拉康論移情 0201c

拉康論移情 0201c

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

We know that this is not alone the discourse of passion, but the
discourse of passion at its most quaking point, namely the one
(4) which is in a way entirely contained in the origin.

我們知道,這不僅是激情的論述,而且是激情處於它最顛峰的論述。也就是說,在某方面,它完全被包含在起源那裏。

Even before he explains himself, he is there, charged with the most
fundamental aspect of everything that he has to tell us, what is
going to begin.

甚至在他解釋他自己以前,他在那裏,擔負著他必須告訴我們的一切都最基本的東西,將要開始的東西。

Therefore it is indeed the language of passion. Already this unique, personal relationship: no one has ever seen what is in question, as I once happened to see; and I saw it!” “I found them, these agalmata already so divine, chrusa”, c’est chou, “it was golden and all beautiful and wonderful, that there remained only one thing to do, en brachei, as soon as possible, by the quickest means, do whatever Socrates commands,
poieteon, what is to be done”; what becomes duty, is whatever Socrates is pleased to command (217a).

因此,那確實是激情的語言。這已經是獨特的個人的關係:沒有人曾經看見所被質疑的東西,如同我有一次恰巧看見。「我看見它!我找到它們,這些如此神聖誕貢品」。那是黃金,一切美麗而神奇的東西。那始終只有一件事要做,盡可能快,用最快的方法,做任何蘇格拉底命令的事情,做應該被做的事情。」將它當著是責任,這是蘇格拉底很樂意命令的。

I do not think it useless for us to articulate a text like this a
step at a time. This is not to be read as one reads France-Soir
or an article in the International journal of psychoanalysis.

我並不認為這是無用,讓我們逐步地表達像這樣的一個文本。這個文本不應該被閱讀,如同我們閱讀法蘭西、索爾,或是國際精神分析雜誌的一篇文章。

It is indeed something whose effects are surprising. On the one hand we are not told for the present what these agalmata (in the plural) are and, on the other hand, this involves all of a sudden this subversion, this falling under the influence of the commandments of the one who possesses them.

這確實是某件影響相當令人驚奇的東西。在一方面,我們目前並沒有被告訴,這些貢品「複數」是什麼。在另一方面,這突然牽涉到這個顛覆,這個掉落,在擁有它們的這個人的命令的影響之下。

You cannot fail to find here all the same something of the magic which I already highlighted for you around the Che vuoi? What do you want? It
is indeed this key, this essential cutting edge of the topology of the subject which begins with: what do you want? – In other words: is there a desire which is really your will?

你們在此一定會發現,仍然有某件魔術性的東西,我已經跟你們強調,環繞「你到底想要什麼?」這確實就是這個解答,生命主體的拓樸圖形的這個重要的切割邊緣。它開始於這個問題:「你到底想要什麼?」換句話說:「這個欲望真的是出於你的意志嗎?」

“And” – Alcibiades continues – “as I thought he was in earnest when he spoke about hora, eme hora” – this is translated by – “youthful bloom…”, and there begins the whole seduction scene.

「而且」–阿西比底斯繼續—「如同我認為他是認真的,當他談論的年輕的 “hora, eme hora” 可翻譯為:「春花怒放、、、」整個的誘拐場景就從這裏開始。

But as I told you, we will not go any further today, we will try
to make you sense that which renders necessary this passage from
the first phase to the other one, namely why it is absolutely necessary that at any price Socrates should unmask himself.

但是我告訴你們,今天我們將不會再更加深入。我們將會嘗試讓你們感覺到,從第一個詞語到另外一個詞語的這個過程,成為必須的東西。也就是說為什麼這是絕對需要的,蘇格拉底應該不惜一切代價,揭露自己真實面目。

We are only going to stop at these agalmata. I can honestly tell
you that it is not – give me credit for this – to this text that
there goes back for me the problematic of agalma, not that this
would be in the least inappropriate because this text suffices to
justify it, but I am going to tell you the story as it is.

我們僅是要停留在這些貢品。我能夠誠實地告訴你們,對於我而言,貢品的難題並不是要回溯到這個文本—-請相信我這一點—不是:這根本就不合宜,因為這個文本已經證實它。而是:我將告訴你們它真實的故事。

I can tell you, without being really able to date it, that my
first encounter with agalma is an encounter like every encounter,
unexpected.

