論文提要
自從法蘭茲˙范農《黑皮膚，白面具》出版以來，已經有許多研究採用精神分析的角度剖析後殖民主體的形塑。知名的學者例如有霍米˙巴巴及羅柏˙楊格，皆對此議題有所著墨。本論文基於他們作品的洞見，而加以延伸探討後殖民的身份認同如何在基進的慾望流動中形塑。本論文共分為兩大部分：第一部分探討傳統式及顛覆式慾力貫注的特徵，而第二部分勾勒顛覆式慾力貫注如何循環後殖民愛慾與死慾的流動現象。
第一部分的前半節側重於檢視佛洛伊德傳統式的慾力貫注。此慾力交集雙重慾望的循環(愛慾自戀式投射及死慾侵略式自我為中心的他者化)來強化自我為中心的身份認同。這是一種殖民暴力底下所造成的壓抑式認同。此部分的後半節修正傳統式慾力貫注而提出顛覆式慾力貫注。此修正是依據後現代政治學(德勒茲與瓜達里的慾望機器)及後現代倫理學(列維納斯的絕對他者)。這股慾力貫注的鴻流是種先於本我的慾力，其循環的後殖民慾望在與絕對他者建立關係的過程中呈現出一個「先驗式擱置」的現象。亦即是，這是一種後殖民主體因自身的他者性而期望能自過往壓抑的文化關係中解放並得到認同的現象。而這種期望是一種對於家的渴望，家也正是絕對他者的棲息處。然而，因為自我與他者不對等的關係，使得這渴望無法被滿足。顛覆式慾力貫注突顯出後殖民主體尋求自我認同過程中，「尋家」的路途是不斷的脫節卻又不斷架接。這是一種不停重新定位失落的根，一種周而復始「尋家」的過程。
第二部分的一開始便推演顛覆式慾力貫注如何形塑解構式後殖民的身份認同。這是一種雙重慾望(後殖民愛慾連結的慾望與後殖民死慾脫節的慾望)的運行。然後，此第二部分的以下續分兩小節來各別談論後殖民愛慾與死慾的作用機轉，並輔以兩本小說(奈波爾的《大河灣》及魯西迪的《摩爾人的最後嘆息》)作為理論例證及推演。前半節鋪陳後殖民愛慾擴展傳統愛慾「保護屏障」的界線，而呈現出把他異性融入共同性，讓共同性轉為他異性的一種混血交雜的身份認同。在這兩本小說中，多元文化即是後殖民愛慾引領沙林及摩爾將對家的渴望投射成一股融入建構殖民國國家認同的衝動。在這過程中，他們投注於愛的客體(即是多元文化)且建立關係，但當它受制於國家這大一統的觀念時便撤回對這客體的關注。這樣融入與脫離的過程突顯出他們自身身份認同的殘缺與國家認同建制的問題。
後半節則描述後殖民死慾強制的他異性重複現象。這種脫節的慾望形塑出離散認同。在兩本小說中因為後殖民死慾的不斷脫節，慾望藉由記憶而重複地強制沙林與摩爾面對失去家園這個創傷的回返，而因此不斷脫離宗主國壓迫式的文化認同的箝制。不論沙林強迫自己遺忘對家園的眷戀或者是摩爾不停地追憶過去家園的點點滴滴皆突顯出想像的家園無法全然被抹滅或重拾。因此，由這想像的家園纏繞所形塑的一連串後殖民認同將不斷播散過去，且使得狹隘的文化認同更有彈性空間。
本論文的結語概述顛覆式慾望流動循環其雙重慾望(後殖民愛慾與後殖民死慾)構成後殖民主體形塑過程中的逃離路線，不停地向那不斷脫節卻又來臨的那遠方的想像家園追逐。

Abstract
Since Frantz Fanon’s Black Skin, White Masks, there has been a theoretical trend to study post-colonial subjectivity from a psychoanalytical approach. Lots of inks, from such writers as Homi Bhabha and Robert Young, have also been spilled on this issue. Based on their works, this thesis specifically focuses on how the flow of radical desires shapes post-colonial subjectivity in the post-colonial context. This thesis is divided into two parts. The first part deals with the features of traditional and transgressive cathexis and the second part the circulation of the post-colonial Eros and Thanatos.
The earlier section of the first part examines how Freud’s traditional cathexis shapes a Self-oriented identity with its simultaneous desires of Eros’ narcissistic projection and Thanatos’ aggressive Self-oriented Otherness. This is the repressive identity which composes the very reality of colonial violence. The latter section of this part revises traditional cathexis into transgressive cathexis, underpinned by post-modern politics (Deleuze and Guattari’s desiring machine) and post-modern ethics (Levinas’ Absolute Other). As a pre-ego cathexis, transgressive cathexis channels the post-colonial desires toward the Absolute Other anterior posteriorly. That is, this is a longing for the object of home where the Absolute Other resides and each otherness of the post-colonial subject could be recognized and emancipated from the past repressed cultural relations. However, since the Self-Other relation is asymmetrical, this longing of reciprocal recognition cannot be fulfilled. Transgressive cathexis accordingly leads the post-colonial subject to cathect this object of home, which is always out of joint but to come. It is a way of re-routing the lost root, the lost homeland.
The beginning of the second part explores how the overflow of transgressive cathexis shapes a deconstructive post-colonial identity by a double desire, the post-colonial Eros, as a desire to join, and the post-colonial Thanatos, as a desire to disjoin. Then, this second part is further divided into two sections to study the mechanism of the post-colonial Eros/Thanatos and its theoretical application in V.S. Naipaul’s A Bend in The River and Salman Rushdie’s The Moor’s Last Sigh. The earlier section of this part maintains that the post-colonial Eros extends Eros’ mechanism of the protective shield as a process of making difference into sameness and turning sameness into difference, shaping a hybrid identity. In both novels, multiculturalism is the rosy picture of the comforting home that the post-colonial Eros leads Salim and the Moor to pursue in the national identity of the colonized’s country. In this process, their desire cathects and then de-cathects this love object, national identity, leaving their identity fragmented and national identity problematic.
The latter section deals with the pos-colonial Thanatos’ compulsive repetition of difference, shaping diaspora identity as a desire to disjoin. In both novels, this disjoining desire of the post-colonial Thanatos through memory repeatedly drives both Salim and the Moor to respond to the lost homeland as an act to disjoin from any cultural identities imposed by the colonizer’s country. Either Salim’s act of forgetting or the Moor’s act of remembering cannot fully erase or reclaim the past, the imaginary homeland. Their identity-shaping, haunted by the return of imaginary homeland, thus disseminates the past relentlessly and makes the ghetto cultural identity more resilient.
In the conclusion, I will conclude that the double desires of transgressive cathexis, the post-colonial Eros/Thanatos, pave a line of flight for the post-colonial subject toward the imaginary homeland over there, out-of-joint but to come.

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