拉康論移情 0412

拉康論移情 0412

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 16; Wednesday 12 April 1961

It is not because one” may seem to have diverted from what is at
the centre of your preoccupations that one does not rediscover it
at the extreme periphery. This is what, I believe, happened to
me almost without my noticing it in the Borghese Gallery in the
most unexpected place.

這並不是因為我們似乎從你的專注的中心轉移,我們因此沒有在極端的邊緣發現它。 我相信,這就是我所發生的事情,我自己幾乎沒有注意到它,在柏格西斯美術展示館,在最意想不到的地方。

My experience has always taught me to look at what is near the lift, which is often significant and which people never look at.

我的經驗總是教導我觀看電梯附近的東西,這個東西總是有意義,但是人們從來沒有觀看它。

The experience transferred to the museum of the Borghese Gallery (which is quite applicable to a museum) made me turn my head on leaving the lift thanks to which I saw something – at which people really never stop, I have never heard anyone ever speak about it – a picture by someone called
Zucchi.

被轉移到柏格西斯美術博物館的經驗,(美術展示館也兼當博物館),讓我的頭腦轉離開電梯。 由於這個電梯,我看到某個東西—在那裡,人們確實從來沒有停下來。我從來沒有聽見任何人談論到它—這一幅由名叫朱奇所繪的圖畫。

He is not a very well known painter, even though he has not completely escaped from the meshes of the critical net. He is what is called a Mannerist from the first period of Mannerism, in the XVIth century. His dates are approximately 1547-1590, and what is in question is a painting called “Psyche surprises Amore”, namely Eros.

他並不是一位很著名的畫家,即使他並沒有完全逃避批評之網的糾纏。他是從格調主義的初期以來所謂的格調主義者,在十六世紀。 他的日期大約是1547-1590. 受到質疑的是一幅圖畫,被稱為「賽奇女神讓阿莫驚豔」,也就是「愛神」。

It is the classical scene of Psyche raising her little lamp on
Eros who for some time has been her never glimpsed nightly lover.
You have of course, I think, some idea of this classical drama.
Psyche favoured by this extraordinary love, that of Eros himself,
enjoys a happiness which could have been perfect if she had not
been overtaken with curiosity to see who was involved.

這是古典的場景,賽奇女神舉起她的燈,放在愛神身上。有段時間,愛神就是她從來沒有瞥視的過夜情人。當然,你們會聯想到這個古典的劇情。 賽奇女生受到這個奇特的愛的眷顧, 愛神他本人的愛。她享受本來會上一種完美的快樂,假如她沒有被好奇心追上,為了要看出,愛她的是誰。

It is not that she had not been warned by her lover himself never to
try, under any circumstances, to throw light on him, without him
being able to say what sanction would result from it, but the insistence is extreme.

不是因為她沒有被她的情人本人警告,無論在任何情況之下,都不要讓他現出真相,假如他無法說出這樣的結果會是什麼, 但是這個堅持非常強烈。

Nevertheless Psyche cannot do otherwise than end up doing it and, at that moment, the misfortunes of Psyche begin. I cannot tell you them all. I would like first of all to show you what is in question, because moreover this is what is important in my discovery. I obtained two copies of it
and I am going to pass them round.

可是, 賽奇女神無法做別的事,結果就是做了它。 在那個時候, 賽奇女神的不幸就開始了。 我無法詳述一切。 首先,我想要跟你們顯示,什麼受到質疑,因為這是我的發現的重點。 我擁有兩幅它的摹本,我將它們傳遞給你們看。

I reduplicated these two reproductions with a sketch done by a painter who even those who do not know my family relationships will I hope recognise, and who was kind enough this morning, because of a wish to please me, to make for you this sketch which will allow me to highlight what is in question in the demonstration.

我複製這兩幅摹本,由一位畫家所做的描繪。這位畫家,即使對我的家族關係不熟悉的人,我希望也會認出。今天早上,由於願意取悅於我,他足夠好心跟你們做這個描繪。這個描繪容許我能夠強調展示受到質疑的東西。

You see that the sketch corresponds in its significant lines at least to what I am in the process of circulating.

