本研究探究拉崗的無意識主體理論，並根據拉崗所進行的心理分析實踐，闡述其中的教育意涵。拉崗以「回歸弗洛伊德」為取向，針對自我心理學之「自我」概念提出批評，他在「鏡子階段」論述中指出：自我之形塑乃是以想像的疏離同一性之運作方式，構成了自我與擬似者之間的錯識結構。當想像域關聯於倫理學時，拉崗將超我的概念轉化為一種客觀的裝置，即極權式的執鞭者能夠以自身之工具化作為藉口，迫使受害者在痛苦和羞辱中達到其自身之主體化的目標。為了分解想像性自我的鈕結，拉崗以象徵的功能提出了無意識主體的理論。他透過對索緒爾之語言學的轉借，使得文字不再具有符號的指義功能，而是進行著記號的指延純粹運作性。主體因而不再是意義的主人而被文字化為符指，在轉代詞「我」所呈現的陳述主詞與宣告主體的分離與分裂當中，主體乃是具有大它者之激進異質性的無意識主體。據此，在教育意涵中，拉崗以大它者之功能所進行的至高實踐，不但修正了鏡像之無限性的非本真實踐，並且鑽透了鏡映之哲學循環的本真實踐，而使得教育學之論述維繫於分析師的「存在之匱乏」此一政策。 / Based on Lacanian psychoanalytical practice, this research discusses his theory of subject of the unconscious and tries to elaborate latter’s implication of education. Along the path of “Return to Freud”, Lacan criticizes the concept of Ego that is the theoretical core of ego psychology. He traces the genesis of ego back at the mirror-stage and describes the imaginary structure of ego as following: narcissitic formation of the ego is the result of misrecognition between ego and the semblable. When combining the Imaginary with Ethics, Lacan retranslates Freudian concept of superego as the objectivized equipment, and analyzes fully the totalitarian effect of this objectivization that refuses its subjectivization. Totalitarian subject is the pure instrument in his instrumentalization, and forces the pain and humiliation onto the victim to help him to accomplish his subjectivization. In order to untie the knot of the Imaginary, Lacan locates the theory of subject of unconscious in the Symbolic. Borrowing Saussure’s structural linguistics, Lacan paralizes the signifying function that is constitutive of totality of Sign, and emphasizes the pure operativity of the signifier with a hole. Between subject of statement and subject of enunciation, shifter “I” introduces the division in the subject. In what gapes, subject is the radical heterogeneity of unconscious subject. Centered on this function of Other, Lacan not only rescues analysis from its inauthentic practice, he also maintains training discourse in his policy of “lack of being”. The latter founds the supreme practice that brings the full educational implication.

本論文乃是運用心理研究法中之政治人格理論，以及佛洛伊德 (S. Freud, 1856--19 39) 心理分析理論，作為研究的概念架構，並且參考拉斯威爾(H。D. Lasswell)所提 出的政治人(Political man) 及權力(Power) 概念，將康有為氏的一生作一整體之研 究，透過其表現的政治行為以及發表過的文字，對其政治人格特質、形成過程及原因 ，做一嘗試性的分析論述。 全文分為七章，一冊，約五萬字左右。

本論文將用榮格的原型觀念(archetypes)探討瑪格麗特˙愛德伍小說《盲眼刺客》中的人物性格。 本論文由五章組成。第一章將大略介紹《盲眼刺客》的內容以及其評論。第二章將會介紹榮格對集體無意識(the collective unconscious)的概念以及其和原型概念的關連；接著，將會根據兩位新榮格學派的學者，瑪莉恩˙伍德曼(Marion Woodman)和卡蘿˙皮爾森(Carol S. Pearson)對原型理論的闡述，針對兩個原型加以探討──鬥士原型和殉道者原型。在父權社會的影響下，這兩個原型時常會被過度簡化成對兩性的刻板印象，而在這簡化過程裡，原本屬於這兩個原型的能量和複雜性都被忽視或壓抑了。 第三章始於對愛德伍小說人物的辯護，說明其人物並不是一般所說的刻版人物，而是充滿衝突與能量的原型人物。而後，我會把小說中的人物和象徵和神話及童話中的人物作連結。在一方面，我將會對於小說中的現實人物，如艾麗絲和蘿拉(Iris and Laura)，和小說中的象徵角色，盲眼刺客和獻祭少女，做連結且並討論；另一方面，我將會將這兩個象徵角色延伸出去，探討與之相關的神話或童話人物，或是，更上一層的原型人物。在第四章，我則會依據小說人物和其原型的關係加以剖析，檢視他們和其原型的認同狀況，及他們膨脹(Inflation)的程度。 在最後的第五章，將以原型的概念來詮釋小說中各個人物的悲劇做為總結。《盲眼刺客》中的每個人物都傾向於過份認同某個原型，而忽略了讓自我有平衡發展的重要性。 / This thesis is to discover the psychological depths of the characters in Margaret Atwood’s The Blind Assassin and to analyze them according to the Jungian conception of archetypes and the influence of archetypes upon the human psyche. This thesis consists of five chapters. Chapter One is an introduction, including the overview of the novel and its critical backgrounds. And Chapter Two introduces C.G. Jung’s conception of the collective unconscious and its relation with archetypes and follow with specific discussion of certain archetypes—the Warrior and the Martyr—mainly according to the theories of two neo-Jungian scholars, Marion Woodman and Carol S. Pearson. Since these two archetypes are often over-simplified to fit in gender stereotypes under the influence of patriarchal society, the energies and complexity of these archetypes are always neglected or repressed. Chapter Three begins with an argument that Atwood’s characters are not stereotypical but rather archetypal, for they possess the contradictory energies within them that are correspondent with that of archetypes. On the one hand, I discuss how the characters in the memoir are symbolized in the science-fiction allegory, being reflected as the blind assassin and the sacrificial maiden; on the other hand, I make a connection between the symbols of the novel—the blind assassin and sacrificial maiden—and the mythological and fairy-tale allusions, and further, the archetypes behind them. In Chapter Four, I examine the psychic problems of the characters according to their relations with the archetypes—to examine how much they identify unconsciously with the archetypes and the extent of their inflation. Finally, Chapter Five concludes with the archetypal explanation of the tragic life of the characters in the novel. Each of them is trapped in an overwhelming power of a certain archetype instead of having the ego balanced between these multiple archetypes, they turn themselves into mythical figures that are too rigid for humanity.