拉康论移情 0412

拉康论移情 0412

THE SEMINAR OF JACQUES LACAN BOOK VIII
拉康研讨班第八册

Transference 论移情

1960 – 1961
Translated by Cormac Gallagher from unedited French typescripts
Cormac Gallagher 根据未编辑的法语录音英译

Seminar 16; Wednesday 12 April 1961

In such a way that the very gesture, stretching out, of the other arm which holds the lamp is something which is also made in order to evoke for us all the resonances precisely of this type of other picture to which I am
alluding.

以如此一种方式,这个姿态,拿着灯的另一隻手臂的延伸,是某件被制作,也是为了跟我们召唤所有的共鸣,确实是我提到的这种另类图画的共鸣。

The lamp is there suspended above the head of Eros. You know that in the story it is a drop of oil spilt in a rather sudden movement by a very emotional Psyche, which has woken Eros causing him, the story moreover specifies it for us, a wound from which he suffers for a long time.

这个灯被悬挂在爱神的头的上方。你们知道,在故事里,以相对突然的动作, 灯油被洒,被情绪激动的赛奇女神。这已经唤醒爱神引起他。而且,故事跟我们指明它,这是一个他长久以来遭受痛苦的伤痕。

Let us observe in order to be scrupulously careful that, in the
reproduction that you have before your eyes, you can see that
there is something in effect like a luminous trait which starts
from the lamp and goes towards the shoulder of Eros.

让我们观察,为了小心翼翼。在你们眼前拥有的复制品里,你们能够看出,实际上有某件东西就像一个发亮的特征,从灯开始,照向爱神的肩膀。

Nevertheless the obliqueness of this trait does not allow it to
be thought that it is a question of this drop of oil, but of a
shaft of light.

可是,这个特征的倾斜并没有容许它被认为,问题是这个灯油滴,而是一个光束。

Some people will think that there is here (3) something which is in effect quite remarkable and which represents on the part of the artist an innovation, and therefore an intention which we could unambiguously attribute to him, I mean that of representing the threat of castration applied to the circumstances of loving. I think we would have to beat a hasty retreat if we were to advance in this direction.

某些人会认为, 在此是某件东西,实际上,它相当引人注意,而且在艺术家这边,它代表一种创新,因此它是一种意图,能够毫无曖昧地归属于他。我的意思是, 代表阉割的威胁,应用到恋爱的情境。我认为我们将必须匆促地撤退,假如我们想要朝这个方向前进。

We would have to beat a hasty retreat from it because of the fact that I highlighted for you…. a point already highlighted, but which I hope has already struck some of you, it is that this story is only known to us, despite its diffusion in the history of art, through a single text, the text of Apulius, in The golden ass.

我们将必须从那里匆促地撤退,因为我跟你们强调的这个事实,,,已经被强调的这一点,但是我希望你们有些人已经对它有印象。只有我们知道这个故事,尽管它在艺术史广为流传,通过一个文本, 阿普力斯的文本「黄金驴」。

I hope for your own pleasure that you have read The golden ass, it is, I must say, a very exciting text. If, as has always been said, certain truths are included in this book, I can tell you in a mythical and picturesque form veritable esoteric and initiatory secrets, it is a truth wrapped up in the most shimmering, not to say the most arousing, the most titillating appearances.

我希望,你们曾经阅读过「黄金驴」作为欣赏。我必须说,那是很有趣的文本。 假如,如有人说过, 某些真理被包括在这本书里。我能够告诉你们可验证的奥秘而创意的秘密,以一种神秘而生动的形式。这是一个真理专注于微光闪烁,撩人心弦的表象, 姑且不说是让人情欲奋张。

Because as it first appears, it is in fact something which has not yet been superseded, even by the most recent productions with which we have been regaled in France these last years in the most characteristic erotic genre, with the whole nuance of sadomasochism which constitutes the most
common aspect of the erotic novel.

