透過拉岡/齊澤克式精神分析探討當代哥德金屬音樂中的聲音，本文企圖連結誌異研究與後現代哥德次文化。以模棱兩可和毫無節制著稱，誌異文學在本文中被視為啟蒙主義的必然產物，一種精神分析中的似是而非的幻想（fantasy）。在現代與後現代中，誌異怪物都扮演著真實怪物的代替品；然而這些代替品往往證明真正的恐怖與替代的區分是多模糊。儘管後現代的怪物熱潮不免物神化、寵物化了誌異怪物，想像怪物與真實怪物間不斷的波動依舊證明了誌異的模稜兩可超越後現代的快想幻界，更非後現代對他者的理想化可以限制住。從齊澤克式精神分析談聲音的理論基礎，本文進一步闡述「餘音」（the object voice）：餘音對於身體與語言都是陌異的核心（the extimate），徹底挑戰了主體的完整性，以及人、動物、機器之間的區別。哥德金屬的詭譎音效產生了在崇高與怪異間游移的餘音；餘音取悅、陶醉，但亦驚嚇、使人厭惡、甚至導致主體的瓦解。臨界（liminal）的餘音也表達出哥德金屬的政治/社會/文化批判。做為內化差異（otherness）的核心，它提供了一套非建立在理想化與暴力式排他的主體與他者的關係。哥德金屬中震慄的聲音/餘音，從此角度看來，不僅再度證明了誌異的模稜兩可特質，更展現哥德次文化對於後現代中針對他者的非理性暴力的一種倫理回應。

This paper attempts to bridge the Gothic Studies and the postmodern Gothic (sub)cultures through exploring the voice in contemporary Gothic Metal in the Lacanian/Žižekian psychoanalytic approach. Characterized by ambiguity and excessiveness, the Gothic is understood as the legacy of the Enlightenment of project, a paradoxical fantasy. The Gothic monsters in both modernity and postmodernity that function as the substitutes of the Real monster, in other words, often turn out really monstrous. Despite the postmodern passion for the monster rendering the monster a fetish or a pet, the constant oscillation between the imaginary monster and the Real monster exemplifies that the Gothic ambiguity eludes the postmodern fantasy of enjoyment imagining an ideal other. The psychoanalytic theory of the voice conceives of the object voice extimate to both body and language, fundamentally challenging the integrality of the subject, and the distinction between human, animal, and machine. Gothic Metal’s spooky effects produce the object voice oscillating between sublimity and monstrosity. The object voice pleases, enchants, as well as shocks, disgusts, even disintegrates. The liminal voice also articulates Gothic Metal’s political/social/cultural critiques; it functions as a point of internalization which offers an alternative relationship between the subject and the other not based on idealization and violent exclusion. The vibrant sound and voice of Gothic Metal, therefore, not only prove the undeadness of the Gothic ambiguity, but also manifest the ethical gesture of the Gothic (sub)cultures in response to postmodernity’s irrational irruption of violence against the other.

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