Deleuze 10 德勒茲

Deleuze 10 德勒茲

Translated by Springhero

32hsiung@pchome.com.tw

Memories of a Moviegoer 影迷回憶

I recall the fine film Willard (1972). Daniel Mann). A “B” movie perhaps, but a fine unpopular film: unpopular because the heroes are rats. My memory of it is not necessarily accurate. I will recount the story in broad outline. Willard lives with his authoritarian mother in the old family house. Dreadful Oedipal atmosphere. His mother orders him to destroy a litter of rats. He spares one ( or two or several). After a violent argument, the mother, who “ resembles” a dog, dies. The house is coveted by a businessman, and Willard is in danger of losing it.

我回想到一部1972年的名為「鼠人」的電影（丹尼曼主演）。那或許是上乘的片子，但是並不賣座，因為裡面主角是老鼠。我的回憶未必是正確，我只敘述大概輪廓。威勒跟他權威型的母親同住在一棟老舊房屋。氣氛是可怕的伊底普斯情結。他的母親叫他把一窩老鼠殺死。他卻饒恕了一兩隻或好幾隻。在一陣猛烈的爭吵後，看起來像「猛獒」的母親死了。有一位生意人垂涎這棟房屋，威勒有失去房屋的危險。

He likes the principal rat he saved, Ben, who proves to be of prodigious intelligence. There is also a white female rat, Ben’s companion. Willard spends all his free time with them. They multiply. Willard takes the rat pack, led by Ben, to the home of the businessman, who is put to a terrible death. But he foolishly takes his two favorites to the office with him and has no choice but to let the employees kill the white rat. Ben escapes, after throwing Willard a long, hard glare.

他喜歡他所拯救下來的那隻大老鼠「賓」，因為他證明非常聰明。還有一隻白色母老鼠是賓的伴侶。威勒花空閒時間跟他們在一起。他門生了許多小老鼠。威勒將這一窩老鼠，由賓帶頭，到那位生意人家裡，把他弄得慘死。但是他又愚不可及地帶他這兩隻喜愛的老鼠到辦公室，無可奈何中讓員工殺死掉白老鼠。賓倖免於難，對威勒怒目而視良久。

Willard then experiences a pause in his destiny, in his becoming-rat. He tries with all his might to remain among humans. He even responds to the advances of a young woman in the office who bears a strong “ resemblance” to a rat—but it is only a resemblance. One day when he has invited the young woman over, all set to be conjugalized, reoedipalized. Ben suddenly reappears, full of hate. Willard tries to derive him away, but succeeds only in driving away the young woman: he then is lured to the basement by Ben, where a pack of countless rats is waiting to tear him to shreds. It is a like a tale; it is never disturbing.

威勒蛻變成老鼠的過程，遭受到命運的挫折。他盡力設法保持與人相處。他甚至回應一位辦公室年輕女郎的邀請，因為她長得非常像老鼠，但只是外貌酷似。有一天，他邀請那位年輕女郎過來，安排求婚，克服自己的伊底普斯情結。賓突然出現，充滿怨恨。威勒設法趕走他，卻反而只把那位年輕女郎趕走掉。然後他被賓引誘到地下室，那裡一大群無數的老鼠正等著將他撕裂得粉碎。這像個故事情節，從未令人困擾。

It is all there: there is a becoming-animal not content to proceed by resemblance and for which resemblance, on the contrary, would represent an obstacle or stoppage; the proliferation of rats, the pack, brings a becoming-molecular that undermines the great molar powers of family, career, and conjugality; there is a sinister choice since there is a “ favorite: in the pack with which a kind of contract of alliance, a hideous pact, is made; there is the institution of an assemblage, a war machine or criminal machine, which can reach the point of self-destruction; there is a circulation of impersonal affects, an alternate current that disrupts signifying projects as well as subjective feelings, and constitutes a nonhuman sexuality; and there is an irresistible deterritorialization that forestalls attempts at professional, conjugal, or Oedipal reterritorialization. ( Are there Oedipal animals with which one can “ play Oedipus,” play family, my little dog, my little cat, and then other animals that by contrast draw us into an irresistible becoming? Or another hypothesis: Can the same animal be taken up by two opposing functions and movements, depending on the case ?

就是這樣：有人蛻變成動物，卻不滿足於只是外表酷似，因為外表酷似反而代表一種阻礙或停頓。老鼠的繁殖，一大窩帶來一個生成的分子結構，損壞了家庭、事業、及婚姻強大的分解力量。這是個古怪的選擇，因為在這窩當中還有個「最喜愛」的形成一種結盟的默契，一種可怕的同盟。有組合的機構，一種戰爭的機器或犯罪的機器，可以到達毀滅的程度。有一種非個人情意的流通，一種交流電中斷了符號的計畫，以及主觀的感覺，並且組成一種非人類的性愛。有一種無法抗拒的解構領域，先發制人地地阻止任何專業、婚姻，或伊底普斯的重新再領域化。（難道還有任何伊底普斯的動物，我們可以跟他扮演伊底普斯、扮演家庭、我的小狗、我的小貓、以及其他動物，比較起來，可以將我們帶入無可抗拒的生成蛻變嗎？或者另ㄧ個假設：相同的動物能夠看情形而定，由兩個相反的功用跟動作，來界定嗎？）