性如在何在南性色情中被錯誤的表現成為性商品及《我的秘密花園》所要顛覆的主題。 而第二章主要強調一些女性主義者對啟蒙時期二元論的攻擊，因為她們深信深藏在此二元論中的階級意識是造成女性地位低下的主因。因此，班森及傅柯的全景敝視的概念在此當成審視女性被父權物化所限制的主要架構，此觀念介紹後，我便詳加敘述全景敝視主義之主要效果並探索此一效果是如何壓制一般女性。 在第三章中，我不僅將重點集中在女性書寫的建立，更將《我的秘密花園》視為其中一例。從主題中可清楚發現女性之主體性。 在第四章中，《我的秘密花園》被比喻為性的嘉年華會，其參與者無不盡情享受性之歡愉，因此審視巴克定狂歡化的概念，可幫助讀者更深一層了解嘉年華式顛覆的力量及其相關的特性。 最後，我在第五章中重述各章之要點並指出認知女性欲望對其自主發展之重要性。我在此也相信，性對男女而言，都是最基本的生理需要，假如男性對性渴望，女性也一樣。南西. 弗萊德是第一位搜集女性性幻想的作家，但是她絕非是探討女性性論述的尾聲。 / Nancy Friday's My Secret Garden is regarded as one of the most important and useful books on the issueof women's thoughts, bodies and sexuality. Though a wide-ranging frank discussion on sexual matters, women are fully cognizant of their physical desires and needs of heir bodies, not only in their fantasies but also in their real lives. In chapter one, I discuss, first of all, Nancy Friday's intention of collecting female sexual fantasies and then emphasize that women are not sexually silent in My Secret Garden because it is they, instead of men, that hold the key to sex. To show how remarkably My Secret Garden differs from male pornography, I discuss how women are fallaciously represented as sexual objects in pornography and what My Secret Garden is aimed to subvert. In chapter two, some feminist's attack on the Enlightenment dualism are brought into focus, because they believe that it is the hierarchy lurking in the Enlightenment that results in women's inferiority. Therefore, Jeremy Bentham's and Michel Foucault's ideas of panopticon and panopticism are used as a framework to examine how women are confined by patriarchal culture. After introducing their ideas, I specify the main effect of panopticism and explore how the effect subjugates women. In chapter three, I concentrate my attention not only on why feminine writing has to be established but also on how My Secret Garden can be viewed as one. After the discussion on feminine writing, I focus on the textual analysis of My Secret Garden by investigating its main themes. From those themes, women's subjectivity is clearly observed. In chapter four, I compare My Secret Garden to a sex carnival where every participant enjoys sex. Hence, Mikhail Bakhtin's notion of carnivalization is examined in order to help the readers understand better the subversive power of carnivalization, and some of its important features are thus carefully analyzed. In chapter five, I recapitulate the central points of each chapter and point out the significance of understanding women's own desires in the development of their subjectivity. I also believe that sex is one of the most basic needs for both men and women. If men have the propensity for sexual needs, so do women. Nancy Friday is the first one to collect female erotic fantasies, but she will not be the last one to investigate discourse on sex.

