Desire 029 Jacques Lacan

Desire 029

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

This veritable topology of signifiers, because you cannot escape from it once you follow closely Freud’s articulation, is what is in question, and in Letter 52 (6.12.96) to Fliess, one sees that he is necessarily led to presuppose at the origin a type of ideal
Wahrnehmungen which cannot be taken as simple freshly taken Wahrnehmung. If we translate it literally, this topology does not reach a Begriffen, it is a term that he continually uses, a grasp of reality, it does not reach it at all by an eliminatory
sorting out, by a selective sorting out, of anything that resembles what was put forward in the whole theory of instinct as being the first approximate behaviour which directs the organism along the paths of successful instinctual behaviour.

意符鎖鏈的可驗證的拓樸圖形,是受到質疑的地方,因為你無法逃避它,一旦你仔細遵照佛洛伊德的表達。在給佛力斯的第五十二封信(6、12、96),我們看到,他必然會被引導在起源的地方,預先假定一種理想的「感覺」。這個「感覺」無法被當作是剛剛被接納的「知覺」。假如我按字面翻譯它,這個拓樸圖形無法到達一個「理解」。這是他繼續使用的一個術語,一種對於現實界的理解。憑藉一種刪除的分類,一種選擇性的分類,它根本就並沒有到達它。這種分類,類似本能的整個理論所提出的東西,作為第一靠近的行為。這個行為引導這個有機體,沿著成功的本能的行為,所採取的途徑。

This is not what we are dealing with, but with a sort of real recurrent critique, with a critique of these signifiers evoked in (14) the primary process, which critique of course, like every critique, does not eliminate the previous thing on which it is brought to bear, but complicates it, complicates it by connoting it with what? With indices of reality which themselves belong to the signifying order. There is absolutely no way of escaping from this accentuation of what I articulate as being what Freud
conceives and presents to us as the primary process. You will see, provided you refer to any of the texts that Freud wrote, that at the different stages of his doctrine he articulated, repeated, every time he had to approach this problem, whether he
is dealing with the Traumdeutung or with what is, in the introduction of the Interpretation of dreams, and subsequently with what he took up later when he brought forward the second mode of presenting his topography, namely starting with the articles grouped around the psychology of the ego and the beyond
of the pleasure principle.

這並不是我們正在處理的東西。但是以一種真實的重複的批判,以在這個原初過程所召喚的這些意符的批判,當然,這種批判像每一種批判一樣,並沒有減少跟它有關的先前的東西。而是以暗示它的內涵來牽涉它,暗示什麼的內涵?使用現實界的指數,它們本身屬於這個意符化的秩序。我們絕對沒有辦法逃避我所表達的強調內容,作為佛洛伊德所構想,並且呈現給予我們,作為原初過程。你們將會看出,只要你們提到佛洛伊德所寫的任何的這些文本。在他的信條的不同階段,他表達,並重複,每當他必須接近這個問題,無論是他正在處理「夢的解析」,或是在「夢的解析」的介紹裏的東西。隨後,當他呈現他的拓朴圖形時,他提出第二個模式,所正在處理的東西。換句話說,他從這些文章開始。這些文章的主題都繞著自我心理學及快樂原則的超越。

You will allow me for a moment to image, by playing with etymologies, what is meant by this fresh way of looking at things which would lead a sort of ideal subject to the real; but the alternatives by which the subject brings the real into his propositions, Vorste1lunqen, here I decompose it by articulating it as follows: these Vorstellunqen have a signifying organisation. If we wish to talk about them in terms other than the Freudian ones, in Pavlovian terms, we would say that they form part from the beginning, not of a first system of (15) significations, not of something connected to the tendency of need, but of a second system of significations.

請容許我發揮想像,玩弄一下詞源學。這個新鮮的觀看事情的方式,它是什麼意思?這些事情會引導一種理想的生命主體到達真實界。但是這些替代選擇是一種「表像」,生命主體將真實界帶進他的假設當中。在此,我分解它,將它表達如下:這些表像有一種意符化的組織。假如我們希望談論它們,使用佛洛伊德使用以外的術語,以巴甫洛夫的術語,我們將會說,從一開始,它們所形成的部份,並不是意義的最初的系統的部份,也不是某件跟需要的傾向有關的部份,而是意義的第二系統的部份。

They are like the lighting up of a bulb in a slot machine when the ball has fallen into the proper hole, and the sign that the ball has fallen into the proper hole Freud also articulates: the proper hole means the same hole into which the ball has previously
fallen.

它們就像是燈泡的閃亮,在一個插座的機器裏,當這個球掉落到適當的洞裏。佛洛伊德也表達過的,這個球掉落到適當的洞裏。這個適當的洞意味著這個相同的洞,這個球先前就曾掉落過。

The primary process is not directed towards the search for a new object, but for an object which is to be rediscovered, and this by means of a Vorstellunq which is re-evoked, because it was the Vorstellunq corresponding to a first pathway so that the
illumination of this bulb entitles you to a prize, and there is no doubt about this, and that is what the pleasure principle is.

