摘要

《黃春明童話》一套五本於1993年出版 ，以撕畫拼貼構成圖案，風格殊異，文字淺白卻別有寓意。其中《我是貓也》的主角是一隻沒半點「本事」的家貓，因為命運驟變，一段流浪的旅程反而促使其認識了自我。《短鼻象》與《小駝背》之敘事架構類似，短鼻子的小象與駝背的孩子皆受外貌自卑折磨，前者以溫馨的喜劇收場，後者以平靜的悲戚結尾，因為受制於他人眼中的「形象」，觀省自我的態度大不相同，遂成兩款「命運」；《愛吃糖的皇帝》則是順了口腹之欲而親佞遠賢，小皇帝忘了九五尊位之職；《小麻雀稻草人》記述紮做稻草人的過程，洩露作者心中的懷舊情懷，呈現另一種「認同」樣貌。

五個故事同樣指涉「認同」主題，除了自我認同之外，環境認同與文化認同亦有所牽連，是故，本論文乃以「象」射「像」，切入「認同」(Identity)主題，透過拉岡(Jacques Lacan, 1901-1981)之「鏡像階段」(the Mirror Stage)理論，分析文本中我與自我以及我與人的關係，進一步探討放置「我」的環境，即「現實性三大領域」，包含「想像界」(the Imaginary)、「象徵界」(the Symbolic)與「真實界」(the Real)，身處其中，自我如何意識以及如何甦醒。

關鍵詞：童話，黃春明，認同，拉岡，鏡像階段

Abstract

Published in 1993, the series of Hwang Chun-Ming’s Fairy Tales consisted of five stories. With a unique style, paper-tearing collage, they expressed in simple and clean words yet fully allegorical. The protagonist in I am a Cat incapable of being a cat, a sudden change caused him experiencing a journey to self-awareness. The Short-nose Elephant and The Small Hump-back sharing a similar narrative structure both involved in growing up in the course of inferiority because of appearance, the former ended with a warm comedy while the latter led to a tragic yet calm closure. Different attitude toward“self-image”brought a different fate. The Child Emperor Loves Candies yielded himself to the desire of sweet food and of flattery; he finally lost loyalty of a faithful minister. Meanwhile, Sparrows and Scarecrows recorded the process of making scarecrows, with a leak of nostalgia, it demonstrated actually another aspect of“identity”.

Five different stories referred to the same“identity”theme, along with self-identity, identity of the culture and of the environment had also been implicated. This paper therefore borrowed“elephant”reflecting“image”to probe into“identity”issue, through the “Mirror Stage theory” acclaimed by French psychologist Jacques Lacan (1901-1981), to analyze the context for revealing the relationship among“the subject”, “the ego”and “the Other/other”. Further exploring on the“Three Order”including“the Imaginary”,“the Symbolic”and“the Real”intended to see how one was tangled by self-awareness then to awake oneself.

Key Words: fairy tale, Hwang Chun-Ming, identity, Jacques Lacan, the Mirror Stage

2008年11月22日發表於資深作家黃春明、鄭清文童話研討會