本篇論文借助拉岡的精神分析理論，探討侯孝賢電影詩學的重要面向。本文的論述從侯孝賢的電影中認同自然的自我鏡像化過程開始，觀察蘊含在這個過程中的種種問題，以及這個想像的鏡像階段如何發展到主體的符號化階段，並通過細讀侯孝賢電影的各類細節，梳理符號化進程中呈現出的辯證關係。本文的重要方向之一，是將想像域的鏡像結構與中國￤典詩學將外在￪然￡ￏ化ﾄﾾ神著重探討這種前現代的視野如何遭到現代符號秩序的規整，或者說，侯孝賢電影中的懷舊主義如何在與現代性的衝突中遭遇到困境。在這樣的論述構架內可以觀察的是，侯孝賢電影中諸如被劃除的大他者／父親，還有火車／鐵軌的歷史象徵等方面，都涉及到前現代與現代性理論框架中懷舊與瞻望的複雜問題。

This essay examines the crucial issues of Hou Hsiao-hsien’s filmic poetics in the light of Lacanian psychoanalytic theory. My thesis focuses on the identification with nature in Hou’s films as the mirror stage of the ego, and observes the development from this stage to the symbolic order. The various dialectical relationships during the process of symbolization are investigated in this essay through close reading of the details of Hou’s filmic works. The most notable aspects include the father image as the barred Other and the train/rail as a historical symbol, related to such complex problems as nostalgia and prospect within the theoretical framework of premodernity and modernity.