Anxiety 54 Jacques Lacan

Anxiety 54

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

A surface with a single face cannot be turned inside out. For
effectively you take a Moebius strip;, you make it; you see that there are two ways to make it, depending on whether one turns, one makes the half turn that I spoke about above to the right or to the left and that they do not overlap. But if you turn one of them inside out it will always be identical to itself.

一個表面只有一個面向,無法從裏面向外翻轉。你們不妨實際去拿一個莫比斯帶,你們去製作一個。你們會看到,製作的方法有兩種,依靠它是否翻轉而定。一種是我以上所提到的一半的翻轉向右邊,或是向左邊。這樣它們才不會重疊。但是假如你們把其中一個從裏面向外翻轉,它總是跟自己一致。

This is what I call not having a specular image.

這就是我所謂的沒有自我理想的魅影意象。

You know on the other hand that I told you that in the cross-cap,
when, by means of a section, a cut, which has no other condition
than that of rejoining itself, after having included in it the hole-point of the cross-cap, when, I am saying, you isolate a part of the cross-cap, it remains a Moebius strip.

在另一方面,你們知道,我告訴你們,在這個十字帽,憑藉著一個部份,一個切割。這個切割沒有其他的條件,除了就是重新加入自己,當你已經在裏面,包含這個十字帽的洞口點。我是說,你們將這個十字帽的一部份孤立起來,它依舊是一條莫比斯帶。

Here is the residual part. I constructed it for you, I am passing it around. It has its interest because, let me tell you: this is o. I give it to you like a host, for you will make use of it subsequently.

在此,有殘餘的部份。我跟你們建構它,我正在將它傳遞出去。它有引入興趣的一面:這就是小客體。我像一位主人般送給你們,因為你們隨後會使用到它。

That is how o is made.

這就是小客體如何被製作的方式。

It is made like that when any cut whatsoever has occurred,
whether it is that of the cord, that of circumcision, and some
(18) others still which we will have to designate.

它像這樣被製作,當任何的切割已經發生,無論它是這個繩索的切割,包皮的切割,還有其他種類的切割,我們還有待指明的。

There remains, after this cut whatever it may be, something
comparable to the Moebius strip, something which does not have a specular image. Now then consider carefully what I want to tell you.

不管它是什麼種類的切割,在它切割之後,會有某件類似莫比斯帶的東西剩餘下來,某件沒有自我理想魅影的意象剩餘下來。現在,請仔細考慮一下,我所要告訴你們的內容。

The first phase, the vase which is here has its specular image,
the ideal ego, constitutive of the world of the common object.
Add to it o in the form of a cross-cap, and separate out in this cross-cap the little object o that I have placed in your hands.

第一個部份,在此這個花瓶擁有它的魅影的意象,這個理想的自我,它組成這個共同客體的世界。你們用一個十字帽的形式給它填加這個小客體,然後以這個十字帽的切割區隔我放在你們手中的這個小客體。

There remains, united to i'(o), the remainder, namely a Moebius strip, in other words – I am representing it for you here – it is the same thing as if you make there begin, from the opposite point of the edge of the vase, a surface which connects up with itself, as in the Moebius strip.

依舊有這個殘餘物,跟著這個理想自我的魅影連接在一起,換句話說,一條莫比斯帶。換句話說,我在此正在將它呈現給你們。這好像是跟你們從這個花瓶的邊緣的相反點那裏開始一個表面,這個表面跟自己連接,如同在莫比斯帶。

Because from that moment, the whole vase becomes a Moebius
strip, because an ant walking along the outside enters the
inside without any difficulty. The specular image becomes the
strange and invasive image of the double, becomes that which
happens little by little at the end of the life of Maupassant
when he begins by no longer seeing himself in the mirror,
or when he perceives in a room something which turns its back
on him and regarding which he immediately knows that he is
not without some relationship to this ghost, when the ghost
turns back, he sees that it is himself.

因為從那個時刻開始,整個的花瓶就成為一個莫比斯帶。因為一隻螞蟻沿著外面走著,毫無困難地進入裏面。這個理想自我的魅影意象,就成為這個奇怪而侵入的雙重的意象,成為法國小說家莫泊桑過世時,逐漸發生的現象:他不再能從鏡子裏看到自己。或是他在房間裏,他感覺到有某件東西,背朝著他。關於這個東西,他立刻知道,他跟這個鬼魂不是沒有一些關係。當這個鬼魂轉過身,他發現那就是他自己。

This is what is involved in the entry of o into the world of the real, which it is only returning to. And notice,_to end, what is involved. It may seem strange, bizarre to you as a hypothesis, that something reassembles this. Notice however that if we put it outside the operation of the visual field, behave like a blind man, close your eyes for a moment, and feeling your way, follow the edge of this transformed vase.

這就是小客體進入真實界所牽涉到的東西,小客體只是回去。請注意一下,為了要結束,所必須牽涉到的東西。對於你們而言,它作為一個假設的命題,似乎有點奇怪,有點古怪。某件東西將這個重新裝配起來。可是,請注意,假如我們將它放置在視覺領域運作的外面,就像一位瞎子一般地行為,閉上你們的眼睛一陣子,然後模索前進,遵照這個被轉變的花瓶的邊緣。

But it is a vase like the other, there is only one hole because there is only one edge. It appears to have two of them. And this ambiguity between the one and the two, I think that those who have simply read a little know that it is a common ambiguity concerning the apparition of the phallus in the field of dream appearance – and not only dreams – of the sexual organ where there apparently is no real phallus. Its ordinary mode of apparition is to appear in the form of two phalluses. There, that’s enough for today!

這個花瓶就像另外一個花瓶一樣,只有一個空洞,因為只有一個邊緣。它看起來似乎有兩個空洞。這個處於一個空洞及兩個空洞之間的模糊曖昧,我認為是,只有是稍微有過閱讀的人,都會知道,那是一個共同的模糊曖昧,關於這個陽具的魅影,性器官的出現在夢到領域。那裏顯而易見的,並沒有真實的陽具出現,(不但是在夢裏)。這個魅影的普通的模式,應該是以兩個陽具的形式出現。就在那裏,今天我們只能談論到這裏。

I would like to manage to tell you today a certain number of
things about what I have taught you to designate as the object o, this object o towards which the aphorism that I put forward the last time about anxiety orients us, namely that it is not without an object.

今天,我想要設法告訴你們某些的事情,關於我曾經教導你們如何指明這個客體,當著小客體。上一次,我曾經提出關於焦慮的這個簡短警語,它將我們引導朝向這個小客體。換句話,它並非沒有一個客體。

This is why the object o comes this year into the centre of our remarks. And if effectively it is inscribed in the
frame of this anxiety that I took as a title, it is precisely for the reason that it is essentially from this angle that it is possible to speak about it, which means again that anxiety is its only subjective expression.

這就是為什麽這個小客體今年會進入我們談論的中心。假如實際上它是被銘記在這個焦慮的框架裏,我使用焦慮來當這次講座的題目,那確實是因為基本上是從這個角度,我們才可能談論它。這再一次意味著,焦慮是它唯一的主體性的表達。

陳春雄譯
32hsiung@pchome.com.tw

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