我把看过的东西复制粘贴上来，求求别说这是扯，弗洛伊德版精神分析（psychoanalysis）理论就这样，我水平不够我不敢点评精神分析。

《理论入门：文学与文化理论导论》
弗洛伊德式心理分析批评致力于：
(1) 强调意识和无意识的区分；
(2) 挖掘人物的无意识动机；
(3) 在文学作品中发现经典心理分析症候的某种表现。
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文学批评家一直以来都对弗洛伊德式阐释抱有浓厚的兴趣。其基本原因就是无意识和诗歌、小说、戏剧一样，都不能直白表露，而要借助于形象、象征、隐喻等。文学同样也不是就人生直陈胸臆，同样也要借助于呈现，借助于形象、象征、隐喻来表达感受。不过，也正因为不能直陈，其中不可避免包含了“判断”成分。结果，文学的心理分析批评常常会引起争议。

列表：
2004 论文：Harry Potter and the Chamber of Secrets: Feminist interpretations/Jungian dreams, Studies in Media and Information 哈利·波特与密室：女性/主义解读，荣格梦境，媒体与信息研究
2007 文章：Secrets, Snakes and Swords: Chamber Symbology 秘密，蛇与剑：密室象征
2010 书：Fantastic Spiritualities: Monsters, Heroes and the Contemporary Religious 奇幻灵性：怪兽、英雄与当代信仰
2012 书：The Myth of Persephone in Girls' Fantasy Literature 少女奇幻文学中的珀耳塞福涅神话
2016 视频：Every Tom, Ginny, and Harry: Sexual Imagery in the Chamber of Secrets
2018 书：Quantum Harry: A Unified Theory of the Potterverse 量子哈利

文章 Secrets, Snakes and Swords: Chamber Symbology 秘密，蛇与剑：密室象征
时间 2007
作者 The Creatress
https://www.fanfiction.net/s/3593660/1/Secrets-Snakes-and-Swords-Chamber-Symbology
译者 锡兰
http://tieba.baidu.com/p/5301060421

书名 Fantastic Spiritualities: Monsters, Heroes and the Contemporary Religious
奇幻灵性：怪兽、英雄与当代信仰
Chapter 7 Transforming Worlds Harry Potter: 'Toujours Pur'
时间 2010
作者 J'annine Jobling
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A sexualized reading is further justified when one considers a set of factors supplementary to Voldemort's predation of a young girl. The basilisk itself is a serpent, and thus a phallic symbol. The girl, on the threshold of puberty, has been writing on the walls in blood. Furthermore, the entrance to the Chamber of Secrets is through the fountain in the girls' bathroom, into which adolescent boys must trespass to gain access to it; this is achieved through Harry whispering in the tongue of snakes, whereupon entrance into the dark and wet cavern is gained. Having rescued the girl, he emerges from the Chamber covered in muck, slime and blood. For Yeo the symbolism surrounding all of this justified a reading whereby:
Women's bodies - and in particular, women's sexuality - is represented as the literal location of danger and evil, a place of darkness and fear, where the young male child redeemer must wage battle, extricate himself, and then return to the world of light and air above.

书名 The Myth of Persephone in Girls' Fantasy Literature 少女奇幻文学中的珀耳塞福涅神话
作者：Holly Virginia Blackford
时间：2012
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Chamber of Secrets uses Lockhart to draw distinctions between an aboveground world of flirtation and an underground world of sexual secrets and deeper emotions, where Ginny’s writing communicates things the aboveground world silences.
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We can also compare Ginny’s story with Half-Blood Prince, in which Harry himself encounters the risks of an old potions textbook; although the oral knowledge inscribed in the margins of his book comes close to murder, the association is hardly sexual. Unlike the near-rape of Ginny implied in the imagery of penetration, pregnancy, and birth at the end of Chamber of Secrets, Harry’s use of Snape’s old potions book advances his school career and allows a communication device with a male mentor from whom Harry has much to learn.
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The very real opening of passages and chambers within or through girls involves the recognition that pink Valentines veil underground plumbing, fertility, sexuality, and menstruation, evident in the skin-shedding of the basilisk as well as the “flaming red” of Ginny’s hair passing into the chamber.
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Teasing is a serious matter throughout the novel. The dangers of teasing and neglect suggest that Chamber of Secrets is a rewriting of the first book from a girls’ point of view, when teasing can so easily lead to sexual violence.
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Myrtle’s fluids are equally unclean because they are associated, argues Mills, with toilet training, with an inverted bullying tradition in which a sexually aroused female dominates bullying, and with the female body.
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Traditionally, the motif of being turned to stone by an effect of Medusa signals phallic sexuality (Yeo 7), but here being petrified suggests arrested development, affecting those who do not look directly at the seductive basilisk. The mandrakes, which symbolize precocious development, are remedies.
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The disembodied voice is the voice of a seducer. Its quality jars with the environment of Hogwarts, mimicking the sort of sexual predator most feared by an academic institution.
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Of ambiguous age, it could be an adult or a symbol for adolescence that has not yet arrived but wants very much to enter. The first time he hears the voice, Harry hears its sexual overtones, “‘Come . . .come to me. . . . Let me rip you. . . . Let me tear you. . . . Let me kill you. . . .”(120). It asks for consent, in the convention of the vampire that must be invited to enter. Harry cannot confess to hearing the voice because he might be suspected of being mad or dark himself, which suggests the posture of the sexually molested child sworn to secrecy.
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Vampire literature certainly provides a precedent for understanding the possessed female as sexually desiring. In Bram Stoker’s Dracula, there are really two Lucy figures—virginal, pure Lucy about to be married to Arthur and sexual, vampire Lucy expressing her hunger for him and his kiss.
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Tom Riddle knows more about Ginny than anyone else; in the manner of a male addressing another male about how a girl was lured into a relationship, in order to obtain a desired endpoint (usually sex), Tom describes more than once how boring it was to listen sympathetically to her, but he reluctantly secured her trust to achieve his goal.
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Tom Riddle blames Ginny for opening the chamber—for initiating the relationship with the stranger when she “‘opened her heart and spilled all her secrets to an invisible stranger’” (309). Tom Riddle knows more about Ginny than anyone else; in the manner of a male addressing another male about how a girl was lured into a relationship, in order to obtain a desired endpoint (usually sex), Tom describes more than once how boring it was to listen sympathetically to her, but he reluctantly secured her trust to achieve his goal. In other words, Tom admits to being a womanizer. Ginny is happy to confide in him because she is isolated; he quotes her words, “‘No one’s ever understood me like you, Tom’” (309). In his view, his everlasting patience is worth it for eventual penetration and control; therefore, in a familiar story, his sympathy is a warped foreplay. The “hungry look” Tom presents to Harry suggests that as an older teen, he is passing down unauthorized male behavior, teaching Harry how to trick girls into sex.