Anxiety 231 Jacques Lacan

Anxiety 231

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
22.5.63 XIX 224
Seminar 19: Wednesday 22 May 1963

Roughly speaking, to provide a summary orientation for someone
who might arrive by chance in the middle of this discourse, I would say, that to complete, as I announced to you, what could be called the range (gamme) of object relations seen in the schema which is being developed this year around the experience of anxiety, he might think that we were required to add to the oral object, the anal object, the phallic object, precisely in so far as each one is generator of and correlative to a type of anxiety, two other stages of the object, bringing to five then these objectal stages in the measure that they will allow us to find our bearings this year.

粗略地說，提供一個總結的定位，給偶爾參與我這個講座的人，我的意見是：如我跟你們所宣佈的，為了完成今年我正在開展的這個基模，環繞著焦慮的經驗，所看到的所謂的客體關係的範圍。他可能認為，我們被要求要在這個口腔的客體、肛門的客體，陽具的客體之外，再增加兩個階段的客體。確實是因為每一樣都是某種焦慮的產生者及相對物。然後這些客體的階段，總數成為五個。這樣，今年我們就能夠憑藉它們找到我們的方向。

You have, I think, sufficiently understood that for our last two meetings I have been dealing with the eye stage, I will not for all that leave it today but rather find my bearings from there by making you pass on to the stage that must be tackled today, that of the ear.

我認為，你們已經充份地瞭解到，過去兩個演講，我一直在處理眼睛的這個階段。僅管如此，我今天還是會處理它，但是從那裏，我會找到我的方向，讓你們過度到今天必須要被克服的階段，也就是耳朵的階段。

Naturally, as I told you, my first word was “roughly” and I
repeated “summarily” in the following sentence, it would be
completely absurd to believe that this is what is involved except in a grossly esoteric and obscurantist fashion.

當然，我告訴過你們，我的第一個字是「粗略地」。在隨後的句子，我重複「結論地」。假如我們相信，這就是所牽涉的內涵，除了以極度朦朧隱晦的方式，那全然是無稽之談。

It is a matter at all of these levels of mapping out what the
function of desire is and none of them can be separated from the repercussions that it has on all the others and from a more intimate solidarity, the one expressed in the foundation of the subject in the Other along the path of the signifier, with the completion of this function of mapping out in the advent of a remainder around which there turns the drama of desire, a drama which would remain opaque to us if anxiety were not there in order to allow us to reveal its meaning.

問題是要描繪出欲望的什麼的不同層次。沒有一個層次，能夠跟它對於其他層次的影響分開。從一個更加親密的團結開始，生命主體在大它者處的基礎，所被表達的這個層次，沿著意符的途徑，隨著描繪的這個功用的完成，會有一個殘餘物的來臨。欲望的戲劇，就是環繞著這個殘餘物運作。對於我們而言，這個戲劇始終是朦朧的，假如焦慮沒有在那裏，為了讓我們能夠顯示它的意義。

This often leads us, apparently, to what I might call erudite
kinds of digressions, in which certain people may see some charm or other to be experienced or reproved in my teaching.

顯而易見的，這時常會引導我們到我所謂的天馬行空的離題。某些人可能對於我的教學，會看出某種的魅力能夠被經驗到，或是被譴責。

Believe me that it is not without reticence that I advance into them, and that moreover the method according to which I proceed in the teaching that I give here will be studied – it is surely not for me to spell out here its rigour – the day when people will search, in the texts that may exist’, be transmissible, be still understood of what I am giving you here, it will be seen that this method is not essentially distinguished from the object which is being tackled.

請相信我，我前來探討這些問題，不是沒有緘默以對的時刻。而且，這個方法將會被研究。依照這個方法，我繼續我在此的這個教學。（我在此的教學的熱絡，確實不待我自己來贅述，）有朝一日，人們將會研究我正在跟你們教導的內容，根據可能保存的文本，可能被傳譯的文本，及依舊能夠被瞭解到文本。你們將會看出，這個方法基本上，並無不同於所正在被克服的客體。

(2) Only I remind you that it arises from a necessity. The truth of psychoanalysis is only, at least in part, accessible to the experience of the psychoanalyst. The very principle of a public teaching starts from the idea that it is nevertheless communicable elsewhere.

