摘要

伊阿哥對自我的註解「我非我」揭露了他偽裝在良善外表下的邪惡心性。然而，在《奧賽羅》劇中，他並非唯一一個呈現出多重面像的角色！多數的主要角色都被賦予了和伊阿哥一樣衝突又矛盾的多重形象。本論文即以此為發想，旨在探討在莎士比亞的《奧賽羅》與《哈姆雷特》兩劇中有關情慾、瘋癲、和死亡的呈現。在此兩劇中，莎士比亞運用了「隱晦」這種戲劇手法來描繪他的角色們及其心理微妙的轉折。同樣被歸類為家庭悲劇的兩劇，呈現出每個角色在面臨其矛盾的情慾時，同時顯現出的雙重形象: 其所冀望呈現的形象及其所真正表現出的形象。而對奧賽羅、哈姆雷特與奧菲麗雅而言，這雙重形象所隱含的矛盾情結更迫使他們被疏離於父權主體之外。也因此，瘋癲便成為他們逃離父權壓迫的手段。同時，瘋癲也使他們得以表現出內心的衝突與困境。而對哈姆雷特來說，他更得以自由在假瘋癲與真瘋癲之間來去轉換。然而，對大眾利益而言，瘋癲是危險且不可理解的，因此這三名主角的瘋癲也加深了他們自身的疏離，並使他們更進一步被排除於父權主體之外。最後，當謀殺與陰謀一一被揭露之後，死亡便扮演了其多重的角色: 它是懲罰、贖罪、也是淨化被誣蔑的名聲的手段。在本論文中，拉崗的「鏡像理論」及其與主體建立的關係被用來檢視情慾、瘋癲、與死亡在這兩劇中的呈現。藉由拉崗對主體如何由他者眼中的倒影來建立自我主體的理論，本論文探討的是莎士比亞在運用「隱晦」手法的同時所呈現出的不僅是「我非我」，更包含了「我是我」。而此兩種面像則是莎士比亞更能完整描繪每個角色的「我」的關鍵。

Abstract
Iago’s notion “I am not what I am” discloses his villainy masked by his pretended good image. Nevertheless, he is not the only character who contains such diverse images in Othello. Most characters are also endowed with such conflicted images so that they are opaque, difficult to understand. This dissertation aims to discuss the presentation of sexuality, madness, and death in Shakespeare’s Othello and Hamlet through the notion of opacity. In the two plays, Shakespeare employs the dramatic strategy of opacity to depict his main characters. Similarly labeled as domestic tragedies, Othello and Hamlet demonstrate how characters confront their sexuality, displaying the images they desire to present and the images they actually reveal. The contradictory images for Othello, Hamlet, and Ophelia further impel them to be agonized and alienated. Hence, for these three characters, madness is both the means to escape from the oppression of the dominant patriarchal authority and the outlet to present their predicament. Moreover, madness is applied by Hamlet, for instance, to switch between his feigned madness and the chaotic feelings inside. Madness also underlines the alienation of Othello, Hamlet, and Ophelia because their madness is regarded to be dangerous to the public interest. Therefore, despite their original intention of adopting madness as the means to escape from oppression, the three characters end up being further alienated and rejected by their society. Finally, when murder and vicious deeds are disclosed, death serves in the two plays as the resort to punishment, repentance, and purification of tarnished names. Lacan’s theory of the Mirror Stage and the construction of subjectivity are applied to read the contradictory presentation of sexuality, madness, and death in the two plays. By Lacan’s theory of how a subject constructs his own image through the reflection in the eyes of the Other, the dissertation examines Shakespeare’s use of opacity to present not only “what I am not” but also “what I am” in order to depict a totality of the “I.”

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