我能夠告訴你們,雖然我無法確認日期:我跟貢品的第一次邂逅,是像每一次的邂逅一樣,是偶然機緣。

It is in a verse of Euripides’ Hecuba that it struck me some years ago and you will easily understand why. It was all the same a little while before the period when I introduced here the function of the phallus, with the essential articulation that anaylytic experience and Freud’s doctrine shows us that it has, between demand and desire; so that in passing, I
did not fail to be struck by the use that was given to this term in the mouth of Hecuba. Hecuba says: “Where am I going to be brought, where am I going to be deported?”

就在尤利皮底斯的「赫丘巴」的詩篇,好幾年前,我感到印象深刻。你們很容易瞭解為什麼。那正是我在此介紹陽具的功用那段時期前不久,我基本上是在表達:精神分析經驗及佛洛伊德的信條跟我們顯示,在需求與欲望之間,它擁有。偶然地,我必然對這個用法感到印象深刻,從赫丘巴的嘴中的這個術語。赫丘巴說:「我到底會被帶往哪里?我將被驅逐到哪里?」

As you know, the tragedy of Hecuba takes place at the moment of
the capture of Troy and, among all the places that she envisages
in her discourse, there is: “Might it be to this at once sacred
and plague-stricken place…. Delos?” –

你們知道,赫丘巴的悲劇發生在特洛伊城的淪陷之際。在她的論述裏,她擬想到的所有地方當中,這是:「可能是被帶到這個既神聖又充滿瘟疫的地方,迭洛斯?」

As you know no one had the right either to give birth there or to die there. And then, at the description of Delos, she makes an allusion to an object
which was celebrated, which was – as the fashion in which she speaks about it indicates – a palm tree of which she says that (5) this palm tree, is odinos agalma dias, namely odinos, of the pain, agalma dias, the term dias designates [Leto], it is a question of the birth of Apollo, it is “the agalma of the pain of the divine one”.

你們知道,沒有人用這個權利要在那裏出生,或是要在那裏死亡。然後,為了描述迭洛斯,她提到一個著名的客體—依照她談論它的方式指示—那就是一棵棕櫚樹。她提到它說:這棵棕櫚樹是odinos agalma dias,也就是痛苦的貢品。這是阿波羅太陽神誕生的問題,這是神祗的痛苦的貢品。

We rediscover the thematic of giving birth but all the same rather changed because here this trunk, this tree, this magical thing erected, preserved as an object of reference throughout the ages, is something which cannot fail – at least for us analysts – to awaken the whole register that there exists around the thematic of the [female] phallus in so far as its
phantasy is, as we know, at the horizon and situates this infantile object [as a fetish].

我們重新發現誕生的這個難題,但是它仍然相當被改變。因為在此,這個樹幹,這棵樹,這個魔術的東西被豎起,被保存當著是幾世紀以來,指稱的一個客體。它是某件必然會喚醒整個的銘記—至少對於我們精神分析師而言—環繞這個「女性的」陽具的難題,在地平線處,存在著它的幻見,你們知道,這個幻見定義這個嬰兒般的客體,當著是一種物神。

The fetish that it remains can hardly fail either to be for us the echo of this signification.

它始終是物神,這個幻見,對於我們而言,也必然是這個意義的共鳴。

But in any case, it is quite clear that agalma cannot be translated here in any way by “ornament, adornment”, nor even as one often sees it in the texts, “statue” – because often theon agalmata, when one is translating rapidly one thinks that it fits in, that it is a question in the text of “statues of the gods”.

但是無論如何,顯而易見,這個貢品在此無法僅翻譯為「裝飾及增光」,它也無法如我們經常在文本裏看到的,翻譯為「雕像」。因為當我們在翻譯時,我們會想到,它會被套用,問題出現在「眾神的雕像」的文本裏。

You see right away, the point I am keeping you at, the reason why I believe that it is a term to highlight in this signification, this hidden accent which presides over what must be done to hold back on this path of banalisation which always tends to efface for us the true sense of texts, the fact is that each time you encounter agalma – pay careful attention – even if it seems to be a question of “statues of the gods”, if you look closely at it, you will perceive that it is always a question of something different.

你們立刻看出,我一直要你們注意的這一點:為什麼我相信這個術語在這個意義裏的強調,這個隱藏的強調,它監管必須要被做到事情,為了要阻止陳腐化的這條途徑。這個陳腐化途徑總是傾向於替我們抹除掉文本的真實意義。事實上,每一次你們邂逅這個貢品—-請仔細注意— 即使問題似乎是「眾神的雕像」,假如你們仔細瞧它,你們會感覺到:問題總是某件其他的東西。

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

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