Tseëlon E
Int J Psychoanal. 1995 Oct;76 ( Pt 5):1017-30.
Hans Christian Andersen's story 'The Little Mermaid' is read as a creation myth and a metaphor for woman's condition in patriarchy, broadly conceptualised within a Lacanian framework. In the first part, the psychoanalytic concept of castration (broadly conceptualised as containing any existential severance which forms the basis for sexual difference and subjectivity) is utilised to argue that the myth is about a construction of (mostly female) subjectivity through a series of separations or splits: (1) birth, (2) growing up, (3) desire and (4) death. Birth and death are read as representing real separations. Growing up is read as structured around a symbolic castration of tongue and voice, while desire is read as structured around lack. In the second part the ideological implications of Disney's adaptation of the original for its symbolic status are explored. It is argued that by simplifying and externalising internal complex conflicts in the Andersen story, Disney's version reduces the myth to a fairy tale, and reproduces the ideology of romantic love.
汉斯·克里斯汀·安徒生的故事《小美人鱼》被解读为一个创世神话，以及在拉康框架内广义概念化的父权制下女性状况的隐喻。在第一部分，阉割的精神分析概念（广义概念化为包含任何构成性别差异和主体性基础的存在性分离）被用来论证这个神话是关于通过一系列分离或分裂构建（主要是女性的）主体性：（1）出生，（2）成长，（3）欲望和（4）死亡。出生和死亡被解读为代表真实的分离。成长被解读为围绕着舌头和声音的象征性阉割构建，而欲望被解读为围绕着匮乏构建。在第二部分，探讨了迪士尼对原著改编所具有的意识形态含义及其象征地位。有人认为，通过简化并外化安徒生故事中内在的复杂冲突，迪士尼版本将这个神话简化为一个童话故事，并再现了浪漫爱情的意识形态。
