Anxiety 70 Jacques Lacan

Anxiety 70

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 9 : Wednesday 23 January 1963

I am insisting. One cannot, in these matters, go too slowly.
You will say to me; what is original in that? You will say to me, after all I am making the demands and giving the answers – I would say, I hope not, but since you could all the same say to me if I have not sufficiently emphasised it; “What is original in this, this acting-out and this demonstration of this unknown desire? The symptom is the same. Acting-out is a symptom which shows itself as other, and so does it. The proof is that it has to be interpreted”. All right then let us dot the i’s carefully.

我一直在堅持。在這些事情上，我們進行得越快越好。你們會對我說：在那一點，有什麼的原創性的地方？你們會對我說，畢竟，都是我在提出要求，然後給予回答。我會說，我並不希望是如此。但是你們仍然能夠對我說，假如我自己沒有充份強調：「這有什麼是原創性的地方？這個激情演出跟這個未知欲望的展示？病徵都是一樣。激情演出是一個病徵，顯示它自己是大它者。它也顯示它是大它者。證據是，它必須要被解釋。」好吧！那麼就讓我們將這些「自我理想的魅影」仔細地打上小點記號。

You know that the symptom cannot be interpreted directly; that
transference is necessary, namely the introduction of the Other.

你們知道，病徵無法直接被解釋；移情是必須的，換句話說，大它者是必須。

You do not grasp it properly yet perhaps. Then you are going to say to me, “Well yes, this is what you are in the process of telling us about acting-out.”

可能，你們還沒有適當地理解移情。那麼你們會跟我說：「是的，這就是你存在的價值，當你正在告訴我們有關激情演出。」

No, what is involved here, is to tell you that it is not
essentially in the nature of the symptom to have to be
interpreted; it does not call for interpretation like acting-out, contrary to what you might think. Moreover it has to be said; acting-out calls for an interpretation and the question that I am in the process of posing, is that of knowing whether it is possible. I will show you that it is. But it is in the balance in analytic theory and practice.

不，這裏所牽涉到的，是要告訴你們，基本上，病徵的特性並不是在於它必須被解釋。恰恰跟你們的想法相反，它並不像激情演出，要求被解釋。而且，它必須被說出來。而激情演出要求解釋，我現在正在提出的問題，是要知道是否解釋是可能的。我將會跟你們顯示，解釋的可能的。但是它在精神分析學的理論跟實際做法之間，要保持平衡。

In the other case, it is clear that it is possible, but on
certain conditions which are added to the symptom, namely that
transference of its nature should be established; the symptom is not, like acting-out, calling for an interpretation.

在另外一種情況，顯而易見，解釋是可能的。但是在某些被增加的病徵的情況，換句話說，屬於病徵特性的移情應該被建立；這種移情的病徵，跟激情演出一樣，它並不要求解釋。

For – it is too often forgotten – what we discover in the symptom, in its (18) essence, is not, I say, a call to the Other, is not that which shows to the Other, that the symptom in its nature is jouissance – do not forget it – a backhanded jouissance, no doubt, unterbliebende Befriedigung; the symptom does not need you as acting-out does, it is sufficient of itself; it is of the order of what I have taught you to distinguish from desire as being jouissance, namely that it goes, for its part, towards the Thing, having passed the barrier of the good (a reference to my seminar on Ethics), namely of the pleasure principle, and this is why this jouissance can express itself by an Unlust.

這件事時常被人忘記。我們在這個病徵所發現的，我不妨說，它的本質並不是對於大它者的呼喚。它並不是顯示給大它者觀看。這種病徵地特性是歡爽，（不要忘記），是一種間接的歡爽，無可置疑的，是一種始終無法解決的困惑。這種病症並不像激情演出一樣需要你。它本身是自足的。它的秩序，我曾經教導過你們，要區別跟歡爽本身的欲望不同。換句話說，就它本身而言，它朝向「真實界」，當它已經越過善行的阻礙，（這是我討論精神分析學的倫理學時的用詞）。換句話說，跨越快樂原則的阻礙。這就是為什麼歡爽能夠身不由己地表達它自己。

I am not the only one who is either inventing or articulating all of this, it is said in these very terms in Freud; Unlust,
unpleasure, for those who have not yet heard this term, in
German.