因为乍然一看,事实上,它是某件还没有被替代的东西,即使根据最近的作品,前几年我们在法国被献赏的作品,凸显性爱的艺术,具有完整的虐待狂与受虐狂的细微差别,形成性爱小说的最普遍的一面。

It is in effect in the middle of a horrible story about the kidnapping of a young girl, accompanied by the most terrifying threats to which she finds herself exposed in the company of the ass (the one who speaks in the first person in the novel) it is in an interlude, something included within this very spicy story, that an old woman, in order to distract for a moment the girl in question, the kidnap victim, recounts to her at length the story of Eros and Psyche.

实际上, 关于绑架一位少女的恐怖故事的过程, 陪伴着最恐怖的威胁,她发现她自己暴露在驴子的陪伴 ( 小说里以第一人称叙述)。就在中间插曲,某件东西被包括在这个辛辣的故事里。 一位老妇人,为了要让受到质疑的这个少女分心一下子, 这位被绑架的受害者。老妇人跟她详细地叙述爱神与赛奇女神的故事。

Now what I highlighted for you above, is that it is as a result of the perfidious insistence of her sisters who will not rest until they lead her to fall into the trap, to violate the promises that she had made to her divine lover, that Psyche succumbs.

我以上跟你们强调的是,这是由于她的姐妹们的不诚实的坚持的结果。她们若是不将她引导进入这个陷阱,她们就不甘心, 引导她违背这个渃言: 她曾经跟她的神圣的情人许下的渃言, 赛奇女神屈服。

And the final method of her sisters is to suggest that what is in question is a terrifying monster, a serpent of most hideous aspect, that undoubtedly she is in some danger with him.

她的姐妹的最后方法就是建议,受到质疑的是一种可怕的怪物,一种非常令人骇惧的蛇。无可置疑的, 她跟他在一起,陷于危险当中。

After which the mental short-circuit is produced namely that, noticing the recommendations, the extremely insistent prohibitions to which her nocturnal interlocutor has recourse, imposes on her by enjoining that in no case should she violate his very severe prohibition not to try to see him, she can only too clearly see the coincidence between this recommendation and what her sisters are suggesting to her. And it is then that she takes the fatal step.

经过这个之后,精神的短路被产生。也就是说, 注意到这个建议,她的夜间的对谈者诉诸于的极端坚持的禁令,赋加在她的身上,命令说: 无论如何,她不应该违背他的严格的禁令,那就是不应该尝试看到他。 她能够很清楚地看出这种巧合,处于这个建议与她的姐姐们跟她建议的东西之间。 因此,她採取致命的这一步骤。

In order to take it, given what has been suggested to her, what
she thinks she is going to find, she arms herself.

为了接受它, 考虑到跟她所建议的东西, 她认为她将会发现,她武装她自己。

And in this sense we can say – despite the fact that the history of art does not give us any other testimony as far as I know, I would be
grateful if someone stimulated now by my remarks brought me proof
to the contrary – [that if Psyche] has been represented at this
significant moment as armed, it is indeed from the text of Apuleius that the Mannerist in question, Zucchi, has therefore borrowed what constituted the originality of the scene.

以这个意义,我们能够说—尽管这个事实: 艺术史并没有给予我们任何其它证词,据我所知。 我将会非常感激,假如有某个人现在被我的谈论激励,带给我们相反的证据—假如赛奇女神在这个重要的时刻,被呈现作为武装自己,那确实是从阿普雷斯的文本, 格调主义的绘画受到质疑, 朱奇画家因此借用这个场景的原创性组成的东西。

What does that mean? Zucchi represents for us this scene the story of which is very widespread. At the time already it is very widespread for all sorts of reasons. If we have only a single literary testimony, we have many in the order of plastic and (4) figurative representations.

那是什么意思? 朱奇呈现给予我们这个场景。这个场景的故事是广为流传。 在那个时候, 因为各种的理由,它已经广为流传。假如我们仅有一个文学的证词, 在雕塑及人像再现复制到层次,我们的证词可就不胜枚举。

It is said for example that the group which is in the museum of the Offices in Florence represents an Eros with a Psyche, both winged this time (you can notice that here if Eros has them, Psyche does not).

