夾腳拖鞋物戀：一位女性設計師之認同敘說

Flip-Flops Fetishism: Identity of A Female Designer

二十世紀末以來，「認同」不僅是學術界的重要提問，也是現代人的重要議題，組織與職場同樣難以迴避此議題。「敘事認同」意指認同之敘事性意識結構性質，「認同敘說」意指探索與建構認同的敘說歷程。本研究中，一位女性設計師在社會機制與條件支持下，動用了包含潛意識、直覺與情意之全方位意識資源，進入解構與重構母子盒的歷程，轉化了傳統與現代的糾結對立，重構出能統合過去、現在與未來的敘事認同「夾腳拖鞋物戀」~讓自己作為傳統與現代間的介質，一方面保有與昇華對童年與家庭之真實原生情感，一方面也凸顯出「傳統現代轉化」為其優勢能耐與風格，回應了自我發展需要，也回應了職場發展與組織需要。最後，透過對此認同敘說歷程之反映，本研究提出四點論述，以供企業諮商師與組織諮詢工作者參考。

Since the end of twentieth century， identity has not only become an important academic issue， but also a human need in the late modern age. Moreover， organizational studies have revealed the challenge of this need. “Narrative Identity” refers to the cognitive structure of identity in a narrative form， while “Identity Narrative” means the use of narration to construct self-identity. In this study， a female fashion designer used identity narrative to reconstruct her narrative identity. Supported by relevant social mechanisms， she applied mental resources such as conscious and subconscious， rationality and intuition， and cognition and affect to de-structure and re-structure the social-cultural boxes in which her selfhood is embedded. Her past， current and future selves were integrated through the symbol of “Flip-Flops Fetishism”， which acts as the mediator and converter between tradition and modern. Her new identity not only preserves the self that is derived from her loving family， it also shows her developing style and competence as a designer. Therefore such an identity narrative simultaneously fulfills both individual and organizational need. Based on the case， four discourses were offered as reference for workplace counselors.