國立政治大學研究所碩士論文提要 研究所別： 英國語文研究所 論文名稱： 閱讀溫特森«銘刻在身»的爽 指導教授： 劉建基教授 研究生： 張惠慈 論文提要內容： （共一冊，約 31500 字，分五章） 本研究關於溫特森的《銘刻在身》旨在探究在閱讀此文本過程中，不同程度及不同形式的爽(jouissance)。此研究將著重於三方面：其一，追求愛情的爽；其二，在幻想中永恆的爽；其三，閱讀文本《銘刻於身》的爽。本論文將分五個章節。 我在第一章的前半部簡介溫特森及她的小說，在後半部，描繪拉岡心理學中三個限界（幻真界[the real]，想像界[the imaginary]，及象徵界[the symbolic]），及此三界與爽的交互作用。這三個限界及爽，將是本研究的理論基石。 第二章的討論旨在解釋，為何敘述者著迷於不斷陷入愛情，及為何露伊絲在小說結尾莫名其妙的消失了。乍看之下，敘述者對露伊絲的愛相當矛盾：敘述者對露伊絲宣稱其無窮的愛，卻又刻意地悄悄的遠離了她。然而事實上，敘述者的矛盾行為堪稱合理：因為愛與失去是共生的。在浪漫愛情故事裡，一段介於愛的主體(the loving subject)及被愛客體(the loved object)之間的距離是必要的。表面上，愛的主體（敘述者）的追求過程裡看來痛苦，而實際上他正無意識的，享受著對被愛客體無限的追求時的爽。在這迷戀他者的過程中，主體實際上是自我迷戀(narcissism)，而在這自我迷戀的過程中，主體將其自我理想(an ego-ideal)投射在被愛客體上，並美化被愛客體成為一理想的自我(an ideal ego)。 在第三章，我將對敘述者迷戀愛情的現象做更深入的探討：到底敘述者打算由露伊絲的完美形象中挖掘什麼，以及為何敘述者得與一個理想戀人，住在一個理想愛情的幻象之中？我發掘出其中最主要的原因來自於，主體懼怕被去勢及懼怕象徵界中的無能（例如婚姻、老去、死亡）。主體具有一個原生的欲望：期待完滿及永恆（此欲望是期待回歸幻象界以及獲得爽），然而在現實世界（象徵界）的短缺及壓迫之下，回歸的可能被榨乾。幻象(fantasy)於是成為主體（敘述者）的護欄，它一方面讓主體相信自己是全能，另一方面它掩蔽事實，讓主體忘卻自身的不完整和無能為力。 在第四章，我跳出單單在文本內容中的討論，進而探討文本與讀者之間的關係；本討論的立論基礎為羅蘭巴特的書寫式文本(writerly text)。在文本╱讀者及露伊絲╱敘述者之間，有一類似的有趣現象：文本之於讀者正如同露伊絲之於敘述者。在這兩個情況當中同時都有一被動的客體(the desired or probed object)勾引探索中的主體(the probing subject)，然後再由主體的追求中脫逃而去。閱讀《銘刻於身》，表面上痛苦萬分，而實際上卻令人陶醉：因為閱讀的爽正源自於，作者刻意設計的不確定因素(uncertain elements)。這些不確定因素，一方面玩弄讀者，一方面也在文本上形成一未填滿的空間，其特徵就是不斷的衍生(endless generation)－－讀者可以參與創造各式各類的可能性，而意義的系統將不斷延伸。一個單一的文本，在此不斷延伸的系統下，便成了多重文本，而閱讀此類書寫式文本之樂趣，就在於讀者不得不參與創造意義的過程。 最後我在第五章的結論部份，總結了愛與閱讀的爽具有相同的條件與模式：在追求的主體（讀者與愛的主體）與被追求的客體（文本及被愛客體）之間，空間與距離是不可避免的要素，因為隱藏在人體內的爽本身就是一個矛盾體。 Chapter One Introduction Chapter Two The Jouissance of Pursuing Love Chapter Three The Jouissance of Being Immortal in Fantasy Chapter Four The Bliss of Reading Written on the Body: A Writerly Text with Jouissance Chapter Five Coda / Abstract In this study of Jeanette Winterson’s Written on the Body I would like to explore jouissance in different forms and levels in the process of reading this novel. The emphasis will be laid upon three aspects: first, the jouissance of pursuing love; secondly, the jouissance of being immortal in fantasy; and thirdly, the jouissance of reading this novel. The thesis is divided into five parts. In the first chapter, the beginning section is devoted to a general introduction of Jeanette Winterson and her novels; in the ensuing section, I will picture the interrelationships between the three registers—the real, the imaginary, and the symbolic—and jouissance in Lacanian psychoanalysis, which will be adopted as the interpretative model to account for the theme of jouissance in the whole thesis. In the second chapter, I will stress on the narrator’s exalted love toward Louise and the construction of his/her ego. On the surface, it is odd that the narrator’s sublime love for Louise contradicts his/her decision—to leave Louise; however this paradox is reasonable, because love and loss is in fact symbiosis. A distance between the loving subject and the loved object is necessary in the case of romantic love; though painful, the loving subject enjoys itself in the act of endless pursuit for the loved object, which is actually an ideal ego of the subject’s self. The paradox of love in company with suffering explains the narrator’s addiction in love and the disappearance of Louise. In the third chapter, my interest is getting deeper: what does the narrator want to grub out of the ideal image of Louise, and why does the narrator have to live in the fantasy of ideal love and to be with an ideal lover? The principal cause that I will explore is the fear of being castrated and of the impotency of the symbolic. The subject has an essential desire to be integral and immortal (which is the concept of the real and is allied to jouissance), but there are forces from the reality (or the symbolic) to drain this desire. Therefore, fantasy becomes a protective talisman for the narrator (as well as for every subject) to forget its fragmentation and inability. In the fourth chapter, the interrelation between the text and the reader is the dominant consideration, and Roland Barthes’ theory of writerly text that engenders bliss (jouissance) will be the critical base. There is an interesting formula between the text/the reader and Louise/the narrator. The text for the reader is similar to Louise for the narrator: in both situations, the desired one seduces and slides from the probing other. Reading Written on the Body on the surface is painful and irritating; in a sense, the act of reading is ecstatic. The origin of the bliss of reading is the uncertain elements intentionally created by the author. The unfilled space in the text that entertains readers is characterized by its feature of endless generation—various possibilities are created, and the network of meanings extends. Therefore, to conclude the whole scheme of love and reading in the fifth chapter, I will point out that a space or a distance between the pursuing subject (the reader or the loving subject) and the pursued object (the text of the loved object) is inevitable because jouissance inherent in the human body is in its essence paradoxical.