譬如,据说,在佛洛伦斯的官方博物馆,这个团体用赛奇女神来代表爱神。 这一次,两位都有翅膀 ( 你们能够注意到, 在此,虽然爱神拥有翅膀, 赛奇女神并没有)。

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

THE SEMINAR OF JACQUES LACAN BOOK VIII
拉康研讨班第八册

Transference 论移情

1960 – 1961
Translated by Cormac Gallagher from unedited French typescripts
Cormac Gallagher 根据未编辑的法语录音英译

Seminar 16; Wednesday 12 April 1961

In such a way that the very gesture, stretching out, of the other arm which holds the lamp is something which is also made in order to evoke for us all the resonances precisely of this type of other picture to which I am
alluding.

以如此一种方式,这个姿态,拿着灯的另一隻手臂的延伸,是某件被制作,也是为了跟我们召唤所有的共鸣,确实是我提到的这种另类图画的共鸣。

The lamp is there suspended above the head of Eros. You know that in the story it is a drop of oil spilt in a rather sudden movement by a very emotional Psyche, which has woken Eros causing him, the story moreover specifies it for us, a wound from which he suffers for a long time.

这个灯被悬挂在爱神的头的上方。你们知道,在故事里,以相对突然的动作, 灯油被洒,被情绪激动的赛奇女神。这已经唤醒爱神引起他。而且,故事跟我们指明它,这是一个他长久以来遭受痛苦的伤痕。

Let us observe in order to be scrupulously careful that, in the
reproduction that you have before your eyes, you can see that
there is something in effect like a luminous trait which starts
from the lamp and goes towards the shoulder of Eros.

让我们观察,为了小心翼翼。在你们眼前拥有的复制品里,你们能够看出,实际上有某件东西就像一个发亮的特征,从灯开始,照向爱神的肩膀。

Nevertheless the obliqueness of this trait does not allow it to
be thought that it is a question of this drop of oil, but of a
shaft of light.

可是,这个特征的倾斜并没有容许它被认为,问题是这个灯油滴,而是一个光束。

Some people will think that there is here (3) something which is in effect quite remarkable and which represents on the part of the artist an innovation, and therefore an intention which we could unambiguously attribute to him, I mean that of representing the threat of castration applied to the circumstances of loving. I think we would have to beat a hasty retreat if we were to advance in this direction.

某些人会认为, 在此是某件东西,实际上,它相当引人注意,而且在艺术家这边,它代表一种创新,因此它是一种意图,能够毫无曖昧地归属于他。我的意思是, 代表阉割的威胁,应用到恋爱的情境。我认为我们将必须匆促地撤退,假如我们想要朝这个方向前进。

We would have to beat a hasty retreat from it because of the fact that I highlighted for you…. a point already highlighted, but which I hope has already struck some of you, it is that this story is only known to us, despite its diffusion in the history of art, through a single text, the text of Apulius, in The golden ass.

我们将必须从那里匆促地撤退,因为我跟你们强调的这个事实,,,已经被强调的这一点,但是我希望你们有些人已经对它有印象。只有我们知道这个故事,尽管它在艺术史广为流传,通过一个文本, 阿普力斯的文本「黄金驴」。

I hope for your own pleasure that you have read The golden ass, it is, I must say, a very exciting text. If, as has always been said, certain truths are included in this book, I can tell you in a mythical and picturesque form veritable esoteric and initiatory secrets, it is a truth wrapped up in the most shimmering, not to say the most arousing, the most titillating appearances.

我希望,你们曾经阅读过「黄金驴」作为欣赏。我必须说,那是很有趣的文本。 假如,如有人说过, 某些真理被包括在这本书里。我能够告诉你们可验证的奥秘而创意的秘密,以一种神秘而生动的形式。这是一个真理专注于微光闪烁,撩人心弦的表象, 姑且不说是让人情欲奋张。

Because as it first appears, it is in fact something which has not yet been superseded, even by the most recent productions with which we have been regaled in France these last years in the most characteristic erotic genre, with the whole nuance of sadomasochism which constitutes the most
common aspect of the erotic novel.

