Desire 89 Jacques Lacan

Desire 89

Jacques Lacan
雅克、拉康

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

4.2.59 166
Seminar 11; Wednesday 4 February 1959

Aphanisis means disappearance, in so far as he understands it in that way. And what he means by that we will see further on.

「欲望消失」意味著消失,就他從那種方式的瞭解。他的意思,我們將更進一步看出。

But for the moment I am going to make a quite different use of it; what is really an impressionistic use for what is really there all the time throughout the material of the dream, its surrounds, the behaviour of the subject, everything that we have already tried to articulate in connection with what is presented, with what is proposed to Ella Sharpe.

但是目前,我將要對它有一種相當不同的用法。對於夢的材料始終存在的地方,是讓人有著印象主義的用途,它的周圍,生命主體的行為,每一樣我們已經設法表達,關於所被呈現的東西,對於阿拉、夏普建議的東西。

This very subject who, before presenting himself to her in a fashion which she so finely describes, with this sort of profound absence which of itself gives her the feeling that there is no remark of the subject, nor any of his gestures (7) which is not entirely thought out, and that nothing corresponds to anything connected with feeling.

這位生命主體,在呈現他自己給她之前,以她如此細緻描述的方式,帶著這種的欠缺。這個欠缺的本身給予她這種感覺:生命主體的談話,及他的任何姿態,沒有一樣不是仔細考慮過。沒有一樣對應跟感覺有關的東西。

This subject who is so cautious, who moreover does not announce himself, who
appears, but who once he appears is more elusive than if he were not there; this subject who himself has put to us in the preliminaries of what he brought forward about his dream, this question which he posed in connection with his little cough.
And this little cough is given in order to do what? To make something which must be there at the other side of the door disappear. We do not know what. He says it himself: in the case of the analyst, what is there to make disappear?

生命主體是如此的小心,而且,他並沒有宣佈他自己。他出現,但是一旦他出現,他更加的難以理解,比起假如他不在那裏。這個生命主體,他自己本身以他提出的關於夢的初步,跟我們提出這個問題,他提出有關他小小咳嗽的問題。這個小咳嗽被給予,為了要做什麼?為了要使某件必須在門店另一邊的東西消失。我們不知道是什麼。他自己說它,在精神分析師的個案,什麼東西在那裏,要讓它消失?

He evokes in this connection the warning given in other circumstances, in another context, that it is a question of them separating, of disuniting, because the situation might be embarrassing if he entered. And so on.

關於這一點,他召喚被給予的警告,在其他的環境裏,在另外一個內容。這個問題是他們分開,他們脫離,因為這個情境可能令人尷尬,假如他進入。等等。

In the dream we are in the presence of three characters, because it must not be forgotten that his wife is there. Once the subject has said it he does not speak about it any more. But what exactly happens with the sexual partner, the one in fact whom he evades. Is it all that sure that he is evading her?

在夢中,我們處在三個人物的面前,因為我們一定不要忘記,他的妻子在那裏。一旦生命主體說了這件事,他就不再說了。但是確實發生的是這個性的伴侶,事實上,他逃避的這個伴侶。我們真的確定他正在逃避她嗎?

What follows in what he says proves that he is far from being completely absent; and he put his finger, he tells us in this sort of protruding, inside-out vagina, this sort of prolapsed vagina on which I laid stress.

在她的話裏,跟隨而來的證明,他根本就沒有完全缺席。他放他的手指,他告訴我們,以這種的突出,從裏面翻轉的陰戶,我強調的這種脫出的陰戶。

Here again questions are posed and we are going to pose them. Where is what is at stake, where is the important thing in this scene? That which in so (8) far as one can pose this question in connection with a dream – and we can only pose it in so far as the whole Freudian theory obliges us to pose it – what will be produced immediately
afterwards in the associations of the dream, is something which involves this friend, mediated by a memory which came to him concerning the hood that constitutes the feminine sexual organ of someone who on a golf course offered him something in which his clubs could be put, and whom he found to be a really funny person.