近代明治是國民國家形成的時期、文明開化的時期，但是，女性的生存方式依舊受到社會制度的束縛。樋口一葉小說從人道主義的精神出發，對社會性差規範和封建道德等制度規範開始產生懷疑，進而表現出反叛意識與反抗行為。作品以「女性的自覺和解放」此一女性表現的主題為主，追問女性的生存方式及主體性的問題。一葉後期作品與前期的作品相較之下明顯得可看出作品表現趨近成熟，對於「我是女人」的自我認識，從中感到身為女性的無價值性，在後期作品中很濃厚的表達出此種身為女性的悲哀。 本研究的目的是想要探討女性在被要求扮演家庭裡面賢妻良母的角色，選擇過其他生活方式的主權被剝奪的明治時代之下，樋口一葉後期作品中描繪的女性們，以何種的方式來反抗社會的家長制度與兩性差別文化？以及，如何表現女性的自我？並且，如何去尋找新的生存方式？如此的「女性的性」（女性的自我意識和身體）的表現，與主體性的問題。再者，想去探討同時代的女性作家如何去摸索近代女性的新的生活方式與如何去表現自我，進而去探求明治女流文學中樋口一葉文學的解放思想之位置。 關於研究方法，本研究以樋口一葉後期作品中生活在家庭空間內部的少女與人妻，以及生活在家庭空間外部的娼婦對象，以從家族關係成立的「家族幻想」(共同幻想)，以及由戀愛的關係所成立的「戀愛幻想」(對幻想)的觀點來作思考，考察女性的自我意識與行為表現。此外，從作品論衍伸到作家論，藉由作者在日記中記述，或同時代的評論、作品，來論及作家的思想及作品表現之特性。 / Women were still confined to traditional social norms while the Meiji Era (1868-1912) started its modernization and industrialization, and rose to world power status. Higuchi Ichiyo, considered as the first major woman writer of Japan's Meiji period, examines and argues gender issue, social class and feudalism from the perspectives of humanism, especially women's roles. Her literary focuses on women’s self-awakening and liberation, exploring women’s autonomy and the way of how women live in the society. Compared with her own early works, her writing mechanism and thinking become more delicate and sophisticated with time passing by, and she, at the end, deeply realizes the ill-fated destiny of being a woman in the self-exploration process of I-am-a-woman. This research aims to examine how women oppose the paternalism and gender discrimination by looking at the novels of Higuchi Ichiyo’s later years in which women have no choice but to be housewives to meet social expectations. From the standpoint of female, this research also tends to review how women express and identify themselves, and how they find their own way to live physically and consciously at that time. At last, the study investigates other woman writers of the same period to re-define and re-position Higuchi Ichiyo in the Japan Meiji Era’s literature. The methodology employed in the study is to analyze women’s self-awareness and behaviors by using two types of “fantasy” concept: (1) family fantasy, also called co-fantasy, formed by family relationships and (2) romance fantasy created by love relationships. Two kinds of women are analyzed in this study. One is the ladies and housewives in the household, and the other is the prostitutes outside the socially-expected family life. In addition, contemporary criticism, literary theory, authorship theory, and author’s journals are reviewed to analyze Higuchi Ichiyo’s writing mechanism and thinking.

