Hanly M A
Int J Psychoanal. 1993 Oct;74 ( Pt 5):1049-61.
Charlotte Brontë's Jane Eyre contains a paradox of character: Jane Eyre is an assertive successful woman, who marries, after every obstacle is overcome, the man she loves; she is also a traumatised, terrorised child, who later becomes deeply involved, to the point of losing herself, with a moral sadist. In the critical literature on Jane Eyre there is controversy concerning Brontë's aims in the characterisation of her fictional autobiographer. Did Brontë's artistic control of character slip and result in Jane Eyre's irreconciliable attributes? Did she mean to give us an assertive feminine heroine and instead reveal her own castration complex in the marriage to a maimed and near-blind man? The hypothesis of this paper is that the multiple functions of masochism--adaptive, defensive and gratifying--the multiple defence mechanisms at work in masochism--denial, introjection and projection--and the special layering of masochism at each developmental level--oral, anal, and phallic--are mirrored in Brontë's characterisation. The irreducible complexity of the clinical concept of masochism finds its match in Brontë's characterisation of Jane Eyre.
夏洛蒂·勃朗特的《简·爱》存在人物性格上的矛盾之处：简·爱是一位坚定自信且成功的女性，在克服重重障碍后，嫁给了她心爱的男人；但她同时也是一个受过创伤、饱受惊吓的孩子，后来竟深深陷入与一个道德施虐者的纠葛之中，甚至到了迷失自我的地步。在关于《简·爱》的评论性文献中，对于勃朗特塑造这位虚构自传主人公的目的存在争议。勃朗特对人物的艺术把控是否出现失误，从而导致简·爱身上出现了无法调和的特质？她本想塑造一个坚定自信的女性主人公，却在嫁给一个残废且近乎失明的男人的情节中，反而揭示了自己的阉割情结？本文的假设是，受虐狂的多种功能——适应、防御和满足——在受虐狂中起作用的多种防御机制——否认、内摄和投射——以及受虐狂在每个发展阶段（口欲期、肛欲期和生殖器期）的特殊层次，都反映在勃朗特对人物的塑造中。受虐狂临床概念的不可简化的复杂性在勃朗特对简·爱的人物塑造中找到了对应。