我並不是唯一杜撰或表達這一點的人。佛洛伊德就有這些術語表達它，諸如，身不由己，不爽快，等等，對於那些還沒有從德文聽過的人而言。

So then let us return to acting-out, as opposed to the symptom,
acting-out for its part is the beginning of transference. It is wild transference.

那麼讓我們回到激情演出，它跟這個病徵相反。就本身而言，激情演出是移情的開始。它是狂野的移情。

There is no need for analysis – as you no doubt know – for there to be transference. But transference without analysis is acting-out, acting-out in analysis is transference.

無可置疑，眾所周知的，對於移情的存在，並沒有需要予以精神分析。但是沒有精神分析的移情是一種激情演出。而精神分析裏的激情演出是一種移情。

The result is that one of the questions to be posed, is, concerning the organisation of transference – I mean
the organisation, the Handlung of transference – that one of the ways of posing the question is to ask how one can domesticate the wild transference, how one gets the wild elephant into the enclosure or how one can get the horse into the ring, where one makes him turn round, in the circus.

結果是，應該被提出的這些問題之一，是關於移情的組織。我的意思是移情的組織，移情的行徑。提出問題的方式的那種移情，是要問我們如何能夠馴服這個狂野的移情，我們如何能夠將這隻狂野的大象弄進圍場裏，或是我們如何能夠將這匹野馬弄進圍欄裏。在那裏，我們能夠使它像在馬戲團裏，團團轉。

It is one of the ways of posing the problem of transference which it would be quite useful to pose from this angle, because it is the only way of knowing how to deal with acting-out.

這就是移情提出的難題的方式之一。從這個角度提出這個難題，用途很大，因為這是唯一的方法，知道如何來處理激情的演出。

(19) For people who may have to interest themselves in the near future in acting-out, I note the existence, in the Psychoanalytic Quarterly, of the article by Phyllis Greenacre; “General Problems of Acting-Out”.

對於那些在不久的將來，可能必須對於激情演出感到興趣的人們，我在「精神分析學季刊」，注意到這篇文章的存在，作者是菲利斯、格林納克，文章名稱是，「激情演出的一般問題」。

It is in Number IV of Volume 19 of 1950, so it is not impossible to find. It is a very interesting article in many ways, and evokes a memory for me: it was at the time about ten years ago when we had already received a visit from some investigators.

這是1950年19集第四期，所以是有可能找得到。在很多方面，這是一篇很有趣的文章。它引起我的回憶：大約十年前的時候，當我們已經接受某些的調查的訪談。

Phyllis Greenacre, who was one of them, gave me the opportunity to observe a lovely acting-out, namely the frenetic masturbation, which she carried out before my eyes, of a little Japanese mussel fisherman, which I owned and which still carries the traces of it, I mean this object does. I have to say that this furnished the opportunity for a very agreeable conversation, much better than the one punctuated by different passages a l’acte, for example her jumps almost to the ceiling, which I had with the lady.

菲利斯、格林納克是其中一位。他給我這個機會來觀察一個可愛的激情演出。換句話說，這個狂熱的手淫，女生在我的面前的演出。她是一位日本珠貝採取漁婦。我當時擁有這個機會，觀察到手淫演出的痕跡。我的意思是，這個客體留下的痕跡。我必須說，這件事供應給我這個機會，來從事一個非常令人愉悅的對談，比起不同的激情的表現，所強調的對談效果還要好。例如，她幾乎是歡欣欲狂，我跟她對談到那位女士。

陳春雄譯
32hsiung@pchome.com.tw