杜若西雅．譚凝（Dorothea Tanning，1910－2012）是受超現實主義影響的著名美國女性藝術家，她由1940年代到1970年代的藝術發展，歷經從具象繪畫、到半抽象繪畫、到軟雕塑的演變。這篇論文將從女性主義、符號學與精神分析的角度，結合視覺分析與藝術家自述，探討譚凝為何在不同的風格與媒材的藝術創作中，不斷重溫對於母體印記的體驗？筆者將援引溫尼考特（Donald W. Winnicott，1896－1971）的「潛在空間」（potential space）理論，以及克里斯蒂娃（Julia Kristeva，1941－ ）的「符號態的容納空間」（the semiotic chora）與陰性／母性「暢爽」（jouissance）概念，並參照當代女性主義學者史東（Alison Stone）等人對溫尼考特與克里斯蒂娃理論之再省思，詮釋譚凝如何一再以不同的變奏，解放被「象徵秩序」（the Symbolic Order）壓抑的「符號態的容納空間」與「潛在空間」的活力、潛能與反叛。

Dorothea Tanning (1910-2012) was a prominent American artist influenced by Surrealism. Her artistic development from the 1940s to the 1970s began with figurative paintings, went on to semi-abstract paintings, and then turned into soft sculptures. Applying Donald Winnicott’s idea of potential space, Julia Kristeva’s concept of the semiotic chora, and Alison Stone’s recent revision of both Winnicott’s and Kristeva’s theories, this paper explores how Tanning constantly revisited early infantile-maternal relations in her artworks through analyzing her visual clues as well as her own (artistic) statements. I argue that Tanning’s artistic expressions of potential space and the semiotic chora may subversively liberate the feminine/maternal jouissance repressed by the Symbolic Order.

杜若西雅．譚凝; 繪畫; 軟雕塑; 潛在空間; 符號態的容納空間; 陰性／母性暢爽

Dorothea Tanning; painting; soft sculpture; potential space; the semiotic chora; feminine/maternal jouissance