這個原初過程並沒有被引導朝向一個新的客體的尋,而是尋求一個應該被重新發現的客體。憑藉著這個「表像」。這個「表像」重新被召喚,因為它是這個表像,對應一個最初的通路。這樣,這個燈泡的閃亮使你們有資格獲得一個獎品。對於這一點,這是無可置疑的。這就是快樂原則的所在。

But in order that this prize should be honoured, there must be a certain reserve of money in the machine, and the reserve of money in the machine on this occasion is pledged to this system of processes which are called the secondary processes. In other
words, the lighting up of the bulb is only a satisfaction within the total convention of the machine in so far as this machine is that of the gambler, from the moment that he begins to gamble.

但是為了讓這個獎品被珍惜,必須要有某種金錢的儲存在機器裏。在這個場合,這個機器裏的金錢的儲存,被宣稱給予這些過程的這個系統。這些過程的系統被稱為是第二過程。換句話說,燈泡的閃亮僅是一種滿足,在機器的整個系統裏。這個機器就是賭徒的機器,從他開始賭博開始。

Staring with this, let us again take up Anna’s dream. This dream of Anna is presented to us as a dream of desire in its naked form. It seems to me that it is quite impossible to evade, to elide in the revelation of this nakedness, the mechanism itself (16) by which this nakedness is revealed, in other words the mode of this revelation cannot be separated from this nakedness itself.

當我們分享這個時,讓我們再一次探討安娜的夢。安娜的夢被呈現給予我們,作為一個欲望的夢,以它赤裸裸的方式。我覺得,逃避或是閃躲這個赤裸裸的這個啟明,這個機械構造的本身,是完全不可能。憑藉這個機械構造,這個赤裸裸被啟明出來。換句話說,這個啟明的模式無法被分開,跟赤裸裸的本身。

I have the idea that we only know about this so-called naked dream by hearsay, and when I say by hearsay, that does not at all mean what some people quoted me as saying that in sum it was a question here of a remark about the fact that we never know that someone dreams except through what he tells us, and that in sum that everything which refers to the dream should be included in the fact, in the parenthesis of the fact that he reports it.

我認為我們只是根據傳聞知道,關於這個所謂的赤裸裸的夢。當我說是根據傳聞,那絲毫並不意味著,有些人引述我作為一種說法。總之,在此的問題是有關這個事實的談論,我們從來不知道,某個人做的夢,除了透過他告訴我們。總之,每一樣提到夢的東西,都應該被包括在這個事實裏,在他報導它的這個事實的這個括弧裏。

It is certainly not indifferent that Freud accords so much importance to the Niederschrift which constitutes this residue of the dream, but it is quite clear that this Niederschrift refers to an experience that the subject is telling us about. It is important to see that Freud is a long long way from retaining even for a single instant the nevertheless obvious objections which arise from the fact that a spoken narrative is one thing, and a lived experience is something else, and it is starting from there that we can connect the remark that the fact that he sets aside with such vigour, and even that he agrees with, that he explicitly makes the starting point of all his analysis even to the point of advising that it should be a technique of the Niederschrift, of what is there lying in the writings of the dream, shows us precisely what he thinks fundamentally about this lived experience, namely that there is everything to be said for approaching it in this way because he did not try of course, to (17) articulate it; it is itself already structured in a series of Niederschriften, in a kind of palimpsest-writing as one might say.

佛洛伊德對於這個記載,如此的重視,確實不是偶然。這個記載組成夢的這個殘渣。但是顯而易見的,這個「記載」提到生命主體正在告訴我們的一個經驗。這是很重要的,我們必須看出,佛洛伊德絲毫沒有保留這些顯而易見的反對,即使是某個瞬間。這些反對起源自這個事實:一個被說出的描述是一回事,一個被生活過的經驗,又是另外一回事。從那裏開始,我們能夠連接這個談論,他如興高采烈擱置一邊的這個事實。他甚至是同意這個事實。他明確地作為他全部的精神分析的開始點,甚至到達這個程度,勸告說,這應該就是這個「記載」的一種技巧,作為夢的這些著作裏的內涵。他確實跟我們顯示,他的基本的看法,關於這曾經被生活過的經驗。換句話說,有一切應該被說出的東西,當我們以這種方式接近它。因為當然他並沒有設法表達它。它本身就已經是被架構在一系列的「記載」裏,以一種羊皮紙的重複書寫,我們可以這樣說。

If one could imagine a palimpsest where the different superimposed texts have a certain relationship, it would still be a question of knowing which, with one another; but if you search for it, you would see that it is a relationship that is to be sought much more in the form of the letters than in the meaning of the text.

假如我們能夠想像羊皮紙的重複書寫,在那裏,不同的重疊的文本擁有某種的關係。問題依舊是要知道,哪一個跟哪一個。但是假如你們尋求它,你們就會看出,這個關些應該被尋求,以這些信件的形式,勝過于文本的意義。

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

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