净化理论：精神分析与戏剧

摘要

The notion of catharsis, in relation to tragedy, was introduced by Aristotle in his work Poetics.Over the centuries, Aristotle’ s innovative and enigmatic reference to this process has been widely commented on and given rise to intense controversy.In 1895, Freud and Breuer reconsidered this notion in their Studies on Hysteria, where they present the so-called cathartic therapeutic meth-od.It is not, however, this aspect of psychoanalytical theory that the author of this article seeks to elucidate:drawing on a detailed study of the references to tragic catharsis in the work of Freud and Lacan, the author proposes to examine their implications for psychoanalytic treatment.With specific reference to Freud’ s article “Psychopathic Characters on the Stage” (1905) and Lacan’ s commen-tary on Sophocles ’ Antigone ( 1960 ) , the author argues that catharsis is to be understood not so much as a mechanism of discharge linked to abreaction, but rather as the actual analytic process it-self during which the subject is“unveiled” and thus faced with the enigma of his own desire.%和悲剧有关的净化概念，是亚里士多德在其著作《诗学》中提出的。几个世纪以来，这一创新而又让人费解的概念引发了广泛的评论和激烈的争议。1895年，弗洛伊德和布洛伊尔在他们的合著《歇斯底里研究》中重新考虑了这一概念，并提出了名为“宣泄净化疗法”的治疗手段。本文在仔细研究弗洛伊德和拉康关于悲剧净化理论的作品的基础上，考察了其对于精神分析治疗的隐含意义。本文引用了弗洛伊德《戏剧中的变态角色》（1905）和拉康对索福克勒斯的《安提戈涅》的评述（1960），意图论证净化理论与其说是一种与精神发泄有关的释放机制，倒不如说它本身就是一个实际的分析过程。在此过程中，主体被揭示，并得以直面自己神秘的欲望。