Desire 60 Jacques Lacan

Desire 60

Jacques Lacan
雅克、拉康

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

14.1.59 116
Seminar 8: 14 January 1959

Because we have spoken a lot on the last occasions about desire, we are going to begin to tackle the question of interpretation.

因為在上一次場合,有關欲望,我們談論過很多。我們將要開始克服解釋的問題。

The graph should be of some use to us. I want to introduce what I am going to say today about an example, namely about the interpretation of a dream, by some remarks on what results from the indications that Freud gives us precisely about the interpretation of dreams.

這個圖形應該是有些用途。我想要介紹今天我要談論的一個例子。也就是夢的解析。關於夢的解釋,確實是佛洛伊德給予我們的指示所造成的東西,我們要予以評論一下。

Here in fact is more or less the meaning of the remark of Freud that I am now concerned with. It is in chapter VI where he is interested in intellectual feelings about the dream. For example while the subject is reporting a dream, he has the feeling that there is something missing in it that he has forgotten, or that something is ambiguous, doubtful, uncertain.

事實上,我現在所關心的是,差不多是有關佛洛伊德的談話的意義。就在第六章,他對於知識份子對於夢的感覺感到興趣。例如,當生命主體報導一個夢時,他的感覺是:裏面有某件漏失的東西,他曾經忘記,或是有某件東西是曖昧,可疑及不確定。

In all these cases, Freud tells us, what is affirmed by the subject in connection with the dream, in terms of its uncertainty, its doubtfulness, its ambiguity: namely it is
either this or that, I no longer remember, I can no longer say, even its degree of reality, namely the degree of reality with which it was seen, whether it was something which is affirmed in the dream with such a degree of reality that the subject notices
it, or on the contrary that it was a ………. dream, all of this Freud tells us, in all these cases, should be taken as enunciating what Freud calls one of the latent thoughts of the dream.

在所有這些個案裏,佛洛伊德告訴我們,關於夢,生命主體所肯定的,以夢的不確定,夢的可疑,夢的曖昧性。換句話說,不是這個,就是那個,我不再記得,我不再能夠說,夢的真實程度,也就是真實界的程度,它所被看見的,無論是某件在夢裏被肯定的東西,擁有如此真實的程度,以致於生命主體注意到它。或者反過來說,那是、、、一場夢。佛洛伊德告訴我們的這一切,在所有的個案裏,應該被認為是在表達佛洛伊德所說的「夢的其中一個潛在思想」。

What in short is said by the subject in a marginal note about the text of the dream, namely all the accents about tonality, that which in music is accompanied by annotations like allegro, crescendo, decrescendo, all of this forms part of the text of the dream.

總之,關於夢的文本,在邊緣注釋的生命主體所說的話,換句話說,所有的強調關於音調。在音樂裏,這種被快板樂章,漸次增強,漸次減弱等注釋所陪伴。所有這些都是夢的文本的部份。

I do not think that for the greater number of you whom I suppose to have already got to know the Traumdeutung, and the technique, (2) that this is new. This is something really fundamental as regards the interpretation of a dream. Therefore I am only
reminding you of it because I do not have the time to give the examples which are in Freud, and I refer you to the text of the Traumdeutung♦ You will see the use that Freud makes of this essential reminder.

我認為,對於你們大多數人,我認為已經瞭解「夢的解析」及技巧,這不算是什麼新鮮東西。關於夢的解析,有某件真正是很基本的東西。因此,我只是提醒你們,因為我沒有時間給予佛洛伊德里的例子。我推薦你們參照「夢的解析」的文本。你們將會看出,佛洛伊德使用到這個基本的提醒語。

He interprets the dream by integrating the feeling of doubt for example that there is in this dream at the moment that the subject recounts it, as one of the elements of the dream without which the dream could not be interpreted.

例如,他用合併懷疑的感覺,來解釋這個夢。在這個夢裏,就在生命主體重新描述它的時刻,作為夢的因素之一。假如沒有這個因素,夢不可能被解釋。

We begin then from the Freudian interpretation, and we ask the question of what this involves by way of implications. It is not sufficient to accept this fact, or this rule of conduct, as having to be religiously accepted as many of Freud’s disciples did, without trying to see any further, putting their trust in the unconscious in some way. What does it imply that Freud should tell us: it is not only the tension of your unconscious
(sic) that is there at the moment that your memory of the dream disappears, or on the contrary is placed under a certain rubric given a certain accent?

