Anxiety 249 Jacques Lacan

Anxiety 249

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
5.6.63 XXI 247
Seminar 21: Wednesday 5 June 1963

Here and now, I indicate to you that as regards these problems, as you see, of genesis and of development, this famous schema which has bored you so much throughout these years, will regain
its value. In any case, this monologue of the small child that I am speaking to you about, never happens when someone else is there: a younger brother, another baby in the room, is enough for it not to happen.

此時此地,我跟你們指示,關於這些創始及發展的問題,如你們所見,這幾年來使你們感到厭煩的這個基模,會重新獲得它的價值。無論如何,小孩的這個獨白,我現在跟你們談論的,從來沒有發生,當某一個其他的人在那裏時。只要房間裏另外有兄弟,有另外的小孩,這個獨白就不會發生。

Many other characteristics indicate that what is happening at this level, which, as you -will see, is so astonishingly revelatory of the precociousness of what are described as the primordial tensions in the unconscious, we cannot doubt that we have here something that is at every point analogous to the function of the dream.

許多其他的特徵指示著,在這個層次發生的事情,你們將會看出,在無意識界,原初的緊張所被描述的早熟,是如此令人驚奇的顯示。以致於我們無法懷疑,在此我們擁有某件東西,道道地地類同於夢到功用。

Everything happens on “another stage” with the accent that I have given to this term. And ought we not to be guided here by the little door itself – it is never anything but a bad way through which I introduce you here to the problem – namely concerning what is involved, which is the constitution of o as remainder, that in any case, if its conditions are indeed the ones I have (8) told you about, we for our part only have this phenomenon in the state of a remainder, namely on the tape of the recorder.

這一切都發生在「另外一個階段」,以我給予這個術語的強調。在此,我們不應該被這座小門所引導,(那確實不是一很好的方式,我在此跟你們介紹這個難題。)換句話說,關於所被牽涉的東西,這就是客體的形成的剩餘物。無論如何,假如它的情況確實就是我告訴你們的情況,就我們而言,我們只有處於一個剩餘物的這個現象,換句話說,就是處於答錄機的帶子的現象。。

In other words, we have at the very most the distant murmur that is always ready to be interrupted when we appear.

換句話說,我們至多擁有這個遙遠的喃喃獨白。每當我們出現時,它總是被打斷。

Does this not prompt us to consider that a way is presented to us to grasp that for the subject who is in the process of
constituting himself, it is also in a voice detached from its
support that we ought to search for this remainder.

這難道不是激發我們去考慮,一個方式被呈現給於我們,為了要瞭解,對於生命的主體,

Pay very careful attention: we must not go too quickly here.
Ordinary experience is that everything the subject receives from the Other through language is received in a vocal form.

請仔細注意:我們在此一定不要過早推論。普通的經驗是,生命主體從大它者那裏透過語言接收的一切,都是以聲音的方式被接收。

But we know very well, in an experience which is not all that rare, even though one evokes always the most spectacular cases, Helen Keller, that there are ways other than the vocal one to receive language, there are other ways for receiving language, language is not vocalisation (cf the deaf).

但是我們心知肚明,在一個並不罕見的經驗裏,即使我們總是召喚最傑出的個案,海倫、凱勒。除了聲音以外,總是有其他的方法來接收語言。語言並不就是聲音。(例如,對於耳聾的人。)

Nevertheless, I believe that we can advance in the direction that a relationship that is more than accidental links language to sonority.

可是,我相信,我們能夠朝著一個關係前進。這個關係不僅是意外地聯接語言跟聲音的響亮。

And we will believe perhaps that we even are advancing
along the right path in trying to articulate things closely in qualifying this sonority, for example, as instrumental.

也許我們將會相信,我們甚至前進,沿著這條正確的途徑,當我們設法仔細地表達事情,讓這個響亮的聲音具有例如工具性的特質。

It is a fact that physiology opens the path here. We do not know everything about the functioning of the ear, but we know all the same that the cochlea is a resonator, a complex or composite resonator, if you wish, but after all a composite resonator is decomposed into a composition of elementary resonators.

這是一個事實,心理學在此展開這條研究途徑。對於耳朵的功用,我們並不全然明白。但是我們仍然知道耳蝸是一個迴響器,一個複雜或是綜合的迴響器。但是畢竟,一個綜合的迴響器,會被分解成為基本的迴響器的組合。

This leads us along a path which is the following, that what is proper to resonance is that it is the apparatus which dominates in it.

這引導我們沿著一條以下的途徑,迴響的本體是,在裏面支配它的是指個儀器。

It is the apparatus which resonates. It does not resonate to
just anything, it only resonates, if you wish, in order not to complicate things too much, to its own note, to its own
frequency.

這就是迴響的儀器,它並沒有針對任何東西迴響,它只是對著自己的音調迴響,對著自己的頻率迴響。以免事情變得複雜化。

This leads us to a certain remark about the sort of resonator
that we are dealing with, I mean concretely, in the sensory
apparatus in question, our ear: to a resonator which is not an indifferent one, to a resonator which is a kind of tube.

這導致我們到達某一個談論,關於我們正在處理的這種迴響器。我具體地指的是我們的耳朵,在我們討論的感官的儀器上。我們的耳朵並不是一個漠不關心的迴響器,不是僅是一種管狀的迴響器。

The distance of the journey involved in a certain return that the vibration makes, always carried from the oval window, passing from the scala tympani to the scala vestibuli, appears to be closely linked to the length of the space travelled in a closed conduit.

這個旅行的距離牽涉到某種振動的回轉,總是從卵形的窗戶傳遞出來,從耳朵鱗狀的定音鼓,到鱗狀的耳朵的前庭。它似乎跟它在封閉的導體裏旅行過的空間的長度息息相關。

It operates therefore in the same way, if you wish, as
some tube, whatever it may be, a flute or an organ.

它因此以相同的方式運作,作為某種的管子,無論那是什麼管子,笛子或是風琴。

(9) Obviously the matter is complicated, this apparatus does not resemble any other musical instrument. It is a tube which could be, as I might say, a tube with keys, in this sense that it seems that it is the cell put in the position of a cord, but which does not function like a cord, which is involved at the point of the return of the wave, which takes charge of connoting the resonance involved.

顯而易見的,這件事情很複雜。這個儀器並沒有類似任何的音樂樂器。它是一個管子,我不妨說,一個具有音鍵的管子。意思是,似乎就是這個聲音的細胞被放置在一條聲帶的位置上,但是它又沒有充當音帶的功用,因為這會牽涉到這個音波動回轉的這個點。聲波負責指明牽涉到的迴響。

I apologise all the more for this detour because it is quite
certain that it is not in this direction that we will find the last word on the matter. This reminder is all the same designed to actualise the fact that in the form, the organic form, there is something which appears to us akin to these primary, topological, transpatial data which made us interest ourselves very especially in the most elementary form of the created or creative constitution of a void, the one that we have incarnated in the form of an apologetic for you in the story of the pot.

對於這樣的迂迴離題,我甚感抱歉,因為這是確定的,我們會發現對於這件事情的結論,並不是朝著這個方向。我的提醒仍然是被設計要清楚表達這個事實:在這個形式,生命有機體的形式,我們覺得有某件東西,類似這些初級的拓樸地形的跨越空間的資料。這些資料使我們特別感到興趣:一個被創造及具有創造力的空無的形成,呈現的最基本的形式。這個空無,我曾經以空壺的故事作為比喻,具體表達過。

陳春雄譯
32hsiung@pchome.com.tw
https://springhero.wordpress.com

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