The Anti-Oedipus Papers 07

Anti-Oedipus Papers 07

By Felix Guattari 瓜達里

Translated by Springhero 雄伯

 

Interlude on the “ pentagram”

論「完美」的插曲

 

   The devil and the signifier.

   Faust catches the devil who did not notice the sign’s “ threshold effect” –the pentagram—by the door. Really the sign was wide open, even a little bit off; it opened onto a signifying chain; a game of opening and closing a space: a light shaft in a narrow cell:

   魔鬼與符號具。

   浮士德捉住魔鬼,魔鬼卻沒有注意到符號在完美門邊的「門檻效應」。符號的確是開放的,甚至有點開得太大。它展開進入符號化鎖鏈,開放跟封閉一個空間的遊戲,狹窄囚房的一道光束。

 

   “…it is badly placed; the angle turned towards the door and, as you can see, even a bit open…”

   “ …from the outside the thing looked completely different and now he devil could not escape.”

   Why? Because of the “ law of signifying chains.”

   It’s a law among devils and ghosts that they have to leave from whence they came. The first act is free; you are enslaved to the second.”

   它的位置擺得不好,角度轉向門,如你所見,甚至開得太大。

   從外面看,事情截然不同。現在魔鬼可逃不掉。」

    為什麼?因為「符號鎖鏈法則」

    這是魔鬼跟鬼魂的法則,他們必須從來的地方離開。第一個行動來是自由的,但是第二個行動去可受到限制。」

 

   So the rule in Hell is double articulation, bi-univocal correspondence, linearity.

   所以地獄法則是雙重表達,雙重單音的溝通,直線式的。

 

Rats, at the devil’s call, gnaw at the sign and open up the possibility of a “ new alliance” with the devil. That idiot Faust only dreamt of the heights: “…What rises up above the things of the earth.”  He wanted to translate the New Testament into German and make the beginning not be the verb but, effect of translatability inherent in the subjectification of speech to writing.

 「鼠人」應魔鬼的呼喚,咬囓符號並展開跟魔鬼「新結盟」的可能性。那白癡般的浮士德卻光夢想著飄然高昇:「提昇到大地萬物之上。」他要將新約翻譯成德文,讓開始不是動詞,而是本質可翻譯的效果,言談隸屬於寫作。

 

“…spirit,

Strength,

Action…”

The devil or God.

Good or evil.

I belong to this force that always yearns for evil and always does good.”

  精神,

力量,

行動,,」

惡魔或上帝。

善或惡。

我屬於這個力量,總是渴望邪惡,又總是渴望行善。」

 

It’s still the idea of sin and destruction as “ displaced represented.” The devil has no name ( “ the request seems to be quite frivolous…” and no shape. A fragment of pure metaphysical “ expanse” like Descartes’ fragment of life ( isn’t it the clever genie who “ slaves” reality?” The closed, five-term sign opens up as a triad into the sign of the cross. The pentagrammatic sign as the infinitive of perfection—of the finite jouissance range.

依舊是原罪跟毀滅的觀念當著「被誤置的代表」。惡魔沒有名字(這個要求似乎相當任意,,)而且沒有形狀。惡魔是純粹形上學「曠野」的碎片,如同笛卡爾的生命碎片(能拯救實在界的難道不是聰慧精靈?)封閉的五個條款符號,展開成為三位一體的十字架符號。完美境界符號作為完美的無限,相對於歡喜的有限。

 

The sign of the cross is the infinite of deterritorialization and of the anti-production work of “ series,” bi-univocal correspondences, double articulations, and the difference between taking pleasure and the rest ( the devil of the double, the narcissistic machine, the mirror…) It’s the dissociated body, against a backdrop of decoded flow, that leads to divided-undivided bodies against a backdrop of territorialized bodies without organs.

十字架的符號廢除領土和「系列」反生產運作的無限,雙重單音,雙重表達,歡樂跟其餘的差別(雙重的惡魔,自戀的機器,鏡子,等等)。這是瓦解的身體,背景是解碼的流動,並且導致既分又合的身體,背景是沒有器官的領土化的身體。

 

I am telling you the humble truth. If man, this small world of madness, normally considers himself to form a whole, I am a piece of the piece that came before Everything, a piece of obscurity that gave birth to light, proud light, that claims for itself its mother Night’s ancient blood and space she occupied; which does not suit it, as in spite of its efforts it breaks on bodily surfaces that interrupt it; it emerges from matter, streams down it and colors it, but one body alone interrupts its stride. So I hope that it will not last long, or it will be annihilate by bodies themselves ( cries, howling—noise and the dog’s fury, before speech. Redundancy, repetition and paradigmatic machinations…for some other time). The dog is captured, the diabolical cry is an effect of an objective movement: it traces a spiral course, it “ seems to pull magic laces up to our feet, as if to tie us up.”

