Anxiety 41 Jacques Lacan

Anxiety 41

Jacques Lacan
雅克 拉康

THE SEMINAR OF JACQUES LACAN
BOOK X
雅克、拉康研討會第十冊

ANXIETY 論焦慮

1962 – 1963

Seminar 5: Wednesday 12 December 1962

There are always the two bars of a more or less developed support and of something which is supported, there are the wolves on the branches of the tree; there is on some drawing or other of a schizophrenic – I have only to open any collection to gather them up as I might say by the shovelful – also on occasion some tree with at the end for example – to take my first example in the paper given by Bobo(?) at the last Antwerp Congress on the phenomenon of expression – with what at the end of its branches?

總是有兩種限制，對於已經發展的支持。在精神分裂症患者的某系圖畫裏，關於已經受到支持的某件東西，有狼群躲在樹木的樹枝裏。我不妨說，我只要打開任何的畫集，就可以找到一大堆。例如，有時候，在某一棵樹的末端。拿我第一個例子來說，那是伯波所發表的論文，在上一次的安窩普研討會，討論大表達的現象。它的樹枝的末端是什麽？

That which for a schizophrenic fills the role that the wolves play in the case of the borderline that the Wolfman is. Here, a signifier, it is beyond the branches of the tree that the schizophrenic in question writes the formula of his secret: “Io sono sempre vista”, namely something that she had
never been able to say up to then “I am always seen”.

對於一位精神分裂症患者而言，以「狼人」處於邊界的病例來說，狼群所扮演的角色，由什麼來填補？在此，是一個意符。超越在這棵樹的樹枝之外，討論中的這位精神分裂症患者，寫下他的秘密的公式：「我總是受到監視」。換句話說，有某件東西，直到當時，她一直沒有辦法說出來：「我總是受到監視。」

Here again I must pause in order to make you see that in Italian as in French, vista has an ambiguous meaning, it is not only a past participle, it is also sight with its two meanings subjective and objective, the function of sight and the fact of being seen, as one says the sight of a landscape, the one which is taken there as an object on a postcard. I will of course come back on all of that.

在此再一次，我必須稍停，為了讓你們看出：在義大利文跟法文，「監視」具有一個模糊曖昧的意義。它不但是一個過去分詞，而且顯示有兩個意義的景象，主觀性及客觀性的景象。景象的功用跟被監視的事實，如我們所說的，一個風景的景象，在那裏被當著是一張明信片上的一個客體。當然，我還會回頭細談這一切。

What I simply want to stress here today, is that the horrible,
the suspicious, the uncanny, everything by which we translate, as best we can in French, this masterful unheimlich, presents itself through skylights, that it is as framed that there is situated for us the field of anxiety. Thus you rediscover that by which I introduced the discussion for you, namely the relationship between the stage and the world.

今天我在此僅僅要強調的是，這個可怕的感覺，可疑的感覺、神秘怪誕的感覺。這一切我們用來翻譯，儘可能用法文翻譯，這個掌控的「怪誕」，透過天窗呈現它自己。對於我們而言，它被架構在焦慮的領域被定位的地方。因此，你們重新發現，我用來介紹今天的討論，換句話說，討論舞臺跟這個世界的關係。

“Suddenly”, “all of a sudden”, you will always find this term, at the moment that the phenomenon of the unheimlich makes its entry!

「突然地」，「突如其來」，你們總是會找到這個詞語，在「怪誕」的現象登堂入室的時刻。

The stage which proposes itself in its own dimension, beyond no doubt we know that what ought to be referred to it is what cannot be said in the world.

這個舞臺以它自己的向度呈現它自己。無可置疑的，那是一個超越的向度。我們知道，應該歸屬於它的向度，是無法在這個世界被言說。

It is what we always expect when the curtain rises, it is this quickly extinguished brief moment of anxiety, but which is never lacking to the dimension which ensures that we are doing more than coming to settle our backsides into a more or less expensive seat, which is the moment of the three knocks, which is the moment the curtain opens.

當舞臺的簾幕升起時，這總是我們所期盼的。這就是焦慮迅速消失的短暫時刻，但是它永遠不會是欠缺，在我們確定的向度，我們所正在做的，不僅僅是調適我們的臀部，坐上昂貴的座椅上。這是銅鑼敲三下的時刻，這是簾幕要開始升起的時刻。

And without this, this quickly elided introductory moment of anxiety, nothing could even take on the value of what is going to be determined as tragic or as comic, that which cannot be, here again, not every tongue provides you with the same resources, it is not a konnen that is involved. Of course many things can be said, from a material point of view. It is a matter of a being able, durfen, which badly translates what is permitted or not permitted, since durfen refers to a more original dimension.

假如沒有這個，焦慮快速散失的引介的時刻，沒有一樣東西能夠形成，後來被決定為悲劇或喜劇的價值。那些無法成為悲劇或喜劇的東西，並不是每一種語言都能夠供應你們相同的解釋來源。它所牽涉到的，不是一種「知道」。當然，從物質的觀點，我們還是能夠說出許多東西。問題是，有一個生命的實存能夠被准許。那個被准許或不被准許的東西，我們很難翻譯，因為「知道」提到一個更加原初的向度。

It is even because Man durf nicht, that it cannot be done, that Man kan, that after all one is going to be able, and that here there comes into play the forcing, the dimension of relaxation, that properly speaking constitutes the dramatic action.

甚至是因為人們不知道，它才無法被翻譯。人能夠，畢竟我們將能夠，在此，這個強迫，這個輕鬆的向度，適當地說，它形成這個戲劇性的演出。

We could not spend too much time on the nuances of this framing
of anxiety. Are you going to say that I am appealing to it in the sense of bringing it back to expectation, to preparation, to a state of alert, to a response which is already one of defence to what is going to happen. That yes! It is the Erwartung, it is the constitution of the hostile as such, it is the first recourse beyond Hilflosigkeit♦

我們無法花費太多時間，來探討焦慮這個架構的細微變化。你們不妨這樣說，我是在訴諸于焦慮，作為將它帶回你們的期望，心理準備要接受一種警覺的狀態，對於即將發生的事情，一種防衛機制的反應。你們答對了！就是這個「期盼」，這種出乎意料之外的本質，我們訴諸於超越「無助感」的情意。

But anxiety is different. If, in effect, expectation can serve
among other means to frame it, in a word, there is no need for this expectation: the frame is always there! Anxiety is
different.

但是焦慮不一樣。假如實際上，除了其他的方法，期望能夠被用來充當架構焦慮。總而言之，那就沒有需要這個期望。這個架構總是在那裏！焦慮是不一樣的東西。

Anxiety is when there appears in this frame something which is already there much closer to home: Heim, the guest (1’h5te), you will say, and in a certain sense, of course, this unknown guest who appears in an unexpected fashion has a good deal to do with what is met with in the Unheimlich, but it is not enough to designate him in this way. For, as the term indicates to you very well as it happens in French, this guest, in the ordinary sense of the word, is already someone who has been well worked over in terms of expectation.

焦慮是當有某件已經是在那裏，更加靠近家園的東西，出現在這個架構裏：「家園」，這位客人，你們會這樣說。當然，從某個意義來說，這個未知的客人，以出乎意料之外的方式出現，它跟在這個「怪誕」所被滿足的東西，有密切的關係。但是光是以這種方式指明它是不夠的。這個術語很清楚跟你們指示，它在法文裏的意義，用這個字詞通常的意義來說，這位「不速之客」是你們已經期盼良久的某個人。

陳春雄譯
32hsiung@pchome.com.tw