因为乍然一看,事实上,它是某件还没有被替代的东西,即使根据最近的作品,前几年我们在法国被献赏的作品,凸显性爱的艺术,具有完整的虐待狂与受虐狂的细微差别,形成性爱小说的最普遍的一面。

It is in effect in the middle of a horrible story about the kidnapping of a young girl, accompanied by the most terrifying threats to which she finds herself exposed in the company of the ass (the one who speaks in the first person in the novel) it is in an interlude, something included within this very spicy story, that an old woman, in order to distract for a moment the girl in question, the kidnap victim, recounts to her at length the story of Eros and Psyche.

实际上, 关于绑架一位少女的恐怖故事的过程, 陪伴着最恐怖的威胁,她发现她自己暴露在驴子的陪伴 ( 小说里以第一人称叙述)。就在中间插曲,某件东西被包括在这个辛辣的故事里。 一位老妇人,为了要让受到质疑的这个少女分心一下子, 这位被绑架的受害者。老妇人跟她详细地叙述爱神与赛奇女神的故事。

Now what I highlighted for you above, is that it is as a result of the perfidious insistence of her sisters who will not rest until they lead her to fall into the trap, to violate the promises that she had made to her divine lover, that Psyche succumbs.

我以上跟你们强调的是,这是由于她的姐妹们的不诚实的坚持的结果。她们若是不将她引导进入这个陷阱,她们就不甘心, 引导她违背这个渃言: 她曾经跟她的神圣的情人许下的渃言, 赛奇女神屈服。

And the final method of her sisters is to suggest that what is in question is a terrifying monster, a serpent of most hideous aspect, that undoubtedly she is in some danger with him.

她的姐妹的最后方法就是建议,受到质疑的是一种可怕的怪物,一种非常令人骇惧的蛇。无可置疑的, 她跟他在一起,陷于危险当中。

After which the mental short-circuit is produced namely that, noticing the recommendations, the extremely insistent prohibitions to which her nocturnal interlocutor has recourse, imposes on her by enjoining that in no case should she violate his very severe prohibition not to try to see him, she can only too clearly see the coincidence between this recommendation and what her sisters are suggesting to her. And it is then that she takes the fatal step.

经过这个之后,精神的短路被产生。也就是说, 注意到这个建议,她的夜间的对谈者诉诸于的极端坚持的禁令,赋加在她的身上,命令说: 无论如何,她不应该违背他的严格的禁令,那就是不应该尝试看到他。 她能够很清楚地看出这种巧合,处于这个建议与她的姐姐们跟她建议的东西之间。 因此,她採取致命的这一步骤。

In order to take it, given what has been suggested to her, what
she thinks she is going to find, she arms herself.

为了接受它, 考虑到跟她所建议的东西, 她认为她将会发现,她武装她自己。

And in this sense we can say – despite the fact that the history of art does not give us any other testimony as far as I know, I would be
grateful if someone stimulated now by my remarks brought me proof
to the contrary – [that if Psyche] has been represented at this
significant moment as armed, it is indeed from the text of Apuleius that the Mannerist in question, Zucchi, has therefore borrowed what constituted the originality of the scene.

以这个意义,我们能够说—尽管这个事实: 艺术史并没有给予我们任何其它证词,据我所知。 我将会非常感激,假如有某个人现在被我的谈论激励,带给我们相反的证据—假如赛奇女神在这个重要的时刻,被呈现作为武装自己,那确实是从阿普雷斯的文本, 格调主义的绘画受到质疑, 朱奇画家因此借用这个场景的原创性组成的东西。

What does that mean? Zucchi represents for us this scene the story of which is very widespread. At the time already it is very widespread for all sorts of reasons. If we have only a single literary testimony, we have many in the order of plastic and (4) figurative representations.

那是什么意思? 朱奇呈现给予我们这个场景。这个场景的故事是广为流传。 在那个时候, 因为各种的理由,它已经广为流传。假如我们仅有一个文学的证词, 在雕塑及人像再现复制到层次,我们的证词可就不胜枚举。

It is said for example that the group which is in the museum of the Offices in Florence represents an Eros with a Psyche, both winged this time (you can notice that here if Eros has them, Psyche does not).

譬如,据说,在佛洛伦斯的官方博物馆,这个团体用赛奇女神来代表爱神。 这一次,两位都有翅膀 ( 你们能够注意到, 在此,虽然爱神拥有翅膀, 赛奇女神并没有)。

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

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