我告訴你這個謙遜的真理。假如人,這個瘋狂的小世界,正常認為自己組成一個整體,我是那萬有之前的碎片之一,卑微的一片產生了光,驕傲的光,替自己宣稱母親是夜晚的古代的血,及她所佔有的空間。但是光並不適合於這個空間,儘管它的努力突破阻擋它的身體表面。光從物質出現,流過物質,使物資多采多姿,但是僅是一個身體就阻擋它的前進。所以我希望光不會持久,或光會為身體的本身毀滅。」(哭泣,哀號,噪音跟狗的狂吠,在演講之前。冗贅,重復,翻來覆去的策劃,過了一段時間)。狗被捉住,著魔般的哭泣是客觀動作的效應,它追蹤盤旋的過程,它「似乎將魔法的鏈條直套到我們腳上,好似要將我們全身綁住。」

 

Actually, it’s the “ demoniacal” caught in a trap.

It’s “ learning” ( Meister’s “ Learning Years”), technique, artifice, that call the tune.

Wagner: This is a crazy species of water spaniel. You stop, it waits for you; you talk to it, it throws itself at your neck; you lose something, it brings it back to you, and jumps in the water if you drop your cane in it.

Faust: You’re right, I detect no trace of spirit, every is training.

實際上,這個被困在陷阱的「惡魔」。

它的基調是「學習」技巧和魔法(惡魔的學習年)。

   華格納:這是一種天才瘋狗。你停止,它等你;你跟它說話,它撲上你的脖子,你掉了東西,它幫你撿回,假如你丟根甘蔗到水裡,它就跳進去。

浮士德:你說得沒錯,我覺察不出有靈魂的痕跡,一切都是訓練而來。」

 

Nice job!

    The water spaniel that sort of orbited around him, during his stroll with a certain Wagner, narrowed its field and got caught in the trap of interiority ( like Descartes closed up in his stove-heated room).

做得漂亮!

    浮士德跟華格納散步時,這隻天才瘋狗在他四周繞來繞去,縮小它的活動領域,被困在內部的陷阱裏(像笛卡爾自囚於火爐溫暖的房間)。

 

    With no more multiple coordinates, caught in a narrow referential, the water spaniel develops a monstrous “ paradigmatic perversion” : it becomes “ as big as hippopotamus,” an “ elephant…transformed into “ either” and gives birth to…Mephisto, then begets a flow of rodents, as support for the pact ( new alliance) with this ridiculous devil. Mephisto has as his mission to “ establish the void,” but he is always butting up against the requirements of flow. If not rat flow, then fresh, new blood…” it will make you totally crazy.:” it’s the “ crazy devil” that haunts capitalistic flow!

     陷於狹窄的符號範圍,不再有多重協調,這隻天才瘋狗發展出一種怪物般的「典範偏執」。它變成「河馬般巨大」「大象」轉變成「精靈」並且生出梅菲斯特魔鬼,再生下無數咬囓動物,當著是支持跟可笑的惡魔新的結盟。梅菲斯特魔鬼以「建立空無」為使命,但是它總是遭遇到流動的要求。即使不是老鼠成群流動,就是新鮮的血液流動「它簡直要逼你發瘋」。縈繞著資本主義的流動,就是這個「瘋狂的惡魔」!

 

   Everything is ready for decoding, and for absolute detrritorialization and the production of the “ remainders” out of mutilated, gaping signs regenerated ad infinitum in signifying chains: “ The semantic or phonic difference that is repeated in a series.”

    每一樣東西都準備解碼,完全解除領土限制,然後用被切除的分裂的符號的「剩餘」創作,在符號化的鎖鏈永無止盡地產生。

 

   The devil’s territoriality is actually a diabolical loss of territoriality, Goethe’s “ demonical.”

   “ Before,” spirits had their own space.

   Now, it’s all or nothing.

   惡魔的領土實際上是領土可怕的損失,歌德的「惡魔」。

   「以前」靈魂有它自己的空間。

    現在,靈魂是全有或全無。

 

P40—p42

The Anti-Oedipus Papers 反伊底普斯文稿

By Felix Guattari 瓜達里

Translated by Springhero 雄伯

https://springhero.wordpress.com

32hsiung@pchome.com.tw

       

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