Desire 027 Jacques Lacan

Desire 027

Jacques Lacan
雅克、拉康

THE SEMINAR OF JACQUES LACAN
BOOK VI
Desire and its Interpretation
欲望及其解釋

3.12.58 52
Seminar 4: 3 December 1958

“My youngest daughter” – this is Anna Freud – “then nineteen months old, had an attack of vomiting one morning and had consequently been kept without food all day. During the night after this day of starvation she was heard calling out excitedly in her sleep: “Anna F-eud Erdbeer” – (which is the childish way of pronouncing strawberries) -” Hochbeer” – (which also means strawberries) – “Eir(s)peis” – which corresponds more or less to the word omelette – and finally “Papp” – (pudding). And Freud tell us: “At that time she was in the habit of using her own name to express the idea of taking possession of something.

「我的小女兒」,這是安娜、佛洛伊德,當時十九個月大。有一天早上遭遇一陣的嘔吐,結果一整天沒有給予食物。經過一天饑餓,在晚上,她被聽見在睡覺中興奮地大叫「安娜、佛洛伊德草莓」(這個小孩稱呼草莓的方式),「草莓!」「蛋蛋」這個字有點跟荷包蛋這個字相一致。最後是喊的是「布丁」。佛洛伊德告訴我們:「在當時,她習慣於使用她自己的名字,來表達擁有東西的觀念。」

The menu included pretty well everything that must have seemed to her to make up a desirable meal. The fact that strawberries appeared in it in two varieties” – Erdbeer and Hochbeer – I have not succeeded in placing Hochbeer, but Freud’s commentary indicates two varieties – “was a demonstration against the domestic health regulations.

功能表包括對於她而言,幾乎是組成一頓欲望的餐食的內容。草莓出現在裏面,還有兩種不同。紅草莓與鵝莓。我沒有辦法找出鵝莓的意義,但是佛洛伊德的評論指示,有兩種不同是「一種證明,抗拒家內的建康規定。」

It was based upon the circumstance, which she had no doubt observed, that her nurse had attributed her indisposition to a surfeit of strawberries. She was thus retaliating in her dream against this unwelcome verdict.” (SE j[ 130;GW 2/3 135). I leave to one side the dream of his nephew, (6) Hermann, which poses different problems. But on the contrary I am happy to draw attention to a little note which is not in the
first edition because it was elaborated in the course of discussions, namely feedback from his pupils, to which Ferenczi contributed by bringing to the rescue the proverb which says the following: “Pigs dream of acorns and geese dream of maize”, and
in the text also Freud had then at that time also drawn attention to a proverb which, I believe, is not so much taken from the German context given the way maize is written: “What do geese dream of? – Of maize.”; and finally the Jewish proverb: “What do
hens dream of? – Of millet”.

這個夢以環境為基礎,無可置疑的,她曾經遵守環境的規定。她的奶媽將她的嘔吐歸咎於草莓吃得過量。她因此在她的夢中報復抗議這種令了討厭的規定。我將他的侄兒赫曼的夢放置一邊。這個夢形成不同的問題。但是相反的,我很高興吸引大家注意一個小紙條。這個紙條沒有在第一版裏,因為它被在討論的過程才被建構。換句話說,是他的學生的回饋。費瑞奇提供這個紙條,來解救底下這個格言的尷尬:「豬夢到橡食,鵝夢到玉米。」在文本中,佛洛伊德當時也提醒我們注意一個格言,我相信,這個格言不是從德文的內容得來。這個內容給予玉米被描述的方式:「鵝夢到什麼?夢到玉米。」最後還有這個猶太人的格言:「母雞夢到什麼?夢到小米。」

We are going to dwell on this, we are even going to begin by making a little parenthesis, because when all is said and done it is at this level that there must be taken the problem which I evoked last night in connection with Granoff’s communication on the essential problem, namely the difference between the directive of pleasure and the directive of desire.

我們將要詳細描述這個,我們甚至要以一個小括弧開始。因為當一切都說都做了,就在這個層次,我們必須處理昨天晚上我召喚的這個難題,關於格蘭諾夫對於這個基本難題的溝通。換句話說,快樂的命令與欲望的命令之間的差別。

Let us go back a little on the directive of pleasure, and once and for all, as rapidly as possible let us dot the i’s. Obviously, this has also the closest relationship with the
questions which are posed to me or which are posed in connection with the function which I give, in what Freud called the primary processes, to the Vorstellunq.

讓我們稍微回到快樂的命令,一勞永逸地,讓我們一絲不苟地儘量快速。顯而易見地,這跟這些問題也有最密切的關係。我被提出這些問題,這些問題被提出,關於我所給予的這個功用,以佛洛伊德所謂的原初的過程,給予這個「表像」。

To state it quickly, this is only a detour, you must have a clear idea of this: the fact is that (7) in a way by entering into this problem of the function of the Vorstellunq, into the pleasure principle, Freud cuts things short, in short we could say that he is lacking an element to reconstruct what he perceived in his intuition. Indeed it must be said that what is proper to intuitions of genius is to introduce into thought something which up to then had absolutely not been perceived; we do not perceive at all what is original in this distinction of the primary process as being something’ separate from the secondary process. We can always go on thinking like that that it is something which is in a way comparable through the idea that it is in the internal agency in so far as in their synthesis, in their composition this has absolutely no role to play.

