Seminar final 08

Seminar final 08
拉康研讨班25:结论的时刻

Jacques Lacan

雅克、拉康

Seminar 3: Wednesday 21 December 1976

The other point is to consider that qua Other, I do not know what this lack which dwells in me is, but that the subject itself tells me nothing about this lack since this lack does not mean anything directly. The subject itself of this lack knows nothing and says nothing about it because he is said by this lack, but qua Other I would say that I am in a topological perspective where there appears to me the point where the subject is divided since he is said by this lack, namely, that this lack which dwells in me, I discover that it is its very own, it itself knows nothing about what it is saying, but I know that it knows without knowing it. I am going therefore…You see that what I have said to you there could be written a little bit like what Lacan articulates about the process of separation. I am therefore going to articulate the different moments of the drive with the different articulations of separation. Good.

另外一点是要考虑到,作为大他者,我并不知道驻居在我身上的这个欠缺是什么。但是主体本身并没有告诉我任何关于这个欠缺,因为这个欠缺并没直接意味着任何事情。这个欠缺的主体本身什么都不知道,并且对于它什么都没有说,因为他由这个欠缺来说他。但是作为大他者,我要说,我处于一个拓扑图形的观点。在那里,对我而言,似乎出现主体被分裂的点,因为他是由这个欠缺所说。换句话说,驻居在我身上的这个欠缺,我发现,它就是它自己。对于它正在说什么,它自己什么都不知道。但是我知道它并不知道,却是知道。因此,我将、、、你们看出,我曾经跟你们所说的,能够被写成,有点像是拉康所表达的,关于分离的过程。我因此将要表达冲动的不同时刻,用分离的不同表达。不错。

On the bottom left, I put the process of separation with an arrow which goes from the Ø (O with this lack put together between the capital O and the subject, the little o-object, and this arrow is meant to signify that, I know nothing about this lack qua Other, but something of it comes back to me from the subject who for its part says something about it.

在左边的底端,我将分离的过程,用一个箭头,从这个Ø( 大他者O带有这个欠缺,将这个小客体放置在大写的大他者O与主体之间。这个箭头被用来意指着,对于作为大他者的这个欠缺,我一无所知。但是它的某件东西从主体回到我这里。主体就它而言,说了某件事情。

That is why I articulate it with a drive, because it is just as if I wanted to manage to articulate this lack, this nothing, hang something on it, know something about it, let us say I trust the subject: I allow myself to be pushed by it – it is moreover the drive. I allow myself to be pushed by it and I expect that it will give me this little o-object.

那就是为什么我用冲动驱力表达它,因为正好像我想要成功地表达这个欠缺,这个空无,我想要悬挂某件东西在上面,我想要知道关于它的某件事,容我说,我信任这个主体。我容许我自己被它所逼迫。而且,它就是这个冲动驱力。我容许我自己被它所逼迫,而且我期待,它将会给我这个小客体。

But according as I advance, as I wait for this subject, as I might say, what I discover is that in following the subject, the little o, all the two of us are doing is going around it. It is effectively inside the loop and I assure myself that effectively this little o is unattainable.
I could say here that this is a first circuit and that, I have assured myself qua Other that he has effectively this character of lost objects, the idea that I propose, is that one can comprehend at that moment the instinctual reversal of which Freud speaks and Lacan takes up again, the instinctual reversal that I am going to put on the top of the graph, as the passage to a second mode of separation and this instinctual reversal, as one might say, as a second attempt at approaching the lost object but this time from a different perspective: from the perspective of the subject.

但是随着我前进,随着我等待这个主体,我不妨说,我所发现的是,当我跟随这个主体,这个小客体,我们两个人所正在做的,就是环绕它。有效地在这个圈套之内,并且我告诉我自己,有效地,这个小客体并无法被获得。我在此能够说,这是一个最初的迴圈,而且,我曾经告诉我自己,作为大他者,他有效地拥有失落的客体的这个特性。我建议的观念是,在那个时刻,我们能够理解弗洛伊德提到的这个本能的倒转,而且拉康再次从事的这个本能的倒转,我将要将它摆放在这个图形的顶端,作为通过到分离与这个本能的倒转的第二个模式,我们可以说,作为一种第二次的尝试,要接近那个失落的客体。但是这一次,从不同的观点,从主体的观点。

Let me explain: if you wish, in the first moment that I postulate, I would say that while I recognise myself as listener, the switching point that comes, which means that now I am going to pass to the other side, can be articulated as follows, namely, to advance that when I recognise myself as listener, one could say that this time it is me, I am recognised as listener by the music which comes to me, namely, that the music, what was an answer and which gave rise to a question in me, things are inverted, namely, that the music becomes a question which assigns me, as subject, to respond myself to this question, namely, that you see that the music is constituted as listening to me, as subject finally – let us call it by its name – as subject supposed to hear and the music, the production, that which was the inaugural answer becomes the question, the production therefore of the musician subject being constituted as subject supposed to hear, assigns me in this position of subject and I am going to answer it by a transference love. In this way one cannot fail to articulate the fact that music produces all the time effectively love-effects, as one might say.

