Desire 030 Jacques Lacan

Desire 030

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

Therefore this is not what I am talking about, I am saying that on this occasion what we know about the dream, is properly speaking what we actually know about it at the moment that it is happening as an articulated dream, in other words that the degree
of certainty that we have concerning this dream is something linked to the fact that we would also be much more sure what pigs and geese dream about if they themselves told us about it.

因此,這並不是我正在談論的東西。我正在說的是,在這個場合,我們所知道關於這個夢,適當來說,我們實際上知道的關於它,在它發生的時刻,作為一個被表達的夢。換句話說,我們擁有的這個確定性的程度,關於這個夢,是某件跟這個事實息息相關。我們也會更加確定,豬跟鵝夢到什麼,假如它們自己能告訴我們。

But in this original example we have more, namely that the dream discovered by Freud has this exemplary value that it is articulated aloud during sleep, which is something that allows no kind of ambiguity about the presence of the signifier in its
actual text.

但是在這個原先的例子,換句話說,佛洛伊德發現的夢,擁有這個典範的價值。在睡覺中,夢被表達出來。這是某件不容許模糊曖昧的東西,關於這個意符的存在於它的實際的文本裏。

In this case it is not possible to throw any doubt on a phenomenon concerning the added-on character of what one might call information on the dream which might be taken by the word. (18) We know that Anna Freud is dreaming because she articulates: “Anna F-eud, Er(d)beer, Hochbeer, Eier(s)peis, Papp”.

在這個情形,我們不可能對於這個現象有任何的懷疑,關於這個被增添的東西,在我們所謂的夢的資訊的特性上。它可能會被文字所掌握。我們知道,安娜、佛洛伊德正在作夢,因為她表達出來:「安娜、佛洛伊德、紅草莓、藍莓、荷包蛋、布丁」。

The dream images of which we know nothing on this occasion, find here an affix, if I may express myself in this way with the help of a term borrowed from the theory of complex numbers, a symbolic affix in these words where we see the signifier presenting itself in a way in a flocculent state, namely in a series of nominations, and this nomination constitutes a sequence whose choice is not indifferent because, as Freud tells us, the choice is precisely of everything which has been prohibited to her. inter-dict; of the things which when she demanded them she was told no, that she could not have them, and this common denominator introduces a unity into their diversity, without preventing us also from noticing that inversely this diversity reinforces this unity, and even designates it.

夢到意象在此找到添加詞,在這個場合,我們對於這些夢的意象一無所知。假如我可以用這種方式表達自己,憑藉一個術語的幫助,從複雜數目的理論,用這些字的一個符號的添加詞。在那裏,我們看到這個意符以某種方式呈現它自己,處於絨毛的狀態,換句話說,以一系列的命名。這個命名組成一個系列,這個系列的選擇並不是互不相關,如佛洛伊德告訴我們。這個選擇確實是屬於每一樣被禁止給她的東西,這些東西的禁止。當她要求它們,她不告訴說不可以。她無法得到她們。這個共同的命名介紹一致性到它們的多樣性裏,但是並沒有也阻止我們也不能夠注意到:反過來說,這個多樣性強化這個一致性,甚至是指明它。

It is in sum the unity that this series completely opposes to the special satisfaction of need, such for example of the desire imputed to the pig and the goose, the desire moreover, you only have to reflect on the effect that this would have if instead, in the proverb, of saying that the pig dreams of Kukuruz (of maize) we were to set about enumerating everything that the pig is supposed to dream about, you would see that this has a quite different effect, and even if one wished to claim that it was only an insufficient education of the glottis that prevented the pig and (19) the goose from letting us know as much, and even if one could say that we could manage to make up for it by perceiving in both cases and by finding the equivalent if you wish of this articulation by detecting some quivering of their mandibles, it still remains that it would be very unlikely that the following would happen, namely that these animals would name themselves as Anna Freud does in the series.

總之,這個一致性,這個系列完全反對需求的這個特別的滿足,例如,這個被歸因於豬與鵝的欲望。而且,你們只需要反思一下它會產生的這個結果,假如在這個格言,它並沒有說,豬夢見玉米,我們將會開始列舉每一樣,豬應該夢見到的東西,你們將會看出,這個有一個完全不同的結果。即使我們希望宣稱,那只是聲門的教育不充足,阻止豬與鵝無法讓我們同樣知道。即使我們能夠說,我們能夠成功地彌補它,在豬與鵝兩個情況,我們靠著感覺,靠著找到這個表達的相等物,以偵察它們喉部的震動,問題依舊是,很不可能發生以下的情形。換句話說,這些動物會命名它們自己,如同安娜、佛洛伊德在這個系列所做的。

And even if we admit the pig is called Toto and the goose Bel Azor, even if something of that order occurred, it would turn out that they are naming themselves in a language which would evidently moreover, neither more or less evidently than in the case of man, but in the case of man that is seen less clearly, that this language has precisely
nothing to do with the satisfaction of their needs because this is the name they would have in the farmyard, namely in a context of human needs and not their own.