為了很快地陳述它,這僅是一個迂迴。你們一定很清楚地瞭解,在某方面,我們探討到這個「表像」的功用的難題,探討到快樂原則,佛洛伊德簡單扼要地處理,總之,我們能夠說,他欠缺一種元素來重建他在直覺裏感覺到的東西。的確,我們必須說,天才的直覺的本體,要將某件東西介紹到思想裏。直到當時,這個東西絕對不曾被感覺過。我們根本就沒有感覺到,原初過程的這個區別,有什麼原創之處?他將原初過程視為是某件跟二次過程分開的東西。我們總是繼續像這樣認為:在某方面,這是某件可以透過觀念來比較的東西。在內部的代理。因為在它們的綜合理,在它們的組合理,這絕對沒有角色可以扮演。

The primary process signifies the presence of desire, but not just any desire, of desire where it presents itself as most fragmented, and the perceptual element that is in question, this is how Freud is going to explain things, is going to make us understand what is in question.

這個原初的過程意指著欲望的存在,但是不僅僅是任何欲望,它呈現它自己作為最零碎的欲望。受到質疑的被感覺的元素,這是佛洛伊德解釋事情的方式,他將會使我們瞭解,受到質疑的是什麼?

In sum remember the first schemas that Freud gives us about what happens when the primary process alone is in operation. The primary process, when it alone is in operation, culminates in hallucination, and this hallucination is something which is
produced by a process of regression, of regression which he calls very precisely topical regression.

總之,請記住佛洛伊德給予我們的第一個基模,關於發生什麼事情,當僅是原初過程在運作的時候。當這個原初過程單獨運作時,它在幻覺中達到高潮。這個幻覺是某件由倒退的過程產生的東西。他非常明確地稱呼這個倒退,為「局部的倒退」。

Freud constructed several (8) schemas of what motivates, of what structures the primary process. But they all have the following in common that they presuppose as their foundation, something which is for him the circuit of the reflex arc, a way of receiving and discharging something which is called sensation; a way of receiving and
discharging something which is called motor activity.

對於是什麼啟動及架構這個原初過程,佛洛伊德建構好幾個基模。但是所有這些基模,跟某件東西,有以下的共同點,他們預先假定作為它們的基礎的共同點。對於他而言,這個某件東西是這個反射弧形的迴圈,一種接收及排泄某件東西的方式。這個某件東西被稱為知覺,一種接收及排泄某件被稱為動力活動的東西。

On this path, in what I would call a terribly questionable way, perception is placed as something which accumulates, which accumulates somewhere on the side of the sensorial part, of the influx of excitation, of the stimulus from the external milieu,
and being placed at this origin of what happens in the act, all sorts of other things are supposed to come afterwards, and namely it is there that he would insert the whole series of super – imposed layers which go from the unconscious passing through the
preconscious and the rest, to end up here at something which passes or which does not pass towards motor activity.

在這條探討途徑,以我所謂非常可質疑的方式,感覺的位置被認為是某件達到高潮的東西,在感官部份這一邊的某個地方,達到高潮,在興奮的內流,從外在環境的刺激這一邊。感覺的位置被放在行動時,發生的事情的起源處。所有各種的其他事情都被認為隨後才來。換句話說,就在那裏,他將會插入整個系列的超級賦加的層級。這個超級賦加的層級,從無意識通過到前意識及其餘的部份。結果在此結束為某件通過,或是沒有通過,朝向動力活動的東西,

Let us see clearly what is in question every time he speaks to us about what is happening in the primary process. A regressive movement occurs. It is always when the door towards the motor activity of the excitation is for some reason or other barred, that there is produced something which is of the regressive order and that there appears a Vorstellung, something which is found to give to the excitation in question a properly speaking hallucinatory satisfaction.

讓我們清楚地看出,什麼受到質疑,每一次當他跟我們談論,有關原初過程所發生的東西。一個倒退的動作會發生,總是當朝向這個興奮的動力活動的門,為了某種理由被閂住。某件東西在那裏被產生,這個東西屬於倒退的秩序,「理念」就出現在那裏。「表像」這個東西被發現是給予適當來說是幻覺的滿足,給予受到質疑的興奮。

Here is the novelty that is introduced by Freud. (9) This is worthwhile literally above all if one thinks of the order, of the quality of articulation of the schemas that are in
question, they are schemas which are put forward because of their functional value, I mean to establish – Freud states it expressly – a sequence, a succession which he underlines is still more important moreover to consider as a temporal sequence than as a spatial sequence.

這就是佛洛伊德介紹的新奇處。實質上,這非常有價值,尤其當我們想到受到質疑的這個基模,被表達的秩序及品質。它們是因為它們的功用的價值,而被提出的基模。我打算要建立一個順序,一個連續性,(佛洛伊德陳述得很生動。)而且,他強調,這個順序及連續性依舊更加重要,考慮作為一個時間段順序,比作為一個空間的順序。

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

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