拉康論移情 0201e

拉康論移情 0201e


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

It is first of all in Book III in the Telemachus section and it
is a question of sacrifices which are being made for the arrival
of Telemachus. The pretenders, as usual, make their contribution and there is sacrificed to the god a boos which is translated by “a heifer”, which is a specimen of the bovine species.


And it is said that there was specially invoked someone called Laerkes who is a goldsmith, like [Hephaistos] and who is charged with making “a golden ornament”, agalma for the horns of the beast.


I will spare you all the practicalities of the ceremony. But what is important, is not what happens afterwards, whether it is a question of a voodoo-type sacrifice, what is important is what it is said they expect from agalma; agalma in effect is involved in this, we are expressly told it.


The agalma, is precisely this golden ornament, and it is as an
offering to the goddess Athena that this is sacrificed, so that
having seen it, she may be kecharoito, “gratified” – let us use
this word, because it is a word from our own language. In other
words, the agalma appears indeed as a kind of trap for the gods;
the gods, these real beings, there are contraptions which catch
their eye.


You must not believe that this is the only example that I would
have to give you of the use of agalma, for example when, in Book
VIII of the same Odyssy, we are told what happened at the fall of
Troy, namely the famous history of the big horse which contained
in its belly the enemies and all the misfortunes. [The horse] who
was pregnant with the ruin of Troy, the Trojans who had dragged
it inside the walls question themselves and ask themselves what
they are going to do with it.


They hesitate and we have to think that this hesitation was what was fatal for them, because there were two things to do – either, to open the belly of the hollow wood to see what is inside – or, having dragged it to the
summit of the citadel, to leave it there to be what?


Mega agalma. It is the same idea, it is the charm. It is something
which is here as embarrassing for them as for the Greeks. To tell the truth it is an unusual object, it is this famous extraordinary object which is so much at the centre of a whole series of preoccupations which are still contemporaneous – I do not need to evoke here the surrealist horizon.


What is certain is that, for the ancients also, the agalma is
something in terms of which one can in short capture divine
attention. There are a thousand examples of it that I could
give you. In the story of Hecuba (again in Euripides), in
another place, there is recounted the sacrifice to Achilles’
manes, of her daughter Polyxenes.


And it is very well done: we (8) have there the exception which is the occasion for evoking in us erotic mirages: it is the moment that the heroine herself offers her admirable breast which is we are told “like an agalma, hos agalmatos”.


Now it is not sure…. there is nothing to indicate that we should be satisfied here with what that evokes, namely the perfection of the mammary organs in Greek statuary.


I indeed rather believe that what is in question, given that at
the epoch it was not about objects in a museum, is indeed rather
about something the signs of which we see everywhere moreover in
the use that is made of the word when it is said that in the
sanctuaries, in temples, in ceremonies people “hang up anapto,


The magical value of objects which are evoked here is indeed linked rather to the evocation of these objects which we well know which are called ex voto.


In a word, for people much closer than we are to the differentiation of objects at the origin, it is as beautiful as ex voto breasts; and in effect
ex voto breasts are always perfect, they are machine-turned, moulded. Other examples are not lacking, but we can stay with that.


What is in question, is the brilliant sense, the gallant sense,
because the word galant comes from galer in old French; it is
indeed, it should be said, the function of this that we analysts
have discovered under the name of partial object.


One of the greatest discoveries of analytic investigation is this function
of the partial object. The thing which on this occasion should astonish us most, us analysts, is that having discovered such remarkable things our whole effort should always be to efface their originality.


It is said somewhere, in Pausanias, also in connection with a usage of agalma, that the agalmata which referred in such and such a sanctuary to sorceresses who were there expressly to hold back, to prevent Alcmenes from giving birth were amudroteros amudrota, “a little bit effaced”. Well, that’s it!



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