sinthome 37

sinthome 37

Jacques Lacan
雅克 拉康

Le Sinthome
圣征

Language finds, in its inflection towards the copula, the proof that it is a roundabout
path, altogether bladder (vessie), namely dark. And dark is only a metaphor here;
because if we had a bit of Real, we would know that light is no darker than the
shadows (ténèbres) and inversely.

语言在其朝向交媾的内省中,找到这个证据,那是一条偏离的途径,完全都是气囊,也就是黑暗。在此黑暗仅是一个比喻,因为假如我们有一点实在界,我们会知道,光跟阴影一样地黑暗,反过来说,也是一样。

The metaphor copula is not a proof in itself. It is the way he Unconscious has of
proceeding. It only gives traces. And traces which not only are effaced all by
themselves, but that every use of discourse tends to efface; analytic discourse like the
others. You yourselves think of nothing but erasing the traces of this discourse of
mine, since it is I who began by giving this discourse its status, its status starting from
the pretence (faire semblant) of the little o-object. Or, when all is said and done, of
that which, of what I name, of what man puts in the place of the filth that he is.

「交媾」的这个比喻,本身并不是证据。那是无意识继续前进的方式。它仅是给予痕迹。痕迹不但全部被它们自己抹除,而且论述的每个用途都倾向于抹除。精神分析论述像其他的论述一样。你们自己仅是想到抹除我的这个论述的痕迹。因为是我开始给予这个论述它的地位。它的地位从这个小客体的伪装开始。或是,当一切都说都做了,我所命名的,人们摆放代替他本质地肮脏。

At least in the eyes of a psychoanalyst who has good reason to know it, as he takes up
that place himself. One must pass through this determined filth in order perhaps to
rediscover something which is of the order of the Real. But as you see I use the word
rediscover. Rediscover is already a slippage as if everything of this order had already
been found. This is the trap of History. History is the greatest of phantasies, if I can
express myself thus. Behind History, the History of events that historians are
interested in, there is myth. And myth is always captivating.

至少,在精神分析的眼里,他很有理由知道它,当他自己从事那个位置。我们必须通过这个被决定的肮脏,为了或许能够重新找到某件属于实在界的层次。但是如你们所见,我使用「重新发现」这个字词。「重新发现」已经是一个滑溜,好像这个层次的一切已经被找到。这是历史的陷阱。历史上所有幻见的最大幻见,假如我们能够像那样表达我自己。在历史背后,历史学家感到興趣的事件的历史,就有神话存在。神话总是迷人的。

The proof is that Joyce, after having carefully borne witness to the sinthome, the
sinthome of Dublin which only takes on a soul from his own, does not fail, a fabulous
thing, to fall into the myth of Vico which sustains Finnegans Wake. The only thing
that, that preserves him from it, is that all the same Finnegans Wake is presented as a
dream. Not simply a dream but it designates that Vico is a dream, just as much when
all is said and done as the babblings of Madame (142) Blavatsky, the Mahanvantara
and all the rest of it.

这个证据,乔伊士,经过仔细地见证这个圣征后,都柏林的圣征,它从他自己的圣征形成一个灵魂。乔伊士一定会掉入维持芬尼根守灵的维科的神话,真实匪夷所思。唯一阻止他不要掉入的事情,芬尼根守灵仍然被呈现,作为一场梦。不仅是一场梦,而且它指明:维科是一场梦。如同当一切都说都做了,作为布拉瓦思基的胡言乱语,生灵的呓语,等等。

The idea of a rhythm into which I myself fell, as I might say, in my rediscovered above. One does not refind. Or indeed this is to designate that one never does anything but turn round in circles. One finds. The only advantage of this refound, is to highlight what I am indicating, that there cannot be progress.

我自己掉入的这个韵律的观念,我不妨说,在我以上的「重新发现」。我们并没有重新找到。或的确,这是要指明:我们从来没有做任何事,除了就是指在圆圈里绕圈子。我们发现。这个重新被发现的利益,就是要强调我正在指示的东西。不可能有进展。

That one turns around in circles. But there is perhaps all the same another way of explaining that there is no progress. It is that there is no progress except that marked by death. What Freud underlines about this death, if I may express myself thus, is to trieb it, to make a Trieb of it.

我们在圆圈里打转。或许还有另外一种方式解释,没有进展存在。没有进展存在,除了就是被死亡所标示。弗洛伊德对于这个死亡所强调的东西,容我自己这样表达,就是要让它驱力化,让它成为一种驱力。

This has been translated into French by, I do not know why, the pulsion or the pulsion de mort. A better translation was not found even though there was the word dérive, the death drive is the Real inasmuch as it can only be thought of as impossible. Namely, that every time it shows the tip of its nose, it is unthinkable.

我不知道为什么,这种驱力曾经被翻译成为法文的「悸动」,或「心灵的悸动」。没有更好的翻译被找到,即使有「似曾相识」这个字眼。死亡驱力就是这个实在界,因为它能够被认为是不可能。换句话说,每一次它显现它的鼻子的尖端,它就成为不可思议。

To tackle this impossible does not constitute a hope. Since this unthinkable is death,
and the foundation of the Real is that it cannot be thought.