然後,我們從佛洛伊德的解釋開始。我們問這個問題,憑藉著暗示,這會牽涉到什麼?光是接受這個事實,或是行為的這個規則是不足夠的。如同佛洛伊德的許多門徒所做的,它們必須在宗教方面被接受,而沒有更進一步探究,以某種方式信任這個無意識。在你的夢的記憶消失的時刻,你的無意識存在那裏的緊張,或是反過來說,被放置在某個架構之下,被給予強調的東西。佛洛伊德應該告訴我們的內容暗示著什麼?

He says: this forms part of the latent thoughts of the dream itself. It is here therefore that what we have agreed to call the graph allows us to specify, to articulate in a more evident, a more certain fashion what is in question when Freud gives us a rule of conduct like this for the interpretation of dreams.

他說:這形成夢的本身的潛在思想的部分。因此,就在這裏,我們都同意稱為欲望的圖形,可以讓我們明確地指出,以更加明確的方式,更加明顯地表達,所被置疑的東西,當佛洛伊德給予我們像這樣一套行為的準則,作為夢的解釋。

Here in effect is what we can say. What do we do when we (3) communicate a dream, whether this is done inside or outside analysis? (We did not have to wait for analysis in order to be able to give to the enunciating of a dream a formula which specifies it among the totality of possible enunciatings as having a certain structure with regard to the subject).

事實上,這就是我們能夠說的。當我們溝通一個夢時,無論是在精神分析裏面,或是外面從事,我們在做些什麼?(我們並不需要等待精神分析,我們才能夠給予夢的表達一個公式。這個公式明確地指明夢,作為可能的表達的整體性,因為關於生命主體,它具有某一個結構。)

Within what we can put forward in a discourse as an enunciation of events we can legitimately distinguish the following that among the enunciations concerning events, there are some which have a value that is altogether worthy of being distinguished with regard to the signifying register.

在我們從一個真理論述,所能夠提出的東西之內,作為事件的表達,我們能夠有理由區別以下:關於事件的表達,有一些表達具有價值。這個價值全部值得我們區別出來,關於這個能指的銘記。

They are enunciations that we can put under the general rubric of belonging to indirect discourse; they are the enunciations that concern the enunciatings of other subjects; they involve the reporting of the signifying articulations of someone else.

這些表達,我們能夠將它們放置在屬於間接的真理論述的一般架構裏。它們是牽涉到其他生命主體的表達。它們牽涉到某一個其他人的能指表達的報導。

And many things are introduced because of this, including other enunciations, namely
hearsay, I was told, someone or other testified that this or that has happened, which is the form, one of the most fundamental forms of the universal discourse, most of the things that we ourselves can talk about being part of what we have gathered from
the tradition of others. Let us say therefore a pure and simple, factual, report of an enunciation for which we assume responsibility; and on the other hand this involving in a latent fashion the dimension of enunciating which is not necessarily highlighted, but which is highlighted once it is a question of reporting the enunciation of someone else.

因為這樣,許多東西被介紹,包括其他的表達。換句話說,我聽說的一些傳聞,某個其他的人證實:這件事或那件事發生。就是這個形式,普遍性的真理論述的其中一個基本形式。我們自己能夠談論到的大部分的事情,作為我們別人的傳統所收集來的部分東西。因此,讓我們說出某一個表達的一個純粹的事實的報導,我們對於這一個表達負起責任。在另一方面,以一個潛在的方式,這個表達牽涉到未必受到強調的表達的維度。但是一旦問題是報導某個其他人的表達時,這個表達的維度就會被強調。

It could also be something of our own that we are dealing with. We can say that
we have said such a thing, that we have given evidence before someone else, and we ourselves can even enunciate that we have produced an enunciation which is completely false. We can testify that we have lied.

這也可能是我們正在處理的自己的某件事情。我們能夠說,我們已經說了這樣一件事情。我們曾經在某個其他人面前給予證據,我們自己甚至能夠表達,我們已經產生一種完全是虛假的表達。我們能夠證實,我們已經說了謊。

One Response to “Desire 60 Jacques Lacan”

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