在此再一次,問題被提出,我們將要提出它們。岌岌可危的東西在哪里?在這個場景,重要的事情在哪里?當我們提出關於夢的這個問題,我們只能提出它,因為整個的佛洛伊德的理論強迫我們提出它,隨後所必需被產生的,在這個夢的聯想,是某件牽涉到這個朋友,由他想到的這個記憶仲裁,關於這個頭巾,組成某個人的女性的性器官。在高爾夫球場,這個人提供給他某件東西,讓他的球棒能夠放置,他發現這個人是非常有趣的人。

He speaks about him with a kind of amused pleasure. And one can clearly see what is happening around this real character. He is really the sort of person who makes you ask where he came out of.

他談論到他,帶著一種愉悅的快樂。我們能夠清楚地看出,環繞這個真實的人物,正在發生什麼事。他真的就是這種人,他要你問他從何處來。

This is the way he speaks about him. With that face, and that glibness what could he have been. Maybe a butcher, he says. God knows why he says a butcher. But the style and the general atmosphere, the ambiance of impersonation in connection with this character – immediately afterwards he is going to start imitating him – shows that here it is a question of ….‘

這就是他談論到他的方式。以那個臉孔,那種能言善道,他本來會是什麼?也許是一位屠夫,他說。天曉得,為什麼他說是屠夫。但是這個風格,這個一般的氣氛,這個模仿的環境,關於這個人物。隨後馬上他就要開始模仿他,顯示這是一個問題、、、

This moreover is the way that the notion of imitation is introduced, and the association with his friend who impersonates men so well, who is so talented, and who exploits that talent by broadcasting. And in this connection the first idea that comes to the subject is that he is talking too much about her, that he seems to be boasting by speaking about a relationship with somebody so remarkable, to be “swanking”. I checked the (9) English word that he uses: it is quite a new word, that can almost be considered to be slang, and that I have tried to translate here by la ramener. He uses it to say: I feel guilty to be swanking like that.

而且,這就是模仿的觀念被介紹的這個方式。他的朋友模仿他維妙維肖的聯想,他說如此有天分,他發揮他的天分作為廣播。關於這一點,生命主體想到的最早的觀念,是他正在談論有關她。他似乎自誇地談論到跟某個傑出的人的一個關係,如此的「炫耀」。我查核他使用的這個英文單字。這是一個完全新的單字,幾乎無法被認為是俚語。我曾經設法在此翻譯為「再回來」。我感覺罪惡感像這樣炫耀

In a word he disappears, he makes himself very small, he does not want to take too much space on this occasion.

總之,他消失,他讓他自己變得渺小。他並不想要在這個場合佔太多空間。

In short, what forces itself on us the whole time, what recurs as a theme, as a leitmotif in all the discourse, the remarks of the subject, is something for which the term aphanisis appears to be here much closer to “to make disappear” than “to
disappear”. It is something that is a perpetual game in which we sense that in different forms something – let us call this if you wish the object of interest – is never there.

總之,從頭到尾,強迫出現在我們身上,重複出現作為一個主題,作為所有者個論述的主題,生命主體的這個談話,是某件「欲望消失」這個術語出現在這裏,更加靠近「使消失」,而不是「消失」。這是某件永恆的遊戲,在這個遊戲裏,我們感覺到,以不同的形式,某件東西永遠不在那裏,讓我們稱乎這個,假如你願望有趣的這個東西。

The last time I insisted on this. It is never where it is expected, it slips from one point to another in a sort of conjuring trick. I am going to insist on it again, and you are
going to see where this will take us, what is the essential, the characteristic at every level of the confrontation before which the analyst finds herself.

上一次我堅持這一點。它永遠不在它被期望的地方,它從某一點溜滑到另外一點,以某種魔術的把戲。我將要再一次堅持它。你們將會看出,這會引導我們到哪里,什麼是這個基本,這個特性,在每個面對的層次,精神分析師發現自己所面對的層次。

The subject cannot put anything forward without immediately, in some way, subtilising what is essential in it as one might say.

每次生命主體提出任何東西,他馬上就以某種方式將裏面重要的東西稀釋,我們不妨這樣說。

雄伯譯
32hsiung@pchome.com.tw
https://springhero.wordpress.com

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