拉康論移情 0201c

拉康論移情 0201c


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.


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.


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).


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.


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.


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?


“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.


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.


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


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?”


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?” –


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].


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


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”.


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。


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