| “ I Revolt, Therefore We Are to Come "：Imaginary M/ Other in The Assassin and The Grandmaster |
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作者 |
Yuh yi Tan |
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出版年 |
2019 |
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文獻出處 |
Literary and Cultural Studies 45.2 |
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語言 |
英文 |
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關鍵詞 |
intimate revolt, the maternal, imaginary father, pre oedipal , archaic, future , temporality |
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摘要 |
This study puts forward a critical investigation of two chivalrousswordswomen , Nie Yinniang in The Assassin (2015) and Gong Er in The Grandmaster (2013), applying Julia Kristeva’s writing on “intimate revolt a psychoanalytic concept that deals with a revival of inner psychic experience based on timelessness. In the triad ic relationship of female subjectivity among
the self, mother and imaginary father t he characters constantly question themselves while facing life and death dilemmas. Their self questioning reinvents heterogeneous visual images of the maternal to create the strengthened vitality of female empowerment. Yinniang’s multiple maternal identity disorder is tinged with Asperger’s syndrome , but the spell of difficult verbal communicati on is eventually broken through her inner probing of the archaic past that trigger s a renewal of her psychic life . Lacking access to maternal care, Wong Karwais Gong Eridentifies with the imaginary father.Coupled with her father Gong Baosen and his successor Ip Man , she doubles herself as a father mother conglomerate and reclaim s her fathers name .
Whereas Yinniangs external and internal transformation silently redirects energy from external maternal figures that are reborn from the interior , Gong
Er’s internal and external maternal eroticism is reproduced from the inside to contend with the paternal hegemony T hey both, however, retrieve the forgotten
zone of the body in lost time to find their future recalled by the imaginary father/other. Finding an archaic inner world of the mother and searching for a
future imaginary fathe r shape retrospective temporality and future expectation to create a female heritage. |
| |
摘要 |
This study puts forward a critical investigation of two chivalrousswordswomen , Nie Yinniang in The Assassin (2015) and Gong Er in The Grandmaster (2013), applying Julia Kristeva’s writing on “intimate revolt a psychoanalytic concept that deals with a revival of inner psychic experience based on timelessness. In the triad ic relationship of female subjectivity among
the self, mother and imaginary father t he characters constantly question themselves while facing life and death dilemmas. Their self questioning reinvents heterogeneous visual images of the maternal to create the strengthened vitality of female empowerment. Yinniang’s multiple maternal identity disorder is tinged with Asperger’s syndrome , but the spell of difficult verbal communicati on is eventually broken through her inner probing of the archaic past that trigger s a renewal of her psychic life . Lacking access to maternal care, Wong Karwais Gong Eridentifies with the imaginary father.Coupled with her father Gong Baosen and his successor Ip Man , she doubles herself as a father mother conglomerate and reclaim s her fathers name .
Whereas Yinniangs external and internal transformation silently redirects energy from external maternal figures that are reborn from the interior , Gong
Er’s internal and external maternal eroticism is reproduced from the inside to contend with the paternal hegemony T hey both, however, retrieve the forgotten
zone of the body in lost time to find their future recalled by the imaginary father/other. Finding an archaic inner world of the mother and searching for a
future imaginary fathe r shape retrospective temporality and future expectation to create a female heritage. |
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