Foreword
I often listen to psychoanalyst Gu Fei and others talk about Lacan, and I want to borrow his words in the article "On Oedipus in Hardy's "The Favorite Man": From Freud to Lacan":Since the birth of psychoanalysis, literature has been almost a natural ally, such as Zweig and Freud, Joyce and Lacan. For literary scholars, the unconscious revealed by psychoanalysis is almost their "consciousness". For the psychoanalyst, because of the creative privilege given to the writer, literature is naturally the realm of the unconscious, and the analysis of texts and individual cases have the same effect.
This passage, of course, is not only this passage, but also the words of the author, the unconscious other, conspired to give birth to my emotions and impulses to write this article. ButWritten for a very personal purpose:I like Lacan's thought, and I would like to use the more classic literary, artistic, film and television works as an incision to try to have a deep understanding of Lacan's thought, and then use the harvest of understanding to better understand ourselves and the world we live in.
I think that Wong Kar-wai's "Flowers" opens up the unconscious of psychoanalysis to us, so from the perspective of Lacan's refined thought, through the images of Abao's uncle Li Li and other characters, we talk about our daily concerns - what determines people's fate, who I am, and how to set a home for me (set a road) and other themes.
01 The main body's **
This title is originally Lacan's words. The subject's desire, linguistic signifiers, and the doctrine of the Three Realms are all at the heart of Lacan's theory, and since his theories are so rich and difficult that I know at best about fur lovers, I can only briefly summarize the concepts, thinking that the text behind me is a brick and a jade.
What is the desire of others? Who is the other? Lacan's concept of the Other is divided into the Greater Other (a) which refers to the external Other in relation to the self and the Small Other (a) which refers to the inner Other in relation to the self. According to Lacan's psychoanalytic thought, people do not get along directly with each other, there is always a "third person" between "you" and "me", that is, the greater other, and it is precisely from the "regulation" of the greater other that the order of our daily life exists. To put it simply, the Great Other is the society, culture, system, magic and other things behind people, and it is the field of people's spiritual world. For example, mobile phones, the Internet, big data, AI, etc., which restrict people's daily life, are all part of our great other.
Lacan's definition of the subject's "self": the self is the combination of the ideal of the self and the ideal self of others. Because the subject is fundamentally **, formed from the external world, the individual is dependent on another person throughout his life to generate self-affirmation. So there can be no such thing as a complete self-sufficient subject. In this sense, the desires of man are the desires of others. In other words, the self is the manifestation of the world of the other.
Desire, as Lacan calls a continuous unconscious-driven energy (this title is particularly accurate), as the subject of desire, although people are constantly chasing desires, more often than not, they do not know what they are wanting, and desires can never be satisfied. He further believes that human desire is based on the existence of value (concept), and once the existence of value is not seen or recognized, people will feel pain and crisis, and for this reason, fierce competition will be launched, which is a struggle between the value of the subject and the value of the slave.
02 Ah Bao and Mr. Bao, Chen Zhen and Li Li are not the same as him?
Many of Wong Kar-wai's films are a bit of Hitchcock (directed by Hitchcock and based on Lacan's ideas), and Wong spent three years making a 30-episode of Blossom, which still feels psychoanalytical. Fanhua tells the story of Shanghai's business community in the 90s when the wave of reform was in full swing, and the ups and downs of life that were invested in it. In the twenty-seventh episode, Po and Li Li have a very Lacan line-
Li Li:The person I went to see that day was Mr. Qiang. Boss Kim is dead, and his death reminds me that hiding has only one result. Chen Zhen and Shenzhen are past memories that I can't hide. Li Li and Bao are only temporary. Li Li can take Zhizhenyuan as a bet for Mr. Bao, but Chen Zhen cannot. The passbook that took down the Zhizhen Garden was given by Mr. A, and everything Li Li gave was given by him. He's gone, and I'm not going back. Chen Zhen did what Mr. A taught her, and Li Li told Mr. Bao and He, but Mr. Bao did not retreat.
Mr. Bao:This is the price of the two words of Mr. Bao.
Li Li:Chen Zhen and Li Li had an ID card difference. Ah Bao and Bao always have a difference between the True Garden. If you win, you're still Mr. Bao. We're all right.