即使我們承認,豬被稱為「托托」,鵝被稱為「貝爾阿左」,即使那種層次的某件東西發生,結果將會是,它們命名它們自己,以一種語言。而且顯而易見的,在人的情形,同樣是模糊不清,這個語言確實跟它們的需求的滿足,根本沒有關係。因為這是他們在農場上所擁有的這個名字。換句話說,在人類需求的內涵,而不是在它們自己的內涵。

In other words, I would like you to focus on the fact, and we said it above, that 1. Anna Freud articulates that there is the mechanism of motor activity, and we would say in effect that it is not absent from this dream, because this is the way that we get to know it.

換句話說,我想要你們集中這個事實。我們以上所說的:第一點,安娜、佛洛伊德表達:有動力活動的機械學,事實上,我們將會說,這個夢並不欠缺這種動力活動機械學,因為這是我們變得能夠知道它的方法。

But this dream reveals by the signifying structuring of its sequence that, 2., we would like to dwell in this sequence on the fact that at the beginning of this sequence literally there is a message, which you can see being illustrated if you know how (20) communication takes place inside one of these complicated machines of our modern era, for example between the front and the back of a plane. When one telephones from one cabin to another one begins by announcing what? One announces oneself, one
announces who is speaking. Anna Freud at nineteen months, during her dream, announces, she says: “Anna F-eud”, and she goes on with her series. I would almost say that there is only one thing missing, after having heard her articulating her dream, it is that at the end she should say: “over and out”.

但是這個夢顯示,以它的系列的意符化結構。第二點,我們想要詳細描述這個系列,根據這個事實:在這個系列的開始,實質上有一個訊息。你們能夠看見這個訊息正在被說明,假如你們知道溝通如何發生,在我們這個時代的這些複雜的機器裏。例如,在一個平面的前面與後面之間。當我們從一個電話亭到另一個電話亭打電話,我們開始宣告什麼?我們宣告我們自己,我們宣告誰正在說話。安娜、佛洛伊德在十九個月大的時候,在她的夢中宣告,她說:「安娜、佛洛伊德」。她繼續她的系列。我幾乎說,只有一件東西失落,當我已經聽到她表達她的夢。那就是在最後,她應該說:「演完了,我退場。」

Here we are introduced then to what I call the topology of repression, in its clearest, also its most formal and most articulated way, regarding which Freud underlines for us that this topology can in no way be considered, since it is that of another locus which had so struck him when reading Fechner, to the extent that one senses that this was for him a type of lightening bolt, of illumination, of revelation, but at the same
time at the very moment that he talks to us at least twice, in the Traumdeutung about the anderer Schauplatz, he always underlines that it has nothing to do with another neurological locus.

在此我們被介紹這個我所謂的壓抑的拓樸圖形,最清楚明白的地方,而且也是它最正式,最被表達的方式。關於這一點,佛洛伊德跟我們強調,拓朴圖形根本就不能夠被考慮。因為那是另外一個軌跡的拓樸圖形,曾經給予他的印象,當他閱讀「馮德心理物理學」時,這個印象讓他感覺到,對他而言,像是一道閃電霹靂、一種啟明,一種頓悟。但是同時,就在他跟我們談論至少是第二次的時刻,在「夢的解析」,關於古代的「無意識的另一場景」,他總是強調,它跟另外一個腦神經的軌跡沒有任何的關係。

We are saying that this other locus is to be sought in the structure of the signifier itself. Now what I am trying to show you here, is that the structure of the signifier itself once the subject is engaged in it, I mean with the minimal hypotheses (21) that are required by the fact that a subject enters into its game. I mean once the signifier is given and the subject is defined as that which is going to enter into the signifier and nothing else.

我們是在說:這個另外的軌跡能夠被尋找到,在意符本身的結構裏。現在,我正在設法在此跟你們顯示的是,這個意符本身的結構,一旦生命主體全神貫注於它,我是指用最小量的假設,這個事實要求最小量的假設:一個生命主體進入它的遊戲。我的意思是:一旦這個意符被給予,這個生命主體就被註定,作為將要進入這個意符,沒有別的。

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

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