Anxiety 48 Jacques Lacan

Anxiety 48

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 7: Wednesday 9 January 1963

The problem is that of the entry of the signifier into the real and to see (5) how from this the subject is born. Does it mean that, if we find ourselves as it were before a sort of descent of the spirit, the apparition of winged signifiers would begin to make their holes in this real all by themselves, in the midst of which there would appear one of these holes which would be the subject.

這個難題是，意符如何進入真實界，並且看出這個生命的主體是從那裏誕生。這難道不是意味著，假如我們發現自己的本相，出現在一種精神的降臨之前，帶著翅膀的意符的魅影，將會全然孤單地開始在這個真實界，創造自己的洞穴？在真實界的中間，其中一個洞穴將會出現，那將就是生命的主體。

I think that, in the introduction of the real-imaginary-symbolicdivision, no one imputes such a plan to me. It is a matter today of knowing what is there at first, what it is precisely that allows this signifier to be incarnated.

我認為，當我介紹這個真實界、想像界，及意符界時，沒有人對我推崇這個計畫。今天的問題就是要知道，起初是什麼存在那裏，確實是什麼容許這個意符被具體化身。

What allows it is of course what we have there to presentify ourselves to one another, our body. Only this body is not to be taken either, for its part, in the pure and simple categories of the transcendental aesthetics.

當然，意符被容許具體化身的，就是我們在那裏所擁有的，我們互相呈現的自己，那就是我們的身體。就身體本身而言，只有它，不應該被以純粹而簡單的超越美學的範疇來看待。

This body is not in a word, constitutable in the way that Descartes establishes in the field of extension. It is a
matter of our seeing that the body in question is not given to us in a pure and simple fashion in our mirror, that even in this experience of the mirror, there can occur a moment where this image, this specular image that we think we have in our grasp, is modified: what we have face to face with us, our stature, our face, our pair of eyes, allows there to emerge the dimension of our own look and the value of the image then begins to change especially if there is a moment at which this look which appears in the mirror begins to look no longer at ourselves, initium, aura, the dawning of a feeling of strangeness which opens the door to anxiety.

這個身體不是在這一個世界裏，這個世界的形成，是以笛卡爾在延伸到領域，所建立的方式。問題是，我們如何去看出，這個受到置疑的身體，被給予我們時，並不是以一個純粹而簡單的方式，在我們的鏡像裏。即使在鏡像的這個經驗，還是會發生這樣的時刻，這個意像，這個魅影的意象，我們認為已經在我們的掌控當中，已經被修正。我們必須跟自己面對面相對，我們的身材，我們的臉孔，我們的一雙眼睛，容許我們外觀的這個向度，出現在那裏。然後，意象的價值開始改變，特別是假如有一個時刻，鏡像裏的這個外觀，開始不再觀看自己，這個最初的氛圍，陌生之感就會油然而生，朝向焦慮的大門就攤開。

The passage from the specular image to this double who escapes
me, zero is the point at which something happens whose
generality, function, presence in the whole phenomenal field we can show, I believe, by the articulation that we are giving to this function of o, and we can show that the function goes well beyond what appears at this strange moment that I wished here simply to pinpoint because its character is well known and also most discreet in its intensity.

經過這個自我理想的魅影意象，到達我捉摸不住的這個雙重人，零度是某件事情會發生的這個點。它的普及、功用及存在於整個的現象世界，我相信我們能夠顯示，根據我們所給予這個零點功用的表達。我們能夠顯示，這個功用遠遠超過在這個陌生的時刻出現的東西。我在此僅僅希望強調這個陌生的時刻，因為它的特性是眾所皆知，它雖然強烈，卻不招搖。

How does there occur this transformation of the object, which,
from a situatable object, a locatable object, an exchangeable
object constructs this sort of private, incommunicable and
(6) nevertheless dominant object which is our correlative in the phantasy?

客體的這個轉變如何會發生在那裏？從一個可確定位置的客體，可找到位置的客體，一個可交換的客體，如何建立這種私下的，無法溝溝，可是又具支配性的客體，在幻見中的互動關係？

Where exactly the moment of this moulting, of this
transformation, of this revelation occurs, is, I believe
something that, along certain paths, from certain angles which I already prepared for you in the course of the preceding years,
can be more than designated, can be explained, and that, in the little schema that I have brought you today on the board
something of these conceptions, Auffassungen, in other words of these richtiq, correct representations can be given which makes the always more or less opaque, obscure, appeal to intuition, to experience, something durchsichtig, transparent.

這個蛻變的時刻，這個轉變的時刻，這個啟明的時刻，確實在什麼時候會發生？我相信，沿著某些探討的途徑，從過去幾年來，某些我已經跟你們準備的角度，這個某件東西能夠被指明，能夠被解釋，然後，在今天在黑板上，我帶給你們這個小小的基模，有某件這些觀念的東西。換句話說，這些正確的符號能夠被給予，使得這些總是模糊不清的東西，訴諸於直覺，經驗，等某件透明的東西。

In other words, to reconstitute for ourselves the transcendental aesthetic which suits us, which suits our experience.

換句話說，為了替我們重新建構這種超越的美學，這種美學適合我們，適合我們的經驗。

You can hold then as certain, through my discourse, that what is commonly transmitted, I think, about anxiety – not extracted from Freud’s discourse but from a part of his discourse, that anxiety has no object – is properly what I am correcting: “it is not without an object, elle n’est pas sans objet”, such is exactly the formula on which there ought to be suspended this relationship of anxiety to an object.

透過我的精神分析論述，你們能夠將從焦慮所被傳遞的東西，視為是千真萬確。它不是從佛洛伊德的真理論述，而是從他的真理論述的一部份中抽取出來。焦慮沒有客體。容我適當地改正一下：「它並不是沒有客體」，這確實就是這個公式，焦慮跟一個客體的關係，應該是被懸置在那裏。

It is not properly speaking the object of anxiety, in this “not without (pas sans)”, you recognise the formula that I already used in the past about the relationship of the subject to the phallus, “he is not without having it, il n’est pas sans 1’avoir”.

適當來說，在這個「並不是沒有」，它並不是焦慮的客體。你們體認出我過去使用的這個公式，關於生命主體跟這個陽具的關係，「他並不是沒有擁有它」。

This relationship of “not being without having” does not mean
that one knows what object is involved. When I say “he is not
without resources, he is not without guile” that means precisely that these resources are obscure – at least for me – and that his guile is not of the usual sort.

這個「並不沒有擁有它」，並不意味著，我們知道牽涉到的是什麼東西。當我說，「他並不沒有才智，他並不是沒有狡詐」，那確實意味著，這些才智是模糊的，至少就我而言，他的狡詐並不是通常所稱的那種狡詐。

Moreover even the linguistic introduction of the term sans, sine, which is profoundly correlative to this apposition of haud, non haud sine, not without, is a certain type of conditional liaison, if you wish, which links being to having in a sort of alternation; he is not without having it; but besides, where it is, it is not seen.

而且，即使是從語言學的觀點來介紹「沒有欠缺」這個術語，它跟這個「不是沒有」同位語息息相關。它是一種條件的連繫。容我這樣說，它以一種輪替的方式，連繫生命的實存跟生命的擁有。他的生命的實存，並不是沒有擁有。但是除此之外，在生命實存的地方，它卻又隱而不見。

陳春雄譯
32hsiung@pchome.com.tw