Mr. Bao:If I lose, I'll be Po next time we meet.
Li Li:You should be like me, you should always leave yourself a way out.
Mr. Bao:Po is my way out. But you can't go back to Chen Zhen, you have no way back except to turn back to Mr. A.
Li Li:That's not a retreat, it's remembrance and faith.
Li Li:There is a second piece of advice to you and me, never trust the kindness of strangers.
Po:You and I are not strangers. (Then he stretches out his hand to say goodbye and says, "Po.") Li Li hesitated a little, and after a moment, the camera came to a specious kiss goodbye scene, and then she stretched out her gloved hand and said: Li Li). Note that the details in parentheses leak the hidden and subtle emotional boundaries between the two.
The classic of this dialogue is that it shows that people are the main body of **, Ah Bao and Bao are not the same person, and Chen Zhen and Li Li are not the same person. But this passage covers a lot of unconscious minefields, or hides a lot of interesting questions, such as: Why is the Zhizhen Garden the support of Ah Bao and Mr. Bao? What is Bao's retreat? Chen Zhen and Li Li have ID cards, it is easy to understand, but what is puzzling is which one is her, Chen Zhen and Li Li, why did she "bet" on Zhizhenyuan to Mr. Bao, and where is her retreat? These. The whole play seems to be explained, and it doesn't seem to be explained. I think this is also the classic place of flowers. Because human beings are essentially strange species that cannot be explained in the real world, human life and destiny are uncertain existences without goals and answers.
03 Does the subject have a virtual and real self?
The dialogue between Mr. Bao and Li Li is like a naked dumb riddle, directly and implicitly presenting what Lacan said: people are the subject of **, and people's desires are the desires of others. Let's start with Po.
Ah Bao played by Hu Ge is the name of others who call "me" after birth (the work does not explain what Ah Bao's surname is, according to the original book, his aunt's surname is Song, and it is speculated that his surname is Song), which is naturally the original and real me - Ah Bao. But this only represents the subject's former me, or the subject's relatively simple and true me. Mr. Bao, also known as "I" Bao, is another identity me after entering the society (symbol world), because there are too many people who are alienated from me, so they are called non-me, or pseudo-self. In fact, the non-self is also a real part of the personality, just wings and masks that must be added in the process of human growth, if Ah Bao is not the boss, it may also be the boss, such as the grandfather and the like. Because it is impossible for people to stop at a mere position of identity. Therefore, in Lacan and many philosophers, man loses his subjectivity from the beginning, and is enveloped and seduced by the desires of others throughout his life.
Speaking of uncle, there may be such a person in reality, but I would like to see him as a metaphor, a symbol of the wise old man. In fact, the relationship between Ah Bao and his uncle is like that of father and son, and spiritually, his uncle is Ah Bao's godfather. The existence of Mr. Bao is a metaphor for the internalized paternal function of Bao's personality. Uncle is not only the idol of Bao's desire since childhood, but also the projection of his ideal self, and the mature Bao actually surpasses his father and uncle. Therefore, Mr. Bao is essentially another real face of Bao, the wisdom and ideal self symbolized by the Great Other-Godfather.
Bao's professional desire is Mr. A, who is Li Li's "stand-in". Mr. A is a financial legend, and he is not revealed in the play, and it also has the implication that Lacan's other person is absent. The driving force behind Ah Bao's ability to become the president of Bao and become a leader in Shanghai's financial industry came from Mr. A, and then he beat Mr. A. From the picture of Mr. A (back shot) dying in the sea due to defeat, it is a metaphor that Po has something that Mr. A lacks, that is, knowing the limited and knowing the advance and retreat.
Ben, known as the "Godfather of Wall Street". Graham said, "* In the world of investing, once sufficient knowledge and proven judgment have been obtained, courage becomes the supreme virtue." "I guess that the reason why Ah Bao can surpass Mr. A may be that Ah Bao also has that virtue. So from the symbolic level, Mr. A's absent other is only Bao's hidden personality, a manifestation of his ideal self. And Li Li "selected" Ah Bao as the object of trust and giving, strictly speaking, it was Li Li who unconsciously empathized with Ah Bao precisely because she saw Mr. A's figure from Ah Bao.
To be continued).