只是我要提醒你們，這個起源於一種需求。精神分析的真理，至少有一部份，只有精神分析師的經驗，才能瞭解。公開教學的原則，開始於這個觀念：可是，它在別的地方，仍然是可溝通的。

This having been posited, nothing is resolved, since the psychoanalytic experience itself must be oriented, otherwise it goes astray.

這個被提出後，並沒有解決任何問題。因為精神分析的經驗本身必須被定位，否則它會迷失。

It goes astray if it becomes partial, as we have not ceased from the beginning of this teaching to point out in different parts of the analytic movement, specifically in that which, far from being a deepening, a complement given to the indications of Freud’s last doctrine in the exploration of the mainsprings and of the status of the ego, far from being a continuation of his indications and of this work, we have seen there being produced what is properly speaking a deviation, a reduction, a veritable aberration of the field of experience, no doubt determined also by something that we can call a certain opacity which occurrred in the first field of analytic exploration, the one which for us characterises, which is characterised by the style of illumination, the sort of brilliance which remains attached to the first decades of the diffusion of Freudian teaching, to the form of the researches of this first generation one of whom I will make intervene today more quickly still, Theodore Reik I believe, and specifically among the numerous and immense technical and clinical works, one of these works quite incorrectly described as applied psychoanalysis, the ones that he produced on ritual.

它會迷失，假如它變成部份的客體。從這個教學的開始，在精神分析學的運動的不同部份，我們就一再地指出，明確地說，它絲毫不是一種深化，一種互補，從給予佛洛伊德最後的信條的指示，在探索自我的原動力跟地位。它絲毫不是他的指示及他的著作的連續。我們看到，在那裏產生了，適當地說，這是一種偏離，一種化簡，一種經驗領域的可驗證的脫軌。無可置疑的，發生在精神分析探索的最初領域，某件我們所謂的晦澀難懂，對於我們而言，它表現的特性，它被啟明的風格所表現特性。這種的傑出，始終跟佛洛伊德教學的傳播的前幾十年息息相關，跟第一代的研究的形式息息相關。其中一位，我今天將很快地引述他參與。我相信那就是希爾德、雷克。明確地說，在無數的浩瀚的專業及診所的著作中，有一本相當錯誤地被描述為「應用精神分析學」。這些著作，他孜孜不倦地書寫。

We will see in it – what is involved here specifically is the
article which appeared in Imago somewhere, I think I remember
around the eighth year, I think more or less, I forgot to bring
the text here today, which appeared in Imago around the eighth
year – I believe, on something whose name you see here written in Hebrew letters – a study on the shofar of such verve, of such brilliance, of such fecundity, of which one can say that the style, the promises, the characteristics of the epoch in
which it is inscribed, saw themselves suddenly extinguished, that nothing equivalent to what was produced at that period went on afterwards. And therefore it has to be asked, why this interruption itself.

我們在裏面看出，（在此明確牽涉到的是這篇文章，出現在「無意識意象」的某個地方。我認為我記得，大約在第八年。我有點認為，我今天忘記帶來這個文本，它出現在「無意識意象」，大約第八年。）我相信，有某件東西的名字在此被用希伯來文字書寫。那是研究猶太教做禮拜之用的羊號角，充滿了活力、生猛、及豐饒。對於這個羊號角，我們能夠說的是，它上面所銘記的那個時代，具有的這種風格，這種許諾，這種特性，眼睜睜看到它們自己突然地灰飛煙滅。能夠比得上那個時期所產生的東西，沒有一樣後來能夠繼續下來。因此，我們必須要問的是：為什麼會發生這樣的中斷？

陳春雄譯
32hsiung@pchome.com.tw
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