本文從精神分析的觀點閱讀陳順築的哀悼攝影，藉由理解視覺於拉岡式觀看（gaze）結構底下的作用，輔以拉岡對於佛洛依德《哀悼與憂鬱》一文的重新閱讀，嘗試將哀悼攝影的觀看倫理建立於「觀看者能夠察覺主體存有的欠缺本質」此ㄧ命題之上。全文共分成三章。第一章首先將拉岡式觀看置入論及視覺的哲學脈絡當中，特別著重於從「視覺至上性」過渡至「視覺中心論的危機」的軌跡，從中指出拉岡式觀看主要反思的對象，既非透視法整體亦非笛卡爾的哲學思想本身，而是「笛卡爾式透視主義」，一種依賴空間配置而無須肉眼參與就能觀看世界的模型。第二章一方面論述拉岡式觀看的內涵，說明視覺場域的不可見向度是如何決定了主體的結構，而藝術作品如何以回應大他者的慾望為前提，又兼具馴服觀看者的效果，其中拉岡特別推崇那些能夠讓觀看者察覺自己存在之欠缺的作品。另一方面探討拉岡對於佛洛依德《哀悼與憂鬱》的閱讀，如何將哀悼與憂鬱藉由主體與小對形的關係來重新定義，進一步闡述因為主體的存有欠缺不可能被真正填補，使得哀悼工作的本質必然處於進行式並帶著憂鬱的特質。第三章以此為框架閱讀陳順築的哀悼攝影，並將其作品與傳統的哀悼攝影進行區隔，後者經常透過影像讓觀看者在哀悼的工作當中以既定的形式來安置記憶。有別於此，陳順築的作品儘管受制於來自於家族的凝視，環繞著一系列傳統哀悼的習俗、家庭的核心價值、甚至對於家鄉的情感等。但他卻透過框格與拼貼的設計，避免讓觀看者停留於影像所直接承載的哀悼客體之上（如父母的相片等）。換言之，藉由讓觀看者在視覺活動當中的連續性被上述的設計所打斷，抑或是認同於其後期作品當中那些模糊不清又失焦的影像，陳順築試圖讓觀看者在影像當中察覺自身存有的欠缺，並以此來開展哀悼攝影的倫理意義。

This thesis aims to examine if the abandonment of the family gaze is in accord with the completion of mourning in photographic representations. Reading Shun-chu Chen’s photographic installations in the light of the Lacanian gaze, I would like to argue that the ethical dimension in photographic mourning lies in the acceptance of the lack of being. And this aspect moves beyond the regulative and documentary function of photography in the conventional mourning culture.

This thesis consists of three chapters. In Chapter One, I would position the gaze in the history of visuality and deal with the transition of visual-philosophical models, from an interest of “the nobility of sight” to that of “the crisis of ocularcentrism” in particular. I also suggest that what Lacan criticizes is the Cartesian perspectivalism. Chapter Two demonstrates how the Lacanian gaze can cast a new light on the convention of photographic mourning and re-define the work of mourning as the exposure and acceptance of the lack of being. And the illusion-rupturing feature of the Lacanian gaze is highlighted in this section. Besides, Chapter Two explores how the gaze enables the viewing subject to identify with the lack of being as such in photographic mourning. In this sense, the gaze breaks the illusion of “the work of mourning to be completed.” In Chapter Three, I problematize the conflation of the abandonment of the family gaze and the completion of mourning in Shun-chu Chen’s photographic works. From a Lacanian perspective, the influence of the family gaze is embodied in his obsessions with family photographs in creations. Instead of inviting the viewing subject to indulge in his artistic fantasy, Chen in “Memories in the Wind: Lunar January 3rd,” “Family Portraits” and “Journey in Times” insightfully uses cross-frames, ceramic tiles and plastic flowers to move beyond the normalized function of photographic mourning on the one hand and, on the other hand, frees the application of the gaze from its constitutive power in the reading of photographic mourning. Accordingly, the work of mourning does not merely lie in the replacement of the lost old love object with the new one, but it involves the exposure of ourselves to the existential lack.

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