• 作者： 宋文里
• 作者服務機構： 國立清華大學社會人類學研究所
• 中文摘要： 本文以筆記體裁，分八節論述陽物中心觀（phallocentrism）之僵硬的符號建構如何偏失，以及S. Freud最初主張的「原慾（libido）本即為男性的」之說如何到晚年面臨雙性（bi-sexuality）概念及性的模稜兩可性質（ambivalence）時，成為無解的難題。欲解決此一難題，在圖形學的襄助之下，以及Dali, Magritte等超現實主義藝術家的洞見之中，就象徵符號本身的改寫而獲得新義－－－作者本人以E. Erikson繪製的性心理發展模型圖為藍本，加上超現實主義的特殊見識，作成圖形符號的改寫，並將陽物中心觀常用的符號涵義反轉為具有女性涵義之物。突出的陽物實為一伸出的凹洞。以凹洞的概念再理解性的世界，將可發現：世界有如一善納而可容的穹窿。
• 英文摘要： The problem of phallocentrism, if taken from the perspectives of icon and symbol formation,can be represented in a way different from the usual one, in which it is dominated by patriarchalpower. The essay opens with a discussion of Freud's early contention that libido was, bynature, masculine. Through iconological reasoning and from a surrealist point of view, it isunderstandable why Freud spent his later days concerned with, but unsure about, issues relatedto bisexuality and ambivalence. Though probably transforming Freud's own thinking, attemptshave been made to visualize bisexuality and ambivalence through artistic representations. ErikErikson's diagrams form a bridge for the visual reformulation of human sexuality, though Daliand Magritte provide more insightful visions for the iconic representation of human sexuality-merging convexity into concavity. So merged, phallic symbols can be understood in terms offeminine symbols.
• 中文關鍵字： 心理分析; 弗洛依德; 性; 陽物中心觀; 超現實主義; 圖形學
• 英文關鍵字： --