你們看出,這個描繪以它的重要的線條,至少對應我正在廣為流通的過程。

(2) I thought I should see this place on the Palatine that Commandant Boni, about fifty years ago I think, thought he could identify with what the Latin authors call the Mundus■ I managed to go down into it, but I’m afraid that it is nothing more than a cistern, and I managed to get a sore throat there….

我認為我應該看見巴拉庭這個地方, 我認為在大約五十年前,柏尼校長認為他能辨認拉丁學者所謂的「the Mundus■」。我設法對它追根究底,但是我恐怕,那僅就是一個水槽而已。我喝那裡的水,喉嚨痛起來。

I do not know if you have already seen the subject of Eros and
Psyche treated in this fashion. For my part what struck me
(this has been treated in innumerable ways, both in sculpture and
in painting) ….

我並不知道你們是否看見過愛神與賽奇女神的這個主題,以這種方式被處理。 就我而言, 讓我印象深刻的是( 這個主題曾經被處理,以無數的方式,在雕塑及在繪畫),,,

I never saw Psyche appearing armed in a work of art, as she is in this picture, with what is represented there very vividly as a little cutting instrument and which is precisely a scimitar in this picture.

我從來沒有看見賽奇出現在藝術作品裡是盛裝打扮,因為她在這幅圖畫裡,帶著生動被代表的作為一把小小的切割工具, 在圖畫裡,確實就是一把短彎刀。

On the other hand, you will notice that what is here significantly projected in the form of the flower, and of the bouquet of which it forms a part and of the vase also in which it is inserted, you will see in the
picture in a very intense, very marked fashion, that this flower is properly speaking the visual mental centre of the picture.

在另一方面, 你們將會注意到, 在此明顯被投射的,以花及花束的形態,它形成它們的一部分,還有它被插入的花瓶。你們在圖畫裡將會看出,以一種非常強烈明顯的方式,這朵花,適當來說, 就是圖畫的視覺的精神中心。

It is so in the following fashion, this bouquet and this flower are put in the foreground and are seen, as they say, against the light, namely that this looks here like a black mass; it is this which is treated in a fashion that gives to this picture the character that one can call Mannerist. It is drawn in an extremely refined way. There would certainly be things to say about the flowers which are chosen in this bouquet.

用以下的方式, 這個花束及這朵花被放置在前景,然後如人們所說的,以這個光線為背景,被看見。 換句話說, 這個東西在此看起來像一個黑色的東西。這個被處理的方式,賦予這幅圖畫這個特性,我們能夠稱為格調主義。 它被描繪的方式極其精緻。 關於這個花束裡被選擇的那些花,確實有些東西值得一談。

But around the bouquet, coming from behind the bouquet, there radiates an intense light which falls on the elongated thighs and the stomach of the personage who symbolises Eros.

但是環繞這個花束,有道強烈的光照射,來自花束背後。 這道光落在這個人物的伸長的大腿及肚子上。這個人物象徵愛神。

And it is really impossible not to see here, designated in the most precise
fashion and as it were by the most solidly supported index, the organ which must anatomically be concealed behind this mass of flowers, namely very precisely the phallus of Eros.

在此我們不可能不注意到這個器官,它以明確的方式被指明, 所謂的線條分明。這個器官從解剖方式來說,被隱藏在這把花束背後。換句話說,那確實就是愛神的陽具。

This is seen in the very manner of the picture, accentuated in such a
fashion that it cannot be a question here of an analytic interpretation, that there cannot fail to be presented in the representation the thread which unites this menace of the cutting instrument to what is properly speaking designated for us here.

從圖畫的方式被看見,以如此的方式被強調,在此並不是分析解釋的問題,這個線索一定會被呈現在複製裡。這個線索連接這個切割工具的威脅,跟適當來說在此跟我們指明的東西。

In a word, it is worthwhile designating the thing precisely
because of the fact that it is not frequent in art. Judith and
Holofernes have been frequently represented for us, but all the
same for Holofernes, it is not what is in question here, it is
“off with his head”.

總之, 這個東西確實值得指明,因為這個事實:它在藝術中並不常見。 朱帝斯及荷洛佛尼斯的圖畫,曾經時常拿來跟我們被作為代表,但是那仍然是荷洛佛尼斯, 這並不是在此受到質疑的東西, 而是「他的頭被切割掉」,

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

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