Anxiety 91 Jacques Lacan

Anxiety 91

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 13: Wednesday 6 March 1963

And if you wish, to connote the three stages of this operation,
we will say that here there is an X which we can only name
retroactively, and which is properly speaking the approach of the Other, the essential line of sight where the subject has to pose himself and whose name I will give you afterwards.

為了指明這個運作的三個階段,我們將會說,在此有一個未知數,我們只能反過來命名。適當地說,這個大它者的接近,視覺的基本線。在那裏,生命的主體必須提出自己,它的名字,我以後將會給予你。

We have here the level of anxiety in so far as it is constitutive of the apparition of the function o and it is at the third term that there appears the S as subject of desire.

我們在此擁有焦慮的層次,它是大它者的功用的魅影所形成。就是這第三個術語,出現這個被禁制的生命的主體,作為欲望的生命主體。

To illustrate now, to bring alive this no doubt extreme
abstraction that I have just articulated, I am going to lead you to the obviousness of the image and this of course all the more legitimately in that it is an image that is involved, that this irreducible of o is of the order of the image.

He who possessed the object of desire and of the law, he who had enjoyed his mother, Oedipus to give him his name, takes this further step, he sees what he has done. You know what happens then.

現在為了舉例說明,為了生動表現我剛剛表達的這個觀念。無可置疑的,它是非常極端。我將引導你們到這個意象,顯而易見的地方。當然,這將更具有合理性,因為這是一個被牽涉到的意象,這個小客體的不可化簡,屬於意象的層次。擁有這個欲望的客體及法則的客體的人,享受他的母親的人,伊底普斯給予他的名字,走更進一步,他看到他所做的。你們知道那時會發生什麼事。

How can we choose the word, how can one say what is of the order of the unsayable and whose image nevertheless I want to make emerge for you? The fact that he sees what he has done has as a consequence that he sees – this is the word before which I stumble – the moment afterwards his own eyes swollen with their vitreous humours on the ground, a confused pile of filth since – how can we put it? – because since he had torn his eyes from their sockets he had quite obviously lost his sight.

我們如何選擇這個字,我們如何說屬於不可說的層次,什麼意象我想要跟你們呈現?他看到他所做的,作為他所看到的。這就是這個字,我結結巴巴說不出來。後來到這個時刻,他自己的眼睛因腫脹,因為眼球掉落在地板上,污穢一攤。我們要如何來表達它?因為他已經將他的眼睛從他的眼眶裏挖出來。顯而易見的,他完全喪失他的視覺。

And nevertheless it is not that he does not see them, see them as such, as cause-object finally unveiled of the final, the
ultimate, no longer guilty, but beyond the limits, concupiscence, that of having wanted to know.

可是,這並不是因為他沒有看見它們,看見它們這個樣子,當這個最後,最終的客體的原因,被揭發開來,不再是犯罪,而是超越了這個限制,這個異常強烈的欲望,想要知道的欲望

The tradition even says that it is starting from that moment that he really becomes a seer. At Colonus he sees as far as it is possible to see and so far ahead that he sees the future destiny of Athens.

傳統甚至說,從那個時刻開始,他真正成為一位預言家。在科隆那斯,他儘可能看出,高瞻遠矚地看出。亞典當未來命運。

What is the moment of anxiety? Is it what makes possible this
gesture through which Oedipus can tear out his eyes, make this
sacrifice of them, this offering, this ransom of blindness in which his destiny is accomplished? Is that what anxiety is, the possibility, let us say, that man has of mutilating himself? No.

什麼是焦慮的時刻呢?這就是為什麼伊底普斯撕挖出他的眼睛的這個姿態,成為可能?使眼睛作為犧性品,這個貢奉的犧性成為可能?這個盲眼的贖金成為可能?他的命運以兩眼瞎盲作為終結?這難道就是焦慮的本質,我們不妨說,人有可能自殘?不。

(7) It is properly that which through this image, I am striving
to designate for you: it is that an impossible sight threatens
you of your own eyes on the ground.

適當來說,透過這個意象,我正在設法跟你們指示:一個不可能的景象威脅你在地面上自己的眼睛。

Here I believe is the surest key that you can always rediscover
under whatever style of approach the phenomenon of anxiety
presents itself for you.

我相信,確實的關鍵就在此,你們總是能夠重新發現,無論在怎樣的方法之下,焦慮的現象呈現給你。

And then, however expressive, however provocative may be, as one might say, the narrowness of the locality that I designate for you as being that which is circumscribed by anxiety, you should notice that this image is found there as beyond the limits, not because of some preciousness in my choice, it is not an eccentric choice; it is, once I have designated it for you, well and truly frequent to encounter it.

無論它是如何的生動,如何的挑釁,我們不妨說,我指明給你們的地區性的狹窄,作為被焦慮所限制。你們應該注意到,這個意象被找到,當著是超越這個限制,不是因為某種我的選擇定珍貴。它並不是一個怪癖的選擇。它道道地地是我們時常遭遇的選擇,一但我跟你們指明它。

Go to the first exhibition currently open to the public, at the Musee des Arts Decoratifs and you will see two Zurbarans, one from Montpellier, the other from somewhere else which represent for you I believe, Lucy and Agatha each one with their eyes on a plate, the match of their breasts.

請你們去參加這首此地展覽會,它目前開放給大眾,在繆司藝術美術館。你們會看到兩個蘇巴蘭人,一位來自蒙培立爾,另外一個來自其他某個地方。我相信露西跟阿甘撒所表現出了。她的眼睛放置在盤子上,好似跟她的雙乳配對。

Martyrs, let us say, which means witnesses of what is seen here moreover, that it is not, as I told you, what is possible, namely the fact that these eyes being denucleated, these breasts being torn off, which is anxiety. Because in truth, something which also deserves to be noticed, these Christian images are not especially badly tolerated, despite the fact that some people for reasons which are not always the best are a bit fastidious about them.

讓我們這樣說,烈士意味著,在此所被見證到的東西。如同我所告訴你的,這不是可能的東西,換句話說,這些眼睛正被除掉眼球,這些乳房正在被撕開。這就是焦慮。因為在真理當中,某件東西也應該被注意到。這些基督教的意象,並沒有特別嚴重地被容忍,儘管有些人對她們有點挑剔,理由也未必很充分。

Stendhal, speaking about San Stefano il Rotondo in Rome finds
that these images which are on the walls are disgusting.
Undoubtedly in the place he names they are rather lacking in art so that one is introduced, I must say, in a more lively fashion to their signification.

史坦達爾,談到在羅馬的梵蒂岡大教堂時,發現到,這些在牆壁上意象是令人厭惡的。無可置疑,在他提到的這個地方,他們是相當欠缺藝術,所以我必須說,他們的意義,以一個更加生動的方式,介紹給我們。

But these charming persons that Zurbaran presents to us, by
presenting these objects on a plate, present us with nothing
other than something that could be on occasion – and we do not deprive ourselves of it – the object of our desire: in no way do these images introduce us, I think, for the majority of us, to the order of anxiety.

但是蘇巴蘭呈現給我們的這些迷人的人物,他將這些客體擺放在盤子上,呈現給我們的道道地地就是某件,可能有時候就是我們欲望的客體。(我們並沒有剝奪我們自己這個客體):我認為,這些意象絲毫沒有要介紹我們焦慮的秩序,對於我們大多數而言。

陳春雄譯
32hsiung@pchome.com.tw

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