请让我解释,在我提出的第一个时刻,我将会说,当我体认出我自己,作为倾听者,这个转捩点来临,那意味着,现在我正要凭借我感受到音乐,通过到另外一边。事情被倒转过来,换句话说,音乐变成问题,指定我作为主体,回应这个问题。换句话说,你们看到,音乐被构成作为倾听我,最后作为主体。让我们就称它为主体,作为应该倾听的主体。而音乐,这个产物,原先作为开始的回答,现在变成这个问题,因此是音乐家主体被形成,作为应该倾听主体的产物,它指定我在主体的这个位置。我将要以移情的爱回答它。以这种方式,我们一定能够表达这个事实: 音乐始终有效地产生爱的效应,我们可以这么说。

I come back again to this notion of lost object from the following angle: the fact is that you have not failed to remark that what is proper to the effect of music on you, is that it has this power, as one might say, of metamorphosis, of transmutation, that one could summarise rapidly as follows, by saying for example that it transmutes the sadness that is in you into nostalgia, I mean by that that if you are sad, the fact is that you can designate, whether you are sad or depressed, you can designate the object that you lack, whose lack you are missing, makes you suffer, and it is said to be sad, I mean, it is not the source of any enjoyment.

我再一次回到失落的客体这个观念,从以下的角度:事实上,你们曾经成功地谈论到,音乐对你们影响合宜的地方是,它拥有蜕变及转变的这个力量,我们不妨说,我们能够迅速总结如下,譬如,当我们说,音乐转变你内心的悲伤成为一种怀旧,我那样说的意思是,假如你悲伤,事实上,你能够指明,无论你悲伤或沮丧,你能够指明你欠缺的客体,你正在失落的客体的欠缺。它让你痛苦,它被认为是悲伤,我的意思是,它不再说任何享乐的来源。

The paradox of nostalgia – as Victor Hugo said, nostalgia is the happiness of being sad – the paradox of nostalgia is that precisely in nostalgia what happens, is that what you are lacking is of a nature that you cannot designate and that you love this lack. You see that in this transmutation, everything happens as if the object which was lacking really evaporated, has evaporated, and that what I propose to you, is to comprehend effectively the enjoyment, one of the articulations of musical enjoyment, as having the power to evaporate the object.

怀旧的矛盾—如同维克、雨果所说的,怀旧是感到悲伤的快乐—怀旧的矛盾是,确实在怀旧当中所发生的事情是,你当时的欠缺是属于你无法指明的东西,而你爱这个欠缺。你们看出,在这种转变当中,每一件事情发生,好像以前欠缺的客体真的蒸发,已经蒸发。我所跟你们建议的是,要有效地理解这种享乐,音乐般享乐的一种表达,因为它拥有力量将客体蒸发。

I see that the word ‘evaporate’, we can almost take it in the physical sense of the term, in which physics has located sublimation: sublimation, is effectively a matter of making a solid pass into the state of vapour, of gas; and sublimation, is this paradoxical path by which Freud teaches us – and Lacan has articulated in a much more sustained way – it is precisely the path along which we can have access, precisely along the path of desexualisation, to enjoyment.

我看出,「蒸发」这个字词,我们几乎能够从这个术语的物理意义来理解。在这个意义里,物理已经定位昇华的位置:昇华有效地让一种固体转变成为蒸发及气体的状态。昇华就是弗洛伊德教导我们的这条矛盾的途径—拉康曾经以更加持续的方式来表达—确实就是沿着这条途径,我们能够接近享乐,确实就是沿着除掉性化的这条途径。

Therefore, you see, in this second moment – what I am marking, at the top of the circuit: the reversal of the drive – a first torsion – it is perhaps starting from this notion of torsion that Dr Lacan thought of inserting this little topo at the point that he is in his progress – a second moment therefore, a first torsion appears where there is the apparition of a new subject and of a new object.

因此,你们看出,在这个第二个时刻—我正在标示的东西,在迴圈的顶端,冲动驱力的倒转—一个最初的迂迴—或许就是从迂迴的这个观念,拉康博士想到插入这个小小的拓扑图形,在他正在进展的时刻—因此这是第二个时刻,首次的迂迴出现在新的主体与新的客体的理想魅影所在地方。

The new subject precisely, is me who from auditor becomes, I would say, I cannot say speaker, speaking, musicing, one would have to say that it is the point in music where, the notes that go through you, everything happens as if paradoxically, it is not so much that you hear them, it is as if everything happens as if – I insist on the ‘if’ – everything happens as if you were producing them yourself: you are the author of this music. I put here an arrow which goes there from the subject to the separating little o, wanting to indicate by that that in this second perspective of separation, this time, it is from the point of view of the subject that I have a perspective of a lack in the Other.

这个新的主体,确实就是从专注倾听者转变过来的我。我不妨说,我不能够是转变成为言说者。假如我们言说音乐,我们将必须是,这是音乐的对位,乐符在那里通过你,每一件事情发生好像是矛盾。与其说是你听到这些乐符,不如说是好像每一件事情发生,好像—我坚持用好像这个字词—好像每一件事情发生,好像你自己在创作它们,你是这个音乐的作曲家。我在此放一个箭头,它从主体朝向这个分开的小客体,它想要凭借它跟你们指示,在分开的这第二个观点,这一次,从主体的观点开始,我拥有在大他者那里欠缺的观点。

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

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