Cool Memories 13

Cool Memories 13

By Jean Baudrillard 布希亞

Translated by Springhero 雄伯

 

A universe without animal space, without the servile regularity of beasts, is never the same again. It is a long time since we knew such a thing in Europe. It needs a semi-desert space, without the marks of property, without demarcation lines. It was by marking out all spaces that we got rid of the desert and of hierarchical servility, which is respectful of the inhuman and takes its orders from the inhuman—from a distant planet or an animal god, the constellations or an imageless divinity. It is a marvelous conception this imageless divinity: nothing could be more opposed to our modern iconolatry.

宇宙若沒有動物空間,沒有野獸卑躬屈膝的規律,是永遠不會再相同。自從我們在歐洲知道這樣的事情已經很久了。它需要半沙漠的空間,沒有房屋的跡象,一望無垠。以劃分出所有的空間,我們擺脫沙漠跟官僚階層奴顏卑膝。後者扭曲人性,聽從遙遠行星、動物神祇、集團、及面目可憎的神祇的非人性使喚。這個面目可憎的神祇的觀念實在令人歎為觀止,完全跟我們現代的偶像崇拜背道而馳。

 

The gods can only live and hide in animals, in the sphere of silence and objective brutishness, not in the sphere of men, which is that of subjective brutishness, language and psychology. The Man-God is an absurdity. A god who rejects the ironic mask of the inhuman, who steps out of the animal metaphor, in which he was the silent embodiment of the principle of evil, and affords himself the luxury of a soul and a face, at the same time takes on the hypocritical psychology of the human. The gods have to be able to move like animals from one pasture to another. The dividing up of the land was the only way of banishing them.

眾神只能夠生存及隱藏在動物之中,在沉默及客觀殘暴的範圍,而不是在人的範圍。後者是主觀殘暴,語言跟心理學的範圍。人神其實荒謬可笑。人神拒絕非人性反諷面具,脫離動物隱喻,而成為邪惡原則的沉默表徵,還自許擁有靈魂跟臉孔的奢侈,同時又擺出人的虛偽心理學。眾神必須要能像動物般在牧草地來回走動。土地的區隔是唯一驅除他們的方法。

 

She had the heavy breath of insomniacs’s mouths, the chapped lips of hysterical women, the confused sex of sterile women, and sadness, inexorable sadness. What wouldn’t you have given her in her innocence? Neither god, nor pleasure—grace perhaps, the savage grace of felines on the defensive, the retractile grace of her claws and of a gooseflesh extraordinarily soft to the touch, the grace of a fragile and defenseless frame. Nobody can do anything for her. She is impossible to protect, but her whole vulnerability is a caress and her retractility is a weapon, whilst her body, the whole of her body, becomes all weak and sly in order to seduce.

她有失眠症患者嘴巴的沉重呼吸,歇斯底里女人的龜裂嘴唇,不能生育女人的性的錯亂,悲哀,無情的悲哀。如此的純真,你還有什麼不能給她?你無法給她上帝及歡樂,但是恩典還有可能。貓在防衛狀態的野蠻恩典,她的貓爪可伸縮自如,似鵝肉的皮膚撫摸起來特別柔軟的恩典,身驅弱不禁風,楚楚可憐的恩典。無人能再多為她做些什麼。不可能保護她,她的嬌弱無力就是愛撫,她的伸縮自如就是武器。她的身體,整個身體虛弱而狡黠,就是要誘拐你。

 

I call that woman a slut who is capable of shying away from you out of sheer perversity, without any amorous necessity, out of the pure temptation to slip through your fingers. Women are sluts more through this ability to be absorbed hysterically by absence, than by physical and mental prostitution. And I recognize and admire this skill at escaping which is given only to those who do not know the obstacle of value judgments.

我稱這個女人叫小野貓,她會完全因為乖僻躲開你,不是怕你的情慾挑逗,或是完全為了誘惑,從你的手指間溜過。女人之類似小野貓,是由於有能力若拒若離,而非生理及精神上的淫蕩。我對這個技巧熟識而讚賞,因為它只施用於對價值判斷的阻礙一無所知的人。

 

For his part, the male is rendered fragile by the mechanisms of representation. He does not have the ability to retract himself so suddenly and absolutely—he has to cast off his image. A woman, on the other hand, may convert herself into an absence by pure reflect or stratagem and surprise a man in that way as cruelly as she may enchant him by her presence.

就他而言,他的男性氣概因為符號的機械學而變得脆弱。他無法如此突然而絕對地伸縮自如,他必須拋棄自己的形象。在另一方面,女人只靠著反射作用或策略,就可以將自己轉變成宛似不在現場,以那種方式,殘酷地使男人意料不到,宛似她在現場迷惑他。

 

The story of the ship built with such a quantity of iron and steel that its compass-needle, instead of showing north, simply pointed towards its own mass. Turning endlessly back upon itself, it was eventually lost in the fossilized ice of the Quaternary.

用大量鋼鐵製造而成的船的故事,它的羅盤針不是指向北方,而是指向自己內在質量。由於不斷地轉向自身,這艘船最後迷失在遠古第四紀的化石冰原。

 

The real joy of writing lies in the opportunity of being able to sacrifice a whole chapter for a single sentence, a complete sentence for a single word, to sacrifice everything for an artificial effect or an acceleration into the void.

寫作的真正樂趣在於能夠有機會犧牲整個章節,只為了一個句子,或犧牲整個句子為了一個字詞,犧牲一切為了一個矯揉造作的情意,或是犧牲加速度為了空無。

 

P28—p29

Cool Memories by Jean Baudrillard 布希亞

Translated by Springhero 雄伯

https://springhero.wordpress.com

32hsiung@pchome.com.tw

   

    

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