在多元性別文化以及女性意識抬頭的後現代中，世俗的愛情故事以及愛情觀，也開始有更多元的樣貌出現，本研究將透過語藝理論批評方法中的符號輻合理論及幻想主題方法分析台大PTT站中〈boy-girl〉、〈gay〉、〈lesbian〉板中討論情愛的文章，目的在了解數位時代下的社群分別凝聚出何種共享的愛情觀，形塑出何種的語藝視野。

新聞報導是一種語藝的行動或一種說服之過程，也是一種真實的再現，透過不斷的傳播，建構出團體成員對外在世界的共同認知，逐漸成為閱聽人的共同印象。以社會運動來說，新聞工作者往往認為「衝突、對抗、造勢」等戲劇性效果，最具新聞價值，也最能代表社運，因此，媒體建構了社運，同時建構了人們對社運的印象。而以學生為主體的社會運動，因角色的轉換與社會的想像，使得媒體刻意在報導中多了些「保護」與「憐惜」，易產生與其它社會運動不同的報導取徑。 　　本研究以《聯合報》的野百合學運和太陽花學運的新聞報導作為研究對象，透過「幻想主題分析」的研究架構，輔以外在分析，探討單一媒體建構學運的語藝視野是否會隨著時代變遷而有所變化？ 　　研究發現，在《聯合報》語藝建構下，兩代學運呈現迥然不同的語藝視野，野百合學運的語藝視野為「憲政改革眾望所歸」和「民主自由難能可貴」；太陽花學運的語藝視野為「朝野惡鬥國會失能」和「民主之恥民主鬧劇」，並發現學運期間的讀者投書，具明顯的覆誦現象，形成一致的語藝社群，不僅如此，本研究同時驗證了單一媒體在建構不同世代學運的語藝視野，並不會全然產生相同的觀看視角與報導取徑。

當代哲學家紀傑克以他對於政治與文化現象的拉岡式解讀而聞名，但他哲學中的核心母題是什麼？對紀傑克而言，哲學不是使人「安然棲身」的論述，而是跟陌生感與他異性更緊密相關。所以，在紀傑克的眼中，哲學家的工作，不在於提供具體的解決方案，而是在於「新問題的創造」，重塑爭論的框架本身。 　　這篇研究中，筆者使用「系統與他者」這組概念，來彰顯紀傑克的兩大核心母題，其一，便是在有限性的範圍之內主張的自由，其二，則是他對新穎與變化的追索。「他者」使得系統能夠不斷重新定向，並向根本的變化保持開放。 　　「脫節狀態」是紀傑克用以描述主體之基本自由的概念。主體活動不被自然或文化的任一方決定；於是，所有主體所作的系統整合，都是一種與他者建立暫態平衡的嘗試，而所有用以整合的意指活動，都是一種對於他異性的回應，一種安身立命的奠基姿態。 　　簡言之，所謂「象徵界與實在界的不協調性」，在紀傑克的術語中不是消極的意涵，而是積極的意涵：它使得意義建構得以開始，並且是人類自由的根源。透過「系統」與「他者」的互動，思想總是有能力重新定向，藉此維持其鮮活與彈性，而這正是紀傑克式主體在現今政治情境中所致力實現的。 / Contemporary philosopher Slavoj Žižek is well-known for his Lacanian reading on political and cultural phenomena, but what is the central motif of his philosophy? For Žižek, philosophy is not some discourse to make people feel “being at home”, but rather something more related to foreignness and otherness. In Žižek’s eyes, What a philosopher really does is not providing substantial solutions, but rather “inventing new problems”, reshaping the framework of argumentation itself. 　　In this thesis, ”System and other” is the term I introduce to thematize two central motifs in Žižek’s philosophy: the first motif is his tireless assertion of freedom within the realm of finitude, and the second one is his relentless seeking for innovations and changes. “Other” is what enables the system to continuously re-orientate itself, and keep the system open to fundamental changes. 　　Žižek uses “Out-of-jointedness” to describe the fundamental freedom of the subject, neither nature nor culture can determine the subject. Every system organized by the subject is an attempt to create a transient balance with the other, and every totalizing signification is s a response to the otherness, the founding gesture of situating the subject itself into a meaningful context. 　　To sum up, Žižek does not use “Inconsistency between the Symbolic and the Real” as a negative term, but rather a positive term, it is the very starting point of meaning construction, and the ground for human freedom. Through the interaction between ”system and other”, the thought is always ready for re-orientation, therefore the thought is kept alive and flexible, and this is exactly what a Žižekian subject wants to accomplish in the present political situations.