无意识的形成 27

无意识的形成 27
雅克、拉康
20.11.57 38

There is no need to refer to it since a simple, sincere inspection of the life of any one of us helps us to see that this so-called power of synthesis is more than held in check; and that really, unless we are dealing in fiction, there
is nothing more common in experience than what we can call not
just the incoherence of our motives, but even more, I would say
the sentiment of their profound lack of motivation, of their
fundamental alienation.

没有必要提到它。因为假如我们单纯而诚恳地检视我们任何一位的生活,我们将会看出,这个所谓的综合的力量相当受到约束。而且确实地,除非我们正在处理幻想,在精神分析经验里,最为常见的就是,我们所谓的不仅是我们动机的不一贯,尤有甚者,我不妨说,这些动机深深欠缺触动的情感,这些动机基本的异化的情感。

So that if Freud puts forward a notion of
the subject that operates beyond this, this subject that is so
difficult to grasp in ourselves, if he shows us its sources and
its action, there is something that should always have given us
pause, namely that this subject – in so far as it introduces a
hidden unity, a secret unity into what is apparent to us at the
most banal level of experience, our profound division, our
profound fragmentation, our profound alienation with respect to
(4) our own motives – that this subject is other.

因此,假如弗洛依德提出主体的观念,超越这个运作的主体,在我们自身如此难以理解的主体,假如弗洛依德告诉我们主体的来源与主体的行动,有某件东西应该让我们停顿一下。换句话说,这位主体,因为它介绍一种隐藏的一致性,一个秘密的一致性,在我们即使是最寻常的经验里,对于我们甚为明显的东西。我们深刻的区分,我们深刻的碎片化,我们深刻的异化,关于我们自己的动机—这个主体是别的。

Is it simply a kind of double, a subject that is perhaps a bad
ego, as some have said, since in fact it conceals some rather
surprising tendencies, or simply another ego, or as you might
rather think I am saying, the true ego? Is that really what is in
question? Is it simply an understudy, purely and simply an other
whom we can conceive of as being structured like the ego of our
experience?

这仅是一种双重者,主体或许是坏的自我,如同某些人曾经说过。因为事实上,主体隐藏某些相当令人惊奇的倾向,或是仅是隐藏另外一个自我,或者,如同你可能认为我正在说的,主体隐藏真实的自我。那确实就是受到质疑的东西吗?主体仅是替身演员,仅是我们构想到一位他者?作为像我们精神分析经验的自我的结构的他者?

That is the question, and that is also why we approach it this
year at the level and under the title of formations of the
unconscious.

那就是问题。那也是为什么我们今年探讨它,在无意识的形成的层次与标题之下。

The question is of course already present, and offers a response.
It is not structured in the same way: in this experiential I
(moi) something is presented that has its own laws. It has in
fact an organization of its formations, and has not only a style
but also a particular structure.

这个问题当然已经存在,并且提供一种回答。主体并不是以相同方式作为结构:在这个经验的「我」当中,某件拥有它自己的法则的东西被呈现。实际上,主体具有它的形成的组织,它不但有风格,而且有特殊的结构。

Freud approaches this structure
and deconstructs it at the level of neuroses, at the level of
symptoms, at the level of dreams, at the level of parapraxes, at
the level of the witticism. He recognizes it as being unique and
homogeneous.

弗洛依德探索并且解构它,从神经症的层次,从病征的层次,从梦的层次,从口误的层次,从机智语的层次。弗洛依德体认出主体,作为是独特而且是同质性。。

The whole core of what he exposes to us at the
level of the witticism, and this is the reason why I chose it as
a point of entry, rests on this; it is his fundamental argument
for making of the witticism a manifestation of the unconscious.

弗洛依德在机智语的层次跟我们揭露的东西的整个核心,依靠这个。这就是为什么我选择它作为一个进入点。弗洛依德的基本论点,就是让机智语成为无意识的展示。

This means that it is structured, that it is organized according
(5) to the same laws as those we find in the dream. He recalls
these laws to us, he enumerates them, he articulates them, he
recognizes them in the structure of the witticism.

这意味着,主体的结构,主体被组织,依照相同的法则,跟我们在梦里发现的法则相同。弗洛依德跟我们提醒这些法则,他列举这些法则,他表达这些法则,他在机智语的结构里体认出这些法则。

They are the
laws of condensation; the laws of displacement; essentially and
above all something of the other adheres to them; he also
recognizes in them what I translated at the end of my article as
égards aux nécessités de la mise en scene (tr: considerations of
representability). He introduces this also as a third element.

这些法则就是凝缩的法则,替换的法者。基本上,尤其重要的是,他者的某件东西坚持这些法则。弗洛依德也在这些法则当中体认出,我在我的文章结束时翻译的东西,作为再现表象的考虑。弗洛依德也介绍这个,作为第三个元素。

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

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