拉康論移情 0201

拉康論移情 0201

THE SEMINAR OF JACQUES LACAN BOOK VIII
拉康研討班第八冊

Transference 論移情

1960 – 1961
Translated by Cormac Gallagher from unedited French typescripts
Cormac Gallagher 根據未編輯的法語錄音英譯

Seminar 10: Wednesday 1 February 1961

I left you the last time, as a kind of staging-post in our account, on the word to which I also told you I would leave until the next occasion all its enigmatic value, the word agalma.

上一次我留給你們這個字詞,作為我們描述的一種展示標杆。我也告訴你們,我會留下所有它的謎團一般的價值,給「貢品」這個字詞。

I did not think that what I said would turn out to be so true. For a great number, the enigma was so total that people were asking: “What was that? What did he say? Do you know?”. Well, for those who manifested this unease, one of my own family was able at least to give this response – which proves at least that in my house secondary education has its uses – that means:
“ornament, adornment”.

我不認為我所的內容結果會是真實。對於許多人,這個謎團是如此完整,以致人們會問:「那是什麼?他說什麼?你們知道嗎?」呵呵,對一那些展示這種不安的人,我自己的家人至少能夠給予這個回答—那至少證明,在我的家裏,中學教育擁有它的價值—那意味著「裝飾,增光」。

In any case, this response was only in effect a first level response about something that everyone should know: agalma, from agallo, “to adorn, to ornament”, signifies in effect – at first sight – “ornament, adornment”.

無論如何,這種回答實際上僅是一種初級層次的回答,關於某件每個人應該知道的東西:agalma, 字源從 agallo 衍變而來,意思是「裝飾,增光」,實際上意味著—乍然一看—「裝飾,增光」。

First of all the notion of ornament, of adornment is not that simple; it can be seen immediately that this may take us very far. Why, and with what does one adorn oneself? Or why does one adorn oneself and with what?

首先,裝飾及增光的觀念,並不是那麼簡單;我們立刻能夠看出來,這可能讓我們深入探討。我們為什麼,以及用什麼裝飾自己?或我們為什麼裝飾自己?用什麼來裝飾自己?

It is quite clear that, if we are here at a central point, many avenues should lead us to it. But I finally retained, in order to make of it the pivot of my explanation, this word agalma.

顯而易見的,假如我們在此處於中央點,許多管道應該引導我們到那裏。但是我最後保留「貢品」這個字,為了解釋它,當著我的解釋的軸心,「貢品」這個字。

You should not see in it any taste for rarity but rather the fact
that in a text which we suppose to be extremely rigorous, that of
the Symposium, something leads us to this crucial point which is
formally indicated at the moment at which I told you the stage
revolves completely and, after these games of praising regulated
as they had been up to then by this subject of love, there enters
this actor, Alcibiades, who is going to change everything.

你們不應該在裏面看出我喜好賣弄僻字,相反的,你們應該可出這個事實:在我們認為應該極端嚴謹的文本,「饗宴」的文本,某件東西引導我們到正式被指示的這個關鍵時刻。在這個時刻,我告訴你們這個舞臺完全地轉變,經過直到當時都一直根據愛的這個主體,充當讚賞的這些遊戲之後,進來這位演員,阿西比底斯。他將會改變一切。

As proof I only need the following: he himself changes the rules of
the game by making himself the presiding authority.

作為證據,我僅需要以下的話:他讓他自己成為主持人的權威,而自己改變遊戲規則。

From that moment on he tells us, it is no longer a question of praising
love but the other person and specifically each one is to praise his neighbour on the right. You will see that this is important for what follows, that it is already a lot to say about it, that, if it is a question of love, it is in act in the relationship of one to the other that it is here going to have to manifest itself (213e, 214d).

從那個時刻開始,他告訴我們,問題不再是讚美愛,而生讚美另外一個人。明確地說,每一位都要讚美他右邊的鄰居。你們將會看出,對於後面的發展,這是很重要的。這已經說明大部分。假如這是愛的問題,在行動上,它就是一個人跟另外一個人的關係。就在此,愛將會證明它自己。(213頁及214頁)

I pointed out to you the last time, it is noteworthy that from the moment that things get started on this terrain, with the experienced producer whom we suppose to be at the source of this dialogue (which is confirmed for us by the incredible mental genealogy which flows from this Symposium, whose second-last echo I highlighted for you the last time in connection with Kierkegaard’s banquet – the last, I already named for you: it is
Eros and Agape by Anders Nygren, all this is still dependent on the framework, the structure of the Symposium) well then, this experienced personage can do nothing else…. once it is a question of bringing the other into play, there is not just one of them, there are two others, in other words there are a minimum (2) of three.