克服这个不可能,并没有形成一种希望。因为这个不可思议是死亡,而实在界的这个基础,是它无法被思想。

The unbelievable thing is that Joyce, who had the greatest contempt for history, futile
in effect, that he qualifies as a nightmare, a nightmare whose characteristic is to
unleash on us big words which cause us so much harm, could finally only find this
solution: to write Finnegans Wake. In other words a dream which, like every dream,
is a nightmare, even if it is a tempered nightmare.

这个难以置信的事情是,乔伊士对于历史极端地藐视,实际上是徒劳,他将历史视为是一种梦魇。梦魇的特性是要对我们释放夸大的字眼,引起我们如此的惊吓。乔伊士仅能找到这个解决:写下芬尼根守灵。换句话说,梦是梦魇,就像是每个梦一样,即使它是经过淡化的梦魇。

Except for the fact, he says, and this is how this Finnegans Wake is constructed, that the dreamer in it is not any particular character, it is the dream itself. It is here, it is in this way that Joyce slides, slides, slides towards Jung. Slides towards the collective unconscious of which there is no better proof, there is no better proof than Joyce, that the collective unconscious is a sinthome. For one cannot say that Finnegans Wake, in his imagination, is not part of this sinthome.

除了这个事实,他说。这就是这个芬尼根守灵被构想的方式。里面的梦想者并不是任何特别的人物,他是梦的本身。就在这里,以这种方式,乔伊士滑溜,滑溜,滑溜朝向荣格。滑溜朝向集体无意识。关于这个集体无意识,这是最好的证明,没有比乔伊士更好的证明。集体无意识是一种圣征。因为我们无法说,芬尼根守灵,在他的想像里,并不是这个圣征地一部分。

So then it is indeed Joyce who is the sign of my impediment. It is indeed Joyce
precisely in so far as what he advances, and advances in a quite especially artistic way
– he knows how to do it – is the sinthome. And a sinthome such that there is nothing
that can be done to analyse it.

因此,确实乔伊士就是我的阻碍幻影的迹象。确实就是乔伊士,他所提出的东西,以一种相当特别的艺术的方式提出。他知道如何去提出—这就是圣征。这是如此一个圣征,以致没有一样事情能够被做,为了分析它。

I said that recently. A Catholic from good stock as was, as was Joyce – who could
never get over that he had been soundly brought up by the Jesuits – a Catholic, one
who is true as true. But of course, there (143) is not a single true one here, of course;
not a single one of you has been brought up by the Jesuits! Well, a Catholic is
unanalysable.

我最近说。乔伊士是一位来自良好背景的心教徒。他永远无法克服他曾经在耶稣教会接受健全的教养。他是一位天主教徒,实实在在的天主教徒。但是当然,并当一个真实的天主教徒并不容易。你们没有一个人曾经接受耶稣教会的教养。呵呵,一位天主教徒是无法被分析的。

On this point, there is someone who pointed out to me that I had said the same thing
about the Japanese. It was Jacques-Alain Miller, of course, who did not miss his
chance. Anyway, I stick by it. I stick by it, and it is not for the same reason.

在这一点,有某个人跟我指出,我曾经说过相同的事情,关于日本人。当然,那是亚伦米勒,他并没有错过他的机会。无论如何,我坚持这一点,但是理由不一样。

But since, since that evening with Jacques Aubert, to which you were not invited, since that evening with Jacques Aubert, I saw a film, which was also a Japanese film [The Empire of the Senses?]. It was in a small cinema and you could not have been invited to it, any more than to Jacques Aubert. And then, I would not have liked to have given you bad thoughts.

自从共雅克、奥伯会面对那天晚上以来,你们并没有被邀请去那里,因为那天晚上与雅克、奥伯在一块,我看到一部影片。那也是一部日本影片「感官世界」。那是在一个小戏院,你们当时根本不可能被邀请到那里,正如不会被邀请到雅克、奥伯那里。我本来不会给予你们这些不好的念头。

All the same I picked out some people from my School who were attending this film and who were, like me, I suppose, anyway, this is what I use as a term to describe the effect it had on me: I was, properly speaking, stupefied. I was stupefied because, because it is, it is eroticism – I was not expecting that going to see a Japanese film – it was feminine eroticism.

可是,我从我的学派挑选几个人去观看这部影片。我认为他们就像我一样,无论如何,这就是我使用的作为一个术语,来描述那部影片对我的影响。适当地说,我惊骇莫名。我之所以惊骇,是因为那时色情片。我没有预期会去看一部日本影片,那是一部女性的色情片。

There, I began to, to understand the power of Japanese women. It seems, in looking at this film, one day or another you should go and see it, this was a private showing, but I hope all the same that it will get a permit. And by doing a bit of crawling, you will manage to see it in a limited number of cinemas, anyway. You will be asked to show your credentials, but you can say that you have come from my Seminar for example. Yes!

在那里,我开始了解日本女人的这个力量。似乎,当我正在观看这部影片时,。某一天,你们应该去观看。那是私下放映,但是我仍然希望它会获的许可公开放映。稍微避人耳目一下,你们在少数的戏院,应该还是看得到。你们将会被要求出示身份证明,但是你们能够说,譬如,你们来自我的研讨班。没错。

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

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