本文採用克萊恩「幻思」的精神分析論點探討美國小說家亨利•詹姆仕的小說《一位女士的畫像》與紐西蘭導演珍•康萍改拍同名電影的互文關係。論述以女主角伊莎貝爾的前依底帕斯戀母情結為主軸，輔以城市文化中對母體、乳房依戀的想像空間；透過「母體城市」中「感情映鏡」的機制，演繹伊莎貝爾在陽剛社會建構女性自主空間的過程。詹姆仕藉由書寫伊莎貝爾的女性情慾，來昇華其抑鬱的同性戀情結，而康萍在影像中則賦予伊莎貝爾女性主義的意涵。無論影片或小說皆顯示伊莎貝爾在僵化的維多利亞傳統婚姻中過度壓抑內心情慾，在她人生最絕望的時刻，遊歷於羅馬、倫敦等代表人生不同時期的母體城市，激發她對生命「幻思」的空間。這種前伊底帕斯的情結，促使伊莎貝爾渴望回到充滿溫暖的母性懷抱，拒絕重返壓抑女性的陽剛社會。克萊恩式的精神分析對母性潛意識「幻思」的詮釋，恰可適切地解讀伊莎貝爾在小說及電影中所呈現複雜的女性情慾，本文即以此角度對《一位女士的畫像》小說與電影中城市想像與女性情慾的關係進行交叉分析。

A psychoanalytic analysis to Isabel Archer in Henry James’s The Portrait of a Lady has been heatedly debated in the academic field, yet a study on how the two Isabels presented in the original novel and the adapted film is rarely explored. Thus, in this essay, a Kleinian reading of Isabel in the literal and visual world has been further portrayed. It demonstrates
an overview of psychoanalytic study to the verbal and visual makings of Isabel Archer on the issue of intersubjectivity and female bonding. Melanie Klein and her followers suggest useful ways of appraising the representation of internal and external bonds for female subjectivity. Generally speaking, the study proposes to detail a Kleinian psychoanalysis
whose notion of phantasy explains Isabel’s journey of psychological probing into the world of motherhood and female bonds. The discovery of Isabel’s journey into the pre-oedipal phase where she could unite with the mother benefits an understanding of the director Jane Campion’s featuring of Isabel’s many sequences of imagination. At the same time, it is also understandable to note that James’s Isabel is sacrificed as a bourgeois victim in the Victorian society. Klein’s phantasies, thus, offer a debatable and thematic solution to observe different makings of Isabel through a variety of media. Furthermore, a discussion of city-metaphor constitutes a better understanding of Isabel on the process of her
realization of her mother-self. As a female flaneur, Isabel walks through the cities of London, Rome, and Turkey to meditate her unique threshold experience torn between the death/life drive. To expand the scope of intertextual study of James’s novel and adaptation in a polysemic approach, I consider that James’s The Portrait of a Lady and Campion’s
cinematic adaptation are suited to fundamentally different tasks whose original novelist and adapted director invite a naturalistic approach and a stylized method. Even with some individual variations, the makings of Isabel underline the complexity of female psyche.
Whereas James’s Portrait is to observe Isabel consciousness by staging the liberation that comes from a male writer’s repressed desire, Campion’s Portrait reveals the dangers of female desire. At the very center of Kleinian study of James’s novel and Campion’s film, it is a rigor study that requires interdisciplinary training.