ABSTRACT This essay considers the nature of mourning and melancholia in light of Patrizio Guzman’s film, Nostalgia for the Light. It examines the position of three women dealing with the aftermath of Pinochet’s dictatorship in Chile, in which their close family members were disappeared and murdered. It views their experiences through the lens of a moral psychology that is at once ethical and psychoanalytical. A key concept in both fields is loving identification, and this is linked to a desire to atone, in the original meaning of making whole or being ‘at one’ with another. It is argued that such a conception lies at the core of a moral psychology of guilt, and the analysis is then developed into an understanding of mourning and melancholia. The women in the film are understood as involved in a dual struggle: to mourn their lost loved ones, and to resist efforts to make them see themselves in melancholic terms.

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违反的认同，赎罪与道德心理：关于帕特里西奥·古兹曼的《怀旧之光》

摘要本文根据帕特里齐奥·古兹曼（Patrizio Guzman）的电影《怀旧之光》考虑了哀悼和忧郁症的本质。它考察了皮诺切特（Pinochet）独裁统治在智利的三名妇女的地位，在那三人中，其亲密的家人失踪并被谋杀。它通过具有道德和心理分析能力的道德心理学的视角来审视他们的经历。这两个领域的一个关键概念是爱的认同，这与赎罪的愿望联系在一起，最初的意思是使他人成为整体或与他人“融为一体”。有人认为，这种观念是内的道德心理学的核心，然后这种分析就发展成为对哀悼和忧郁症的理解。电影中的女性被认为参与了双重斗争：哀悼失去的亲人，