上一次我跟你們指出,值得注意的是,從事情在這個平臺開始,有經驗的製作人,我們認為應該處於這個對話的來源,(這個難以置信的來自饗宴的精神系譜跟我們證實),它的倒數第二個共鳴,我上一次跟你們強調過,關於齊克果的宴會—上一次,我已經跟你們提到:這事安得爾、奈格寧所著的「性愛與驚奇」。這一切都依靠架構,饗宴的架構)。呵呵,這個經驗老到的人物會做的僅就是,一旦問題是要讚賞另一個人,不僅是他們其中一位,還有其他兩位,換句話說,至少有三位。

This, Socrates does not allow to escape in his reply to Alcibiades when, after this extraordinary admission, this public confession, this thing which is somewhere between a declaration of love and almost one might say a malediction, a defamation of Socrates, Socrates replies to him: “It was not for me that you were speaking, it was for Agathon” (222c,d).

這一點,蘇格拉底容許避開,當他回答阿西比底斯。經過這個特別的准許後,這個公開的告白,處於愛的宣言與我們幾乎可說是憎惡,對於蘇格拉底的譭謗之間,蘇格拉底回答他說:「你這樣說,不是為了我,而是為了阿加封。」(222頁)

All of this makes us sense that we are getting into a different register.
The dual relationship of the one who, in the ascent towards love,
proceeds by way of identification (if you wish, moreover by the
production of what we have indicated in the discourse of Diotima)
being helped in it by this marvel of beauty and, coming to see in
this beauty itself identified here at the end with the perfection
of the work of love, finds in this beauty its very term and
identifies it to this perfection.

所有這一切都讓我們感覺到,我們正進入一種不同的銘記。這個人的雙重關係,藉由認同,前進提升到愛,(而且,藉由在帝奧提瑪的論述所指示的,我們擁有的製作),這個人在認同當中受到美的神奇的幫助,在被認同的這個美本身裏,前來看到,結果擁有愛的作品的完美。他在這個美麗裏發現它的術一,並且將它認同于這個完美。

Something else therefore comes into play here other than this
univocal relationship which gives to the term of the work of love
this goal, this end of identification to what I put in question
here last year, the thematic of the sovereign good, of the
supreme good.

除了這個意義明確的關係,給予愛的作品的這個術語,某件其他的東西因此在此運作,這個目標,這個認同我去年在此置疑的東西,統治的善,最崇高的善的主題。

Here we are shown that something else is suddenly substituted in the triplicity, in the complexity, which shows us, presents itself to reveal to us that in which, as you know, I maintain the essential of the analytic discovery is contained, this topology in which fundamentally there results the relationship of the subject to the symbolic in so far as it is esssentially distinct from the imaginary and its capture.

在此,我們被顯示,某件其他的東西,在這個三重性,在這個複雜性裏被替代。它跟我們顯示,呈現它自己,為了跟我們顯示,你們知道,我主張精神分析發現的這個基本的東西,被包含在這個拓樸圖形。在裏面,基本上,生命主體跟象徵界的關係所造成的結果,因為它基本上不同於想像界及它的捕捉。

This is our term, this is what we will articulate the next time to
bring to a close what we will have to say about the Symposium.

這是我們的術語,這是我們下一次將會表達,為了結束我們所必需說的,關於「饗宴。」

It is with the help of this that I will make re-emerge old models
which I have given you of the intrasubjective topology in so far
as this is the way that we should understand the whole of Freud’s
second topography.

藉由這個的幫助,我將重新我曾經給予你們呈現舊的模式,關於主體內部的拓樸圖像。這就是這個方式,我們應該瞭解佛洛伊德的第二個拓樸圖形的全部。

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

One Response to “拉康論移情 0201”

  1. free ipad facebook Says:

    apple ipad future…

    Hey mate, thanks 4 sharing but this page isnt vewable when using Chrome it is doubled up….

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s


%d bloggers like this: