Archive for the ‘拉康论移情’ Category

拉康論移情 0419c

October 8, 2011

拉康論移情 0419c

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 19 April 1961

It will not be felt, subjectivated, if to subjectivate is to take up
a place in a subject that is valid for another subject, namely to
pass to this most radical point where the very idea of (4) communication is not possible. Every signifying battery can always say everything because what it cannot say will signify nothing at the locus of the Other and because everything that signifies for us always happens at the locus of the Other. In order that something should signify, it is necessary that it should be translatable at the locus of the Other.

它將不會被感覺,被主體化,假如主體化就是要在生命主體裡佔據一個位置,這個生命主體,對另外一個生命主體是有效的。換句話說,傳遞到這個最積極的點,在那裡,溝通的觀念是不可能的。每一個能指化的鎖鏈總是能夠說出一切,因為跟我們能指的一切,總是發生在大它者的軌跡。 為了讓某件東西具有能指,它有需要被翻譯成為大它者的軌跡。

Imagine a tongue, as I already pointed out to you, which has no
future, well then it will not express it, but it will signify it
all the same, for example by the procedure of ought or to have.
And this is moreover what happens in fact, because I do not need
to come back on this, I pointed it out to you, this is how in
French and in English one expresses the future: cantare habeo, je
chanter-ai, tu chanter-as, it is the verb avoir which is declined, I mean originally, in a well attested fashion; I shall sing, is also, in a roundabout way, to express that which English does not have, namely the future.
想像一種語言, 如我已經跟你們指出的,這個語言沒有前途,它將不會表達它, 但是它將仍然給予意符。例如,憑藉應該擁有的程式。 而且,這是事實上發生的事情, 因為我並不需要回頭談這一點。 我跟你們指出,這是在法文及英文,我們如何表達未來式:cantare habeo, je chanter-ai, tu chanter-as,是avoir 這個動詞被拒絕。 我的意思是原先,它處於清楚證明的方式。 我將唱歌,以繞過的方式,它表達英文所沒有的東西, 也就是未來。

There is no signifier lacking. At what moment does there possibly begin to appear the lack of signifier? At that proper dimension which is subjective and which is called the question.

沒有欠缺的能指。在什麼時候,能指點欠缺可能開始出現?在主體化及所謂的問題的那個適當維度?

I remind you that at one time I took into account sufficiently the fundamental, essential character of the apparition in the child (already well known, picked up of course by the most day-to-day observation) of the question as such, this moment so particularly embarrassing because of the character of these questions which is not an indifferent one, one where the child who knows how to deal with the signifier introduces himself to this dimension which makes him pose to his parents the most
importunate questions, the ones that everyone knows provoke the
greatest disarray and, in truth, responses that are almost necessarily impotent. What does running mean? What does kicking mean? What is an imbecile?

我提醒你們,有一次我充分地考慮到,這個受到質疑本身的小孩身上的魅影的基本重要特性 ( 這已經是眾所周知,當然是從日常觀察中挑選出來) 。這個時刻特別令人尷尬,因為這些問題的特性,這並不是冷漠的特性。在這個特性裡,小孩知道如何處理能指。他介紹自己給這個維度。這個維度讓他跟他的父母親提出最懇切的問題。眾所周知,這些問題會引起驚慌失措。 事實上, 回答幾乎必然是軟弱無力。 跑是什麼意思? 踢是什麼意思? 白癡是什麼?

What makes us so incapable of giving a satisfactory answer to these questions, what forces us to respond to them in such a specially inept fashion…. as if we did not know ourselves that to run is to walk very quickly – it is really to spoil the work – that to kick, is to be angry – is really to say something absurd. I am not insisting on the definition that we may give of imbecile.

對於這些問題,為什麼我們不能夠給予令人滿意的回答?是什麼迫使我們以如軟弱無力的方式回答? 好像我們自己不知道, 跑就是很快地走—-這樣確實會弄巧成拙—-踢就是憤怒—這樣說確實是荒謬。我並不堅持我們可能給予白癡的定義。

It is quite clear that what is in question at that moment is a
standing back of the subject as regards the usage of the signifier itself and that, the passion of what is meant by the fact that there are words, that one speaks and that one designates a thing so close to what one is dealing with by this enigmatic thing which is called a word, a term, a phoneme, this indeed is what is at stake.

顯而易見的,那個時刻受到質疑的是生命主體的撤退,關於能指的本身的用法。文字存在的這個事實,所意味的激情,我們談話,我們指明一件東西,它如此靠近我們正在處理的東西,由於所謂的一個詞語,一個術語,一個音素的謎團的東西。 這確實是岌岌可危的東西。

The incapacity felt at that moment by the child is, formulated in the question, of attacking the signifier as such at the moment when its action is already marked on everything, indelible. Everything that will come as
question, in the historical continuation of his pseudophilosophical
meditation, will only when all is said and done collapse because, when he has got to “What am I?” he will not have got much further in it, unless of course he is an analyst.

在那個時刻,小孩所感覺到的無能為力, 在這個問題被說明,他攻擊能指的本身,當它的行動已經被標示在每一件事上,無法被抹除。每一件事將作為問題來臨, 在他類似的哲學的沉思的歷史延續裡, 當一切都被說被做,每件東西都會崩潰。因為當他到達「我是何許人也?」,他無法再進一步發揮,除非當然,他說一位精神分析師。

But if he is not – it is not in his power to be one for all that long – [when] he has got to the stage of posing himself the question “What am 1?”, he cannot see that precisely by putting himself in question in this form, he veils himself, he does not perceive that it is to break through the stage of doubt about being to ask oneself what one is, for by simply formulating the question in this way, he is going headlong (except for the fact that he does not perceive it) into metaphor.

但是假如他並不是精神分析師—儘管一切,他並沒有充當精神分析師的能力—他已經到達這個階段,跟他自己提出這個問題:「我是何許人也?」。他無法明白,確實以這種方式質疑他自己,他遮蓋了他自己,他沒有感覺到,這是要突破懷疑的階段,關於生命實存,為了詢問自己,他自己是何許人也。因為僅有以這種方式說明這個問題, 他一頭闖入比喻的領域。( 除了這個事實: 他並沒有感覺到它。)

And it is all the same the least of the things that we, we analysts, should
remember in order to help him to avoid renewing this ancient error always threatening in its innocence under all its forms and to prevent him from answering himself, even with our authority: (5) “I am a child”, for example.

這仍然是,我們作為精神分析師, 至少應該記住的事情,為了幫助他避免重蹈這個古代的錯誤。這個錯誤總是以它的各種形態,以它的無知,具有威脅性。以及為了阻止他不要自己回答,甚至用我們的權威: 譬如,「我是一位小孩」。

Because of course this is the new reply that the indoctrination of psychologising repression in its renewed form will give him and with it in the same packet and without him noticing it, the myth of the adult who, for his part, is no longer supposed to be a child, thus making remultiply again this sort of morality about a pretended reality to which, in
fact, he allows himself to be led by the nose by all sorts of social swindles.

當然,因為這是這個新的回答, 心理化的潛抑,以它的更新的方式灌輸,將會給予他這個成年人的神話, 還是相同的包裝,但是他沒有注意到。 就他而言,這個成年人,不再被認為是一個小孩,因此再一次將這種道德繁複化,關於一個偽裝的現實界。事實上, 他讓他自己被社會的各種欺騙牽著鼻子走。

Moreover, we did not have to wait for analysis, nor for Freudianism, for the formula “I am a child” to introduce itself as a corset designed to make anyone, who in any way finds himself in a slightly irregular position, hold himself straight. If beneath the artist there is a child, it is the
rights of the child that he represents among people who of course
are considered to be serious, who are not children.

而且, 我們並沒有必要等待精神分析,也沒有必要等待佛洛伊德的思想,才能找到「我是一個小孩」這個公式,為了介紹它自己,充當一種緊身胸衣,被設計將任何人都緊緊套牢。無論如何,這個人發現他自己處於稍微不規律的立場。假如在藝術家身上,都有一個小孩,那是他代表這個小孩的權利, 當然在那些被認為是嚴肅的人當中。 那些人並不是小孩。

As I told you last year in my lessons on The ethics of psychoanalysis, this tradition dates from the beginning of the Romantic period, it
begins more or less at the time of Coleridge in England (to situate it in a tradition) and I do not see why we should charge ourselves with taking it on.

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

拉康論移情 0419b

September 29, 2011

拉康論移情 0419b

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 19 April 1961

Here this bouquet covers the precise point of an absent presence, of a presentified absence.

在此,這個花束涵蓋一個欠缺的存在,一個被呈現的存在的確實點。

The technical history of the painting of the epoch invites us, not by my voice but by the voice of critics who started from premises quite different to those which on this occasion guide me here.

這個時代的圖畫的技術的歷史邀請我們,不是憑藉我的聲音,而是憑藉批評者的聲音。批評者的聲音從截然不同於這個場合在此引導我的那些假設開始。

They have underlined the kinship there is because of the very fact of the probable collaborator who is the one who especially made the flowers.

他們強調存有親屬關係,因為這個事實:可能的合作者是特別製造花的人。

Certain things indicate to us that it is not, probably, the same artist who at work in the two parts of the painting and that it is a different person, Francesco, a brother or cousin of the artist, instead of Jacopo who, by reason of his technical skill, was asked to be the one to produce this piece of bravura of the flowers in their vase at the appropriate
place.

某些事情跟我們指示著,從事這幅圖畫的兩個部分,可能不是相同的藝術家,而是不同的人,法蘭西斯可,藝術家的兄弟或堂兄弟,而不是傑可坡。由於他具有技術的技巧,他被要求成為製作在適當位置花瓶裡的這束花束的人。

This is related by the critics to something which I hope a certain number of you know, namely the technique of Arcimboldo which, a few months ago, was brought to the knowledge of those who inform themselves a little about the different returns to the present of aspects which are sometimes elided, veiled or forgotten in the history of art.

這些批評者將它跟某件東西牽連,我希望你們有些人會知道,也就是阿西姆伯德的技術。幾個月前,大家被告知這個技術,他們稍微告訴他們自己,關於這些不同的回到目前有時被省略,被遮蔽,被遺忘的部分,在藝術史上。

This Arcimboldo is distinguished by this singular technique which
produced its latest off-shoot in the work for example of my old friend Salvador Dali, which consists in what Dali has called paranoiac drawing.

這個阿西姆伯德以這個奇特的技術突顯出來,它產生它最近的旁系,譬如,在我的老朋友,薩爾瓦多,達利的作品。這門技術在於達利所謂的偏執狂患者的圖畫。

In the case of Arcimboldo, it is to represent the face for example of the librarian (he worked mainly at the court of the famous Rudolph II of Bohemia who also left many other traces in the tradition of the rare object) of Rudolph II by a clever putting together of the primary implements
of the librarian’s function, namely a certain fashion of (3) arranging books in such a way that the image of a face, of a visage is here much more than suggested, really imposes itself.

在阿西姆伯德的情況, 它是要呈現這個臉孔,譬如,圖書館員的臉孔 (他主要是從事波西米亞的著名的魯道夫二世的宮廷,那裡留下許多其它的遺跡,在稀有客體的傳統),他繪製魯道夫二世的圖書館員,巧妙地使用圖書館員的功用的基本要素的拼貼。 換句話說, 使用各種安排書籍的方法,讓一個臉孔,一個外貌的意象,在此不僅是被建議,確實是賦加它自己。

In the same way the symbolic theme of a season incarnated in the form of a human face will be materialised by all the fruits of this season whose assemblage will itself be realised so that the suggestion of a face also imposes itself in the form produced.

同樣地, 一個季節的象徵的主題,以人類臉孔的形式具體表現,將會具體化,根據這個季節所有的水果,這些水果的彙集本身將會被實現,這樣一個臉孔的暗示也賦加它自己,以被產生的形式。

In short this production of that which in its essential shape presents itself as the human image, the image of another, will be realised in the Mannerist method by the coalescence, combination, the accumulation of a pile of objects the total of which will be charged with representing what henceforth manifests itself at once as substance and illusion because, at the same time as the appearance of the human image is sustained, something is suggested which can be imagined in the disaggregation of objects which, by presenting in a way the function of the mask, show at the same time the problematic of this mask.

總之, 這個作品在它的基本的形狀,呈現它自己,作為人的意象,另外一個人的臉孔的意象, 將會以格調主義的方式被實現,使用接合,連接,累積一大堆東西。這些東西的總合將會被賦予代表因此展現它自己的東西,既當作材料,也當作幻覺。因為當人類的意象的外表被維持的同時,某件東西被建議。這個東西在客體崩潰時被想像。當這些客體以面具的功用呈現時,它們同時顯示這個面具的難題。

That with which in short we always have to deal every time we see coming into play this so essential function of the person, in so far as we see it all the time in the foreground in the economy of human presence,
is the following: if there is a need for a persona it is because behind, perhaps, every form slips away and vanishes.

總之,我們總是必須處理,每一次我們看到人的這個如此基本的功用運作時。我們始終看到它在前景裡, 在人的存在的活動裡,那就是以下: 假如有需要一個角色面具,因為在背後,或許,每個形式會溜走並且消失。

And undoubtedly, if it is from a complex assemblage that the persona results, it is indeed in effect here that there lies at once the lure and the fragility of its subsistence and that, behind, we know nothing about what can be sustained, because a reduplicated appearance is imposed on us or suggests itself essentially as reduplicated appearance, namely something which when questioned leaves a vacuum, the question of knowing what there is behind in the final analysis.

無可置疑的,假如角色面具來自一個複雜的彙集,實際上, 確實是在這裡, 它的生存的陷阱及脆弱性就在這裡。 而在背後,我們什麼都不知道, 關於什麼能夠被維持, 因為一個複製的外表被賦加在我們之上,或建議它自己,基本上作為被複製的外表。也就是說, 某件東西,當它被質疑時,它會留下一個真空。總歸到底,問題是要知道,背後是什麼。

It is indeed therefore in this register that there is affirmed, in the composition of the painting, the maintaining of the question of knowing (because this is what we should now maintain, sustain essentially before our minds) what is happening in the act of Psyche.

因此確實是在這個銘記,維持想要知道的問題被肯定, 在圖畫的繪製結構,( 因為這是我們現在應該維持,基本上維持在我們的心靈之前),要知道賽奇女神的動作,發生什麼事。

The fulfilled Psyche questions herself about what she is dealing with and it is this moment, this precise, privileged instant that Zucchi has held onto, perhaps well beyond what he himself could, would have been able to articulate about it in a discourse – there is a discourse on the antique gods by this personage, I was careful to consult it, without any great
illusion, there is nothing much to be drawn from this discourse – but the work speaks sufficiently for itself.

這個被實現的賽奇女神詢問她自己,關於她正在處理的東西。就在這個時刻,這個明確的特權的瞬間, 朱奇曾經掌握, 或許遠超越他自己能夠,或本來能夠用論述來表達它—這個人物有一個對於古代眾神的論述,我很仔細地參照它,不帶任何幻想,從這個論述裡,根本沒有東西能夠被獲得—但是作品本身已經足夠替它自己說話。

And the artist has in this image grasped this something instantaneous which I called the last time this moment of the apparition, of the birth of Psyche, this sort of exchange of powers which ensures that she
becomes embodied, and with all this cortege of misfortunes which will be her’s in order that she should loop a loop, in order that she should rediscover in this instant this something which, for her, is going to disappear the instant after, precisely what she had wanted to grasp, what she had wanted to unveil: the face of desire.

藝術家在這個意象曾經掌握這個某件瞬間的東西,上一次我稱它為魅影的這個時刻,賽奇女神誕生的時刻。權力的這種的交換保證,她會變得具體化,帶著一大堆屬於她的不幸,這樣她才能環環相扣,這樣她才會在這個瞬間重新發現這個某件東西。對於她而言, 這個東西將會消失,在她曾經想要揭露的瞬間: 欲望的臉孔。 這確實是她曾經想要掌握的。

What justifies the introduction of the symbol ^> (phi) as such, since I put it forward as that which comes in place of the missing signifier? What does it mean that a signifier should be lacking?

介紹陽具的象徵符號本身的理由是什麼?因為我提出它,作為前來代替失落的能指?那是什麼意思?能指應該就是欠缺?

How many times have I told you that once given the battery of signifiers beyond a certain minimum which remains to be determined – regarding which I told you that at the limit four should be enough for all significations – there is no tongue, however primitive it may be, where finally everything cannot be expressed, except of course for the fact that, as the Vaudois proverb puts it: “Everything is possible for man, what he cannot do he leaves undone”, that what cannot be expressed in the aforesaid tongue, well quite simply it will not be felt.

有多少次,我曾經告訴你們,一旦被給予這一系列的能指,超越某個有待決定的最小量—關於這個,我告訴你們,在極限,四個應該足夠充當所有的意義—沒有一種語言,無論多麼原始的語言,在那裡最後無法盡情表達一切,當然除了這個事實,如同寶達斯格言所說的:「對於人而言,一切都有可能,他做不到的事情,他就聽任不做。」在前述的語言,無法被表達的東西,簡單地說,就讓它視如無睹。。

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

拉康論移情 0419

September 29, 2011

拉康論移情 0419

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 17: Wednesday 19 April 1961

I take up again before you my difficult discourse, more and more
difficult because of the aims of this discourse. To say for example that I am leading you today onto unknown terrain would be inappropriate because, if I begin today to lead you onto a terrain, it is necessarily because from the beginning I already began.

我在你們面前再一次從事我困難的論述,越來越困難,因為這個論述的目標。 譬如,說我今天正在引導你們進入未知的平臺,將是不適當的說法。因為,假如我今天開始引導你們進入一個平臺, 那必須是因為從一開始,我已經開始。

Moreover to speak about unknown terrain when it is a question of our own, of the one which is called the unconscious, is still more inappropriate because what is in question, and what constitutes the difficulty of this discourse, is that I can say nothing about it which does not take on all its weight precisely from what I do not say about it.

而且,談論有關未知的平臺,當問題是我們自己,是所謂的無意識的平臺,那會更加的不適當。因為受到質疑的,以及構成這個論述的困難是,關於它我無話可說,它並沒有具有所有的重量,確實從關於它,我沒有說的部分。

It is not that one should not say everything, the fact is that in order to speak with precision we cannot say everything, even about what we can formulate, because there is already something in the formula which – as you will see, we grasp it at every instant – precipitates what is in question into the imaginary, which is essentially what happens because of the fact that the human subject as such is prey to the symbol.

倒不是因為我們不應該道盡一切,事實上,為了正確地言說,我們無法道盡一切,甚至關於我們所能夠說明,因為已經有某件東西,在這個公式—你們看出, 我們在每個時刻都掌握它—將受到質疑的東西突然拋入想像界。這基本上是所發生的事情,因為這個事實:人類的生命主體本身是象徵符號的獵物。

At the point that we have got to in it, this “to the symbol”, be careful, should it be put in the singular or the plural? Undoubtedly in the
singular in so far as the one which I introduced the last time is
properly speaking as such the unnamable symbol – we are going to see why and how – the symbol <p (big phi), precisely this point at which I must today take up my discourse again in order to show you how it is indispensable for us in order to understand the incidence of the castration complex on the mainspring of transference.

在那裡我們必須到達這一點,這個「象徵符號的獵物」。但是請小心,這個象徵符號應該用單數還是複數來表達?無可置疑的, 是用單數,因為我上一次跟你們介紹的這個象徵符號,適當來說, 本身是無法命名的符號—我們將要看出,為什麼及如何—陽具的這個象徵符號,確實是我今天必須再一次從事我的論述的這一點,為了要跟你們顯示,我們如何不可免除,為了瞭解閹割情結的意外,對於移情的原動力。

There is a fundamental ambiguity between symbolic phallus and imaginary phallus, concretely involved in the psychical economy. The place where we encounter it, where we first encountered it, particularly where the neurotic lives it out in a fashion which represents his particular mode of manoeuvering, of operating with this radical, fundamental difficulty that I am trying to articulate before you through the usage that I give to this symbol $ (big phi) which the last time and many times previously, I briefly designated, I mean in a rapid, abbreviated fashion as the symbol which corresponds to the place where there is produced the lack of signifier.

在象徵符號的陽具與想像界的陽具之間,有一個基本的曖昧,具體地牽涉到心靈的活動。我們邂逅它的地方, 我們首次邂逅它的地方, 特別是神經症實踐它的地方,使用代表他的特別的運作模式的方式。它運作這個積極,基本的困難,我在你們面前正在設法表達,通過我給予這個陽具的象徵符號的用法。上一次,以及先前的許多次,我簡短地指明,我的意思是,以迅速而簡短的方式,作為符合這個地方的象徵符號。 在那裡,能指的欠缺被產生。

If I have unveiled anew from the beginning of this session this image which served us the last time as a support to introduce the paradoxes and the antinomies linked to these diverse slippages, so subtle, so difficult to retain in their different moments and nevertheless indispensable to sustain, if we want to understand what is in question in the castration complex (and which are the displacements and the absences, and the levels and the substitutions where there intervenes what analytic experience shows us more and more), this phallus in its multiple, quasiubiquitous formulae, you see it in experience, if not re-emerging, at least you cannot deny that it is re-evoked at every instant in theoretical writings under the most diverse forms and even up to the final term of the most primitive investigations on what happens in the first pulsations of the (2) soul – the phallus which you see at the final term identified, for example, with the force of primitive aggressivity in so far as it is the worst object encountered at the end in the mother’s womb and that it is moreover the most dangerous object.

假如從這個研討的開始,我曾經重新揭發這個意象,上一次,這個意象替我們充當一種支援,來介紹這些矛盾與對立,跟這些多樣性的捉摸不定息息相關。這種捉摸不定是如此的微妙,如此困難維持,在它們不同的時刻,可是又不可免除地要維持,假如我們想要瞭解,在閹割情結,是什麼受到質疑,(就是這些替代與欠缺),這些層次與替代, 在那裡,精神分析經驗越來越跟我們顯示的,在那裡介入), 這個陽具,在它的多重的,類似無所不在的公式, 你們在精神分析經驗裡看到它),即使不是重新出現, 至少,你們不能否認, 它在理論的著作裡,隨時都會被召喚,以最多樣的形式。甚至到最原始研究的這個最後術語,研究靈魂的前幾次悸動,所發生的事情—你們看到陽具,譬如,在被辨認的最後術語,用原始的攻擊性的力量。在母親子宮裡面最後邂逅的最糟糕的客體, 而且,那是最危險的客體。

Why this ubiquity? I am not the one who introduces it here, who
suggests it, it is everywhere manifest in the writings of any attempt pursued to formulate on an old plane as well as on a new, renovated one of analytic technique.

為什麼有這個無所不在? 我並不是在從介紹它,建議它的人,它出現在任何這種企圖的著作裡。這些企圖曾經被追求,為了要從古老及新的層次說明,一種精神分析技術被革新。

Well, let us try to put some order in it and to see why it is necessary for me to insist on this ambiguity, or on this polarity if you wish, polarity with two extreme terms, the symbolic and the imaginary, concerning the function of the signifier phallus.

呵呵,讓我們嘗試將它整理一下,並且看出為什麼我需要堅持這個曖昧性, 或是堅持這個極端性,帶有兩個極端術語的極端, 象徵界與想像界,關於能指的陽具的功用。

I say signifier in so far as it is used as such but when I speak about it, when I introduced it above, I said the symbol phallus and, as you will see, it is perhaps in effect the only signifier which merits, in our register and in an absolute fashion, the title of symbol.

我說的是能指,因為它本身被使用,但是當我談論關於它,當我以上介紹它, 我說,陽具的象徵符號,你們將會看出, 或許事實上,它是唯一獲得象徵符號頭銜的能指,在我們銘記及以絕對的方式。

I have therefore unveiled again this image (which undoubtedly is not the simple reproduction of the original one of the artist) of the painting from which I began as the properly speaking exemplary image, which appeared to me to be charged in its composition with all the sorts of riches that a certain art of painting can produce and whose Mannerist principle I examined.

我因此再一次揭露這個圖畫的意象,( 無可置疑的,這並不是對於藝術家原創意象的簡單的複製)。從那裡,我開始,作為適當地說是典範的意象。我覺得這個意象在它的構成本質,稟賦有某種圖畫的藝術能夠產生各種的豐富,我檢視過它的格調主義的原理。

I am going to pass it around again rapidly, if only for those who
were not able to see it.

我再一次快速地讓它傳遞給你們,即使僅是給那些以前無法看到的人。

I wish simply, and by way I could say of a complement, to clearly mark, for those who perhaps were not able to understand in a precise fashion, what I intend to underline about the importance here of what I would call the Mannerist application. You are going to see that the application must be employed moreover in the proper sense as well as in the figurative sense.

我僅是希望,憑藉我能夠說的補充, 為了清楚地標示,對於可能不能夠明確瞭解的那些人,對於我打算要強調的, 關於我所謂的格調主義的應用的重要性。 你們將會看次, 這個應用被實施,必須以適當的意義,及以比喻的意義。

It is not I but studies which already exist which have made the rapprochement in this painting between the use that is given by the presence of the bouquet of flowers here in the foreground…. it covers what is to be covered which I told you was less again the threatened phallus
than Eros surprised and uncovered here through an initiative of the question of Psyche: “What is there to be said about him? De lui qu’en est-il?.”

並不是我,而是已經存在的研究,將在這幅圖畫裡的友善關係,在前景的花束的存在給予的用途—它蓋住了應該被蓋住的東西, 我告訴你們,這個東西並不是受到威脅的陽具, 而是厄洛斯性愛之神,在此受到驚喜及揭露,通過賽奇女神的問題的創議:「關於他,有什麼能夠被說?」

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

拉康論移情 0412e

September 25, 2011

拉康論移情 0412e

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

For when all is said and done if the myth of Psyche has a meaning, it is the fact that Psyche only begins to live as Psyche not simply as provided with an extraordinary initial gift (that of being equal to Venus), nor indeed with a masked and unknown favour (that in short of an infinite and unplumbable happiness) but in so far as Psyche, qua subject of a pathos which is (7) properly speaking that of the soul – at that very moment when
precisely the desire which had fulfilled her is going to flee from her, is going to disappear, it is from that moment that the adventures of Psyche begin.

因為當一切都說都做了,假如賽奇女神的神話具有意義, 事實上,賽奇女神僅是開始生活, 不但被供應特別的基本天賦 (跟維納斯相等的天賦), 而且確實供應有一個被遮蔽及未被知道的偏愛( 總之, 無限而無法探究的快樂的偏愛)。但是賽奇女神,作為具有感傷力的生命主體, 適當地說, 具有靈魂的生命主體—當充滿她的欲望將要逃離她的時刻,欲望將會消失,從那個時刻,賽奇的奇遇開始。

I once told you, Venus is born every day and, as the myth tells us, this time the Platonic one, it is therefore because of this we have also every day the conception of Eros.

我有一次告訴你們,有一天 維納斯誕生。如同神話告訴我們, 這一次,是柏拉圖的神話。因為這個神話,我們也每一天都擁有性愛的懷孕。

But the birth of the soul is, in the universal and in the particular, for each and every person, a historic moment. And it is from that moment that there develops in history the drama which we have to deal with in all its consequences.

但是靈魂的誕生, 既是普遍性,也是特別性,對於每一個人,在歷史的時刻。 從那個時刻開始,我們必須處理的這個戲劇,在歷史上發展,具有它一切都結果。

When all is said and done, one can say that if analysis, with Freud, went straight to this point I would say that, if the Freudian message ended on this articulation – consult Analysis finite and infinite – it is because there is a final term – the thing is properly articulated in this text, at which one arrives when one manages to reduce in the subject all the avenues of his re-emergence, of his reliving, of unconscious repetitions, when we have managed to make them converge towards this rock – the
term is in the text – of the castration complex, the castration complex in man as in woman – the term Penisneid is only among others in this text the pinpointing of the castration complex as such.

當一切都說都做了,我們能夠說, 假如精神分析,對於佛洛伊德而言,直接到達這一點,我不妨說, 假如佛洛伊德的訊息以這個表達作為結束—諮商精神分析既是有限,也是無限—這是因為有一個最後的術語—這件事在這個文本裡適當地被表達。我們到達的文本, 當我們成功地在生命主體身上,化簡他重新出現,它的重新復活,無意識重複的所有管道,當我們成功地讓它們彙聚朝向閹割情結的這塊岩石—這個術語在文本裡—男人與女人的閹割情結—「陽具羡慕」這個術語,在這個文本裡,僅是其中之一,針對著閹割情結的本身。

It is around this castration complex and as I might say starting again from this point, that we should put to the test again everything that has in a certain fashion been discovered starting from this stumbling point.

環繞著這個閹割情結,我不妨說, 再一次從這一點開始, 我們應該再一次測試每一樣以某種方式被發現的東西, 從這個絆腳點開始。

For, whether it is a question of highlighting the quite decisive and primordial effect of what emerges from the agencies of the oral for example, or again of the bringing into play of what is called the aggressivity of primordial sadism, or again of what has been articulated in the different developments which are possible around the notion of the object (of the decomposition and the deepening of this relationship, up to the point of
highlighting the notion of good and bad primordial objects), all of this cannot be resituated in a proper perspective unless we regrasp in a divergent fashion that from which this effectively diverged, …. from this point unsustainable to a certain degree in its paradox, which is that of the castration complex.

問題是否是強調這個決定性及原初的影響,譬如,從口腔的代理出現的東西, 或是運作所謂的原初虐待狂的攻擊性,或是以不同的發展被表達的東西。這些表達是可能的, 環繞著客體的觀念 (這個關係的瓦解及深化,一直到強調善與惡的原初客體的觀念), 所有這一切, 無法用適當的觀點重新定位,除非我們重新掌握,以分歧的方式,這個有效地被分歧的東西,,,從無法被維持的這一點,到它的矛盾的某個點,這是閹割情結的矛盾。

An image like the one that I am taking care, today, to produce before you is in a way to incarnate what I mean in speaking about the paradox of the castration complex.

這是一個意象,像我今天正在處理的這個意象,為了要在你們面前產生的意象,某方面,是要具體表現我的意思,當談論到閹割情結的矛盾。

In effect, if the whole divergence which has been able to appear to us up to the present in the different phases that we have studied, motivated by the discordance, the distinction between what constitutes the object of demand (whether it is in the oral stage the demand of the subject as in the anal stage the demand of the other) and that which in the Other is at the place of desire (which would be in the case of Psyche masked, veiled up to a certain point although secretly perceived by the archaic,
infantile subject), would it not seem that what one can massively call the third phase – which is currently described under the name of the genital phase – is this conjunction of desire in so far as it may be involved in some demand or other of the subject, is it not properly speaking that which ought to find its reference, its identical in the desire of the Other?

實際上,假如整個分歧直到這個時刻,能夠以我們曾經研究的不同的階段,出現在我們面前,由於這種不協調所觸發,區別要求的客體的本質,(無論是在口腔期的階段,生命主體的要求,如同在肛門期的階段,對於大它者的要求),與在大它者身上,處於欲望位置的東西( 在賽奇女神的案例,這一點被掩蓋,被遮蔽到達某一點,雖然秘密地被過時的嬰孩的生命主體感覺到),這難道不是我們能夠堂而皇之地稱我第三階段?—這個第三階段目前被描述為性器官階段—這是欲望的結合,當它牽涉到某種生命主體的要求。適當地說, 這難道不是應該找到它的指稱的東西, 它在大它者的欲望的認同?

If there is a point where desire presents itself as desire, it is indeed
there where precisely the first accentuation of Freud was constructed to situate it for us, namely at the level of sexual desire revealed in its real consistency and no longer in a contaminated, displaced, condensed, metaphorical fashion.

假如有一點,在那裡,欲望呈現它自己作為欲望, 確實就在那裡, 佛洛伊德的第一個強調被建構,為了跟我們定位它,換句話說, 在性欲望的層次,被顯示在它的真實的一貫裡,不再處於受到污染,替代,濃縮的比喻的方式。

It is no longer a question of the sexualisation of some other function,
we are dealing with the sexual function itself.

問題不再是某種其它功用的性化, 我們正在處理性的功用本身。

(8) To make you measure the paradox that it is a question of
pinpointing, I sought this morning an example to incarnate the
embarrassment of psychoanalysts in what concerns the phenomenology of this genital stage, I came across an article by Monchy on the castration complex in the International Journal.

為了要讓你們測量這個矛盾,問題是要如何確定, 我今天早上尋找一個例子具體表現精神分析師的尷尬,在這個性器官階段的現象有關的東西。在國際期刊, 我偶然看到孟奇的一篇論閹割情結的文章。

To what is an analyst who in short interests himself again in our
day – because there are not many of them – in the castration
complex led in order to explain it?

總之,在我們時代,若有精神分析師,(因為並不是很多),對於閹割情結再一次感到興趣,為了解釋它,他會被引導到哪裡?

Well, to something that you would never guess. I will summarise it for you very briefly.

呵呵,他會被引導到你們永遠猜想不到的地方,讓我簡短地跟你們總結一下。

The paradox naturally cannot fail to strike you that without the
revelation of the genital drive it is necessarily marked by this
splitting which consists in the castration complex as such, the
Trieb is for him something instinctual.

這個矛盾當然一定會讓你們印象深刻,以致於假如沒有性器官驅力的啟示,它必然是由這個分裂標示。這個分裂在於閹割情結的本身,驅力的本身,對於他而言,就是某件本能的東西。

We are dealing with someone who begins with a certain baggage (von Uexkull and Lorenz), he speaks to us at the beginning of his article of what are called congenital reaction schemes, which evokes for us the fact that in the case of little birds who have never been subjected to any experience it is enough to have a lure projected, the shadow identical to that of a hawk, of a faucon in order to provoke all the reflexes of terror, in short the imagery of the lure as the author of this article – which is
written in English – puts it in French 1’attrape.

我們正在處理某個帶著某種行李開始的人(范,烏庫爾,或洛倫茲)。他在他的文章的開頭跟我們談論,所謂的天生的器官反應的結構。這讓我們想起這個事實:在這些從來沒有接受過精神分析經驗的生手的例子, 只有投射一種誘惑就足夠了, 認同於老鷹的陰影,獵鷹的陰影,為了觸發恐怖的各種反射作用。總之, 誘惑的意象, 當這篇文章的作者雖然用英文書寫,這一點卻是用法文的語言來表達它。

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

拉康論移情 0412d

September 25, 2011

拉康論移情 0412d

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

In connection with this very pretty story of Psyche, we must not
therefore deceive ourselves in this regard, the thematic of which
there is question here is not that of the couple.

關於賽奇女神的這個美麗故事, 我們一定不要因此欺騙自己。關於這一點, 這個故事的主題,在此有個問題, 並不是這對夫妻的問題。

It is not a question of the relationships of man and woman, it is a question
of something which – you really have only to be able to read in order to see that this is only really hidden because it is in the foreground and too obvious, as in “The purloined letter” – is nothing other than the relationships of the soul to desire.

問題並不是男人與女人的關係的問題,而是某件東西的問題—你們只要能夠閱讀一下,你們就能看出,這是隱藏性的問題, 因為它就在前景,而且顯而易見, 如同在「被偷竊的信」—這個問題道道地地就是靈魂跟欲望的關係。

It is in this that the composition – I do not believe I am forcing things in saying that it is extremely gripping – of this picture, could be said to isolate for us in an exemplary fashion this tangible character imaged by the intensity of the image which is produced here, to isolate what could be a structural analysis of the myth of Apuleius which still remains to be done.

在這一點, 這幅圖畫的構成—-我並不相信我是在強迫事情,當我說,它是極端吸引人的—能夠被說成是替我們以典範的方式,跟我們孤立出這個具體的特性,這個意象的張力表現的特性, 在此所被創作的,孤立出阿普勒斯頓神話的結構分析部分, 這份工作還有待努力。

You know enough about it, I told you enough about what a structural analysis of a myth is for you to know at least that such a thing exists.

關於它,你們充分知道。我充分告訴你們,關於神話的結構分析,讓你們至少知道,這樣一個東西存在。

In Claude Lévi-Strauss the structural analysis of a certain number of North American myths is carried out, I do not see why one would not give oneself over to the same sort of analysis with regard to the fable of Apuleius.

在克勞德,列文,史特勞斯,某些北美神話的結構分析本被從事,我不明白為什麼我們自己不專注於某種分析,關於阿普雷斯的寓言。

Naturally we are, it is a curious thing, less well served for the
things that are closest to us than for others which appear to us to be more distant as regards sources, namely that we have only one version of this myth, when all is said and done that of Apuleius.

當然,這是耐人尋味的事情,對於最靠近我們的東西,我們準備比較不充分, 比起那些我們覺得比較遙遠的來源的東西。換句話說, 對於這個神話,阿普雷斯的神話,我們只有一個版本,當一切都說都做了。

But it does not seem to be impossible, within the myth, to operate in a sense which would allow there to be thrown (6) into relief in it a certain number of significant opposing couples.

但是在神話之內, 要以這種意義運作並非不可能。這種意義容許某些重要的互相對立的伴侶,被凸顯出來。

By means of such an analysis, I would say, without the help of the painter, we would perhaps run the risk of allowing there to go unnoticed the really primordial and original character of the moment, of nevertheless the best known moment, moreover everyone knows that what has remained in the collective memory about the meaning of the myth is indeed the following, it is that Eros flees and disappears because little Psyche had been
in short too curious and what is more disobedient.

憑藉這樣的分析, 我不妨說,假如沒有畫家的幫助,我們或許會冒著危險,容許這個時刻,可是又是最著名的時刻,真正原初及原創的特性,被忽略過去。而且,眾所所知, 保留在集體記憶裡, 關於神話的意義,確實就是以下: 性愛之神逃離,消失,因為總之,小賽奇女神過分好奇,而且不服從。

what is in question, what is concealed, what is hidden behind this well-known moment of the myth and of the story, would be if we are to believe what the intuition of the painter reveals to us here, nothing other therefore than this decisive moment.

受到質疑的東西,被隱藏的東西, 被隱藏在這個神話及故事,著名的時刻背後的東西,因此它道道地地就是這個決定性的時刻,假如我們想要相信,畫家的直覺顯示給予我們的。

Certainly, it is not the first time that we see it appearing in an antique myth, but whose value as an accent, whose crucial character, whose pivotal character had to wait in short for many long centuries before being, by Freud, put in the centre of the psychical thematic.

確實地, 這並不是第一次,我們看見它出現在一個古代的神話,但是它的價值,作為一種強調,它的重要的特性, 總之,它的軸心的特性,必須等待許多漫長的世紀,才被佛洛伊德放置在心理主題的中心。

It is for this reason that it is not a waste of time, having made this discovery, to tell you about it, because in short it happens to designate – in the tiny image which will remain, because of the very time that I am consecrating to it this morning, imprinted in your spirits – it
happens to illustrate that which today I can scarcely designate otherwise than the meeting point of two registers, that of the instinctual dynamic in so far as I have taught you to consider it as marked by the effects of the signifier, and to permit therefore to accentuate also at this level how the castration complex ought to be articulated, cannot even be fully articulated except by considering this instinctual dynamic as structured by this mark of the signifier.

因為這個理由, 從事這個發現後,告訴你們關於它,並不是浪費時間。因為總之,它恰好指明—在這個小小意象,它將會一直銘記在你們的精神裡, 因為今天早上我致力於它—它恰好可以作為例子說明,今天我除了以這兩個銘記的會合點,幾乎沒有別的方法指明的東西。這個本能的動力學的東西, 我曾經教導你們將它認為是由能指的影響所標記,因此在這個層次,強調閹割情結應該如何被表達。它甚至無法充分地被表達,除了考慮到這個本能的動力學,作為是能指的這個標記的結構。

And at the same time, this is the value of the image, to show us that there is therefore a superimposition or a super-impression, a common centre, a vertical direction at this point of production of the castration complex
into which we are now going to enter.

同時, 這就是這個意象的價值, 它跟我們顯示,因此會有一個超級的賦加, 或是一種超級稻印象,一個公同的中心, 一個垂直的方向,在閹割情結的產生的這個時刻,我們現在將要探討它。

Because you see that it is here that I left you the last time having taken up the thematic of desire and demand in the chronological order, but in
repeating to you at every instant that this divergence, this splitting, this difference between desire and demand which marks with its stroke all the first stages of libidinal evolution, and is determined by the nachtraglich action, by something retroactive coming from a certain point where the paradox of desire and of demand appears with the minimum of eclat, and which is really that of the genital stage, in so far as it appears that the same desire and demand should at least be able to be
distinguished there.

因為你們看出,就在這裡,我上一次離開你們,在以時間先後順序,探討欲望與要求的主題。但是在每個時刻,我都跟你們重複,在欲望與要求之間的這個分岔,這個分裂, 這個差異,用它的打擊標記力比多的進化的最初的階段,並且受到這個反彈的行動所決定, 受到某件來自某個點的反彈。在那個點, 欲望與要求的矛盾帶著少量的喝彩出現。這確實就是性器官的階段,因為似乎相同的欲望與要求至少應該能夠在那裡被區別。

They are marked by this stroke of division, of explosion which,
for analysts, consider it carefully, must still be, if you read
the authors a problem, I mean a question, an enigma more avoided
still than resolved and which is called the castration complex.

它們被這個區分的,爆炸的打擊標示。精神分析師仔細地考慮它, 它一定依舊是一個難題, 假如你們閱讀作者,我的意思是,它一定依舊是個問題, 一個謎團,被逃避的部分比被解決的部分還多。這就是所謂的閹割情結。

Thanks to this image, you have to see that the castration complex, in its structure, in its instinctual dynamic is centred in such a way that it overlaps exactly what we could call the point of the birth of the soul.

由於這個意象, 你們必須看出, 閹割情結,在它的結構裡, 在它的本能的動力學裡,它以這種方式被集中,它確實重疊我們所謂的靈魂的誕生的這個點。

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

拉康論移情 0412c

September 23, 2011

拉康論移情 0412c

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

Psyche herself winged with the wings of a butterfly. I have in my
possession for example Alexandrian objects in which Psyche is
represented under different aspects and frequently furnished with
butterfly’s wings; the butterfly’s wings on this occasion are the
sign of the immortality of the soul.

賽奇女神擁有蝴蝶的翅膀。 譬如,我用有亞力山大的客體,在那些客體裡,賽奇女神以不同的面貌被呈現,時常被供應有蝴蝶的翅膀。在這個場合,蝴蝶的翅膀是靈魂永生的訊息。

The butterfly having been for a very long time (given the phases of the metamorphosis that it undergoes, namely born at first in the shape of a caterpillar of a larva, it envelops itself in this sort of tomb, of
sarcophagus, enveloped in a fashion which is even going to recall
the mummy where it remains until it reemerges into the light in a
glorified form)…. the thematic of the butterfly, as signifying the immortality of the soul had already appeared since antiquity, and not only in different peripheral religions, but moreover was even used and still is in the Christian religion as symbolic of the immortality of the soul.

蝴蝶長久以來,(考慮到它經歷的蛻變的階段,也就是,剛出生時是幼蟲的毛毛蟲形狀, 它包裹它自己在這種墳墓裡, 石棺裡,被包裹的方式,甚至讓人想起木乃伊。它一停留在那裡,直到它以光輝璨爛的方式重見天日),,,蝴蝶的主題,指示著靈魂的永生,自從古代就已經出現,不但在不同的周邊的宗教,而且甚至當時被使用,現在依舊在基督教的宗教裡,作為靈魂永生的象徵。

It is in fact very difficult to deny that it is a question of what one can call the misfortunes or the misadventures of the soul in this story of which we have only, as I am telling you, a mythological text as basis, foundation of its transmission in antiquity, the text of Apuleius.

事實上,我們很難否認,在這個故事, 問題是我們能夠所謂的靈魂的不幸或災難厲險。如同我正在告訴你們,我們僅擁有神話的文本當基礎,在古代它蛻變的基礎,阿普雷斯的文本。

In this text of Apuleius, whatever may be thought of it by authors accentuating in different ways the religious and spiritual significations of the thing and who, gladly, would find that in Apuleius we only find what is properly speaking a debased, romantic form which does not permit us to reach the original import of the myth, despite these allegations, I think on the contrary that the text of Apuleius – if you refer to it you will see it – is on the contrary extremely rich.

在阿普雷斯的文本, 不管那些以不同方式強調宗教的精神意涵的作者,怎麼看待它, 這些作者很樂意發現, 在阿普雷斯,我們僅找到,適當來說,是卑下,浪漫的形式。這種形式並不容許我們到達神話的原初意義。儘管這些指控, 我的看法恰恰相反, 阿普雷斯的文本—-假如你們參照它,你們將會看出—相反地,內容極端豐富。

In the sense that this point that is in question, the one that is represented here in this moment by the painting, is only the beginning of the story, despite the fact that already we have the previous phase of what one can call not only the happiness of Psyche, but a first test namely that Psyche is at the beginning considered as being as beautiful as Venus and that it is already through the effects of a first persecution by the gods that she finds herself exposed to the fact from a rock (another form of the myth of Andromeda), to something which is going to seize her,
which must be a monster and which is found in fact to be Eros (to
whom Venus had given the charge of delivering her over to the one of whom she must be the victim).

以這個意義,受到質疑的這一點, 在此有繪畫的這個時刻代表的這一點, 僅是故事的開始, 儘管這個事實: 我們已經擁有先前的部分,對於所謂的不但是賽奇女神的快樂, 而且是一個最初的考驗,也就是, 在開始時, 賽奇女神被認為是跟維納斯女神同樣的美麗。這義經是通過被眾神早期迫害的影響, 她發現她自己暴露於從一塊岩石而來的這個事實 (安洛美達的神話的另一種形式),暴露於某件將會攫住她的東西, 這個東西一定是怪物,事實上被發現是性愛( 對於這個性愛, 維納斯負責將她送交給必然是她的受害者之一。)

But he, in short, seduced by the one to whom he has been delegated by the cruel orders of his mother, takes her away and installs her in this profoundly hidden place where she can enjoy in short the happiness of the gods.

但是總之,由於受到誘拐, 受到他的母親的殘酷的命令指派的那個人誘拐, 他帶她離開, 安置她在這個深深隱藏的地方。總之,在那裡, 她能夠享受眾神的快樂。

The story would have ended there if poor Psyche did not have a different nature than the divine nature and did not show among other weaknesses the most deplorable family feelings, namely that she will not rest before having obtained from Eros, her unknown spouse, permission to see her sisters again – and you see that here the story takes up again…

這個故事本來會在那裡結束, 假如可憐的賽奇女神,除了神的天性外,沒有一個其它的天性,沒有在其它的弱點裡,展現最令人哀憐的家族感情。也就是說, 她要從性愛,從她未知的配偶,獲得允許再一次看到她的姐姐們,她才會安息—你們看出, 在此,故事再一次發展,,,

Therefore, before this moment there is a short period, a short moment previous to the story, but the whole story stretches out afterwards. I am not going to go right through it with you because this goes beyond our
subject.

因此, 在這個時刻之前,有一個短的時期,在故事之前的一個短的時刻。但是整個故事隨後發展。我並沒有要跟你們一口氣講完,因為這樣會超出我們的主題。

(5) What I want simply to say to you, is that when Jacopo Zucchi
produces this little masterpiece for us, it was not unknown, neither more nor less than through the brush of Raphael himself because, for example, you know that it is displayed on the ceiling and on the walls of this charming Farnese palace.

我僅是想要跟你們說,當約科普,朱奇跟我們創作這個傑作,這是廣為人知的,他道道地地就是通過拉斐爾本人的手筆, 因為,譬如, 你們知道,它被展示在這個迷人的法尼斯宮殿的天花板及牆壁上。

They are lovely scenes, almost too lovely. We are no longer, it seems, able to tolerate a sort of prettiness in which for us there seems to be degraded that which ought to have appeared, the first time that the type emerged from the brilliant brush of Raphael, as a surprising beauty.

它們是可愛的場面, 太過可愛。 似乎我們不再能夠容忍目光如豆。對於我們而言, 本來應該出現的東西被貶降下來, 第一次, 從拉斐爾的畫筆端,出現這種類型, 充當令人驚豔的美。

In truth, one must always take into account the fact that, when a certain prototype, a certain form appears, it must make a completely different impression from what it is when it has been not only reproduced thousands of times but imitated thousands of times.

事實上, 我們必須總是考慮到這個事實: 當某種類型,某種形式出現,它必須引起完全不同的印象,跟它的本質不同的印象, 當它不但被複製好幾千次,而且被模仿好幾千次。

In short, these paintings of Raphael at the Farnese give us a development,
scrupulously based on the text of Apuleius, of the misadventures of Psyche.

總之,拉斐爾的這些圖畫,在法尼斯宮殿,給予我們一個發展, 謹慎地根據阿普雷斯的文本, 賽奇女神的災難奇遇。

In order that you should not doubt that Psyche is not a woman, but indeed the soul, let it suffice for me to tell you that, for example, she is going to have recourse to Demeter who is presentified here with all the instruments, all the weapons of her mysteries (and in fact here it is a question of the mysteries of Eleusis) and that she is rejected by her. Demeter desires above all not to get into the bad books of her sister-in-law Venus.

為了不要讓你們懷疑,賽奇女神並不是一個女人, 而確實是這個靈魂。我這樣告訴你們就足夠了, 譬如, 她將求助於帝米特農神。帝米特農神在此被具體呈現擁有各種工具,她的神秘的所有的武器 ( 事實上, 在此問題是阿雷西斯的各種神秘),她被她所拒絕。 帝米特特別欲望不要被她的夫姐列入批評的黑名單。

And all that is in question is the following, it is that in short, the unfortunate soul, because she has fallen and committed at the beginning a faux pas of which she is not even guilty (because at the beginning this jealousy of Venus comes from nothing other than the fact that she is considered by Venus as a rival) finds herself tossed out, repelled from any help, even religious sources of help. And one could even carry out a little phenomenology of the unhappy soul compared to that of the
conscience qualified by the same name.

受到質疑的問題如下: 總之, 這個不幸的靈魂, 因為她已經墮落,從一開頭,就犯了失禮之罪。她甚至不覺的有何冒犯之處 ,( 因為在一開頭,維納斯的這種妒忌,道道地地就是來自這個事實, 她被維納斯視為情敵)。她發現她自己被拋出,被拒絕給予任何幫助, 即使是宗教的幫助來源。 我們甚至稍微探討一下不快樂靈魂的現象學, 跟同樣名稱的良心的現象學相比較。

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

拉康论移情 0412

September 23, 2011

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

拉康論移情 0412

September 23, 2011

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

拉康論移情 0322g

September 22, 2011

拉康論移情 0322g

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 15:Wednesday 22 March 1961

What does he not have, and in what sense? It is not towards the
phallus (even though one could make the dialectic of being and
having revolve around it) that you ought to direct your gaze to
understand properly what is the new dimension that the entry into
the phallic drama introduces.

他沒有什麼?從那個意義說? 這並不是朝向陽具, (即使我們能夠讓實存於擁有的辯證法環繞它旋轉),你們應該引導你們的眼光,適當地瞭解,這個新的維度是什麼? 進入陽具戲碼介紹的維度。

What he does not have, what he does not dispose of at this point of birth, of revelation of genital desire, is nothing other than his act. He has nothing but a draft on the future. He establishes the act in the field
of project.

在出生的時刻,在性器官的欲望的啟示,他所沒有的東西,他沒有處理的東西, 道道地地就是他的行動。 他僅有以未來作為構想。 他建立他的行動,在計畫的領域。

I would ask you to notice here the force of linguistic determinants through which, just as desire took on in the conjunction of Romance languages this connotation of desiderium, of mourning and of regret, it is not nothing that the primitive forms of the future should have been abandoned in favour of a reference to having. Je chanterai, is exactly what you see written: je chanter-ai, effectively this comes from cantare habeo.

我將要求你們在此注意語言學的決定因素的力量。通過語言學決定因素, 正如欲望在羅馬語系的連接裡,具有哀傷與後悔的內涵,未來的原始形式本來應該被放棄,以贊同擁有的指稱, 並不是徒勞無益。 這確實是你們看到被書寫的東西: 擁有的指稱, 有效地,這來自「antare habeo先前擁有」。

The decadent Romance tongue found the surest path the true sense of the future: I shall make love later, I have making love as a draft on the future, je desirer’ai. And moreover this habeo leads on to the debeo of the symbolic debt, to a habeo that is deprived. And it is in the future that this debt is conjugated when it takes the form of commandment: “Thou shalt
honour thy father and thy mother”, etc.

頹廢的羅馬語言找到確實的途徑,作為未來的真實意義:我以後將要做愛,我將做愛,作為將來的一種構想。 而且, 這個「habeo 擁有」導致「debeo擁有」這個詞在符號的歸功,由於「habeo」這個詞被剝奪。就在未來,這個歸功被結合,當它形成這個命令的形式:「你應該尊敬你的父親與你的母親」,等等。

But – and it is here that I want today only to keep you on the verge of what results from this articulation, which no doubt is slow, but done precisely so that you will not rush too quickly into it – the object in question, separated from desire, the object phallus, it is not the simple specification, the homologue, the homonym of the imaginary little o into which there collapses the fullness of the Other, of the big 0.

但是—就在這裡, 我今天僅是想要保持你們,在這個表達的結果的邊緣。這個表達無疑是緩慢,但是確實會被表達, 這樣你們才不會太匆促就掉進去—受到質疑的這個客體, 跟欲望分開, 這個陽具的客體, 這並不是簡單的指明, 這個想像的小客體的相同之物, 同音異義。 大它者的充實, 這個大寫字母O的充實, 在那裡崩塌成為這個小客體。

It is not a specification which has finally come to light of what had
previously been the oral object, the anal object. It is something – as I indicated to you from the start, at the beginning of this discourse today, when I marked out for you the first encounter of the subject with the phallus – it is a privileged object in the field of the Other.

最後啟明先前是口腔客體,肛門客體的東西, 並不是一個明確的指稱。這是某件東西—如同我從一開始就跟你們指示的, 在今天論述的開始, 當我跟你們標示生命主體的第一次邂逅陽具—這是一個具有特權的客體,在大它者的領域。

It is an object which comes by way of deduction from the status of the Other, of the big Other as such. In other words, the little o, at the
level of genital desire and of the castration phase, whose precise articulation all of this as you clearly perceive is constructed in order to introduce you to, the little o is the 0 minus phi, o = 0 – J> .

這是一個客體,經由大它者的地位扣除而來,經由這個大它者的本身。 換句話說,這個小客體, 在性器官欲望層次,在閹割部分的層次,它的確實的表達, 所有這一切,如你們清楚感覺到的,它們被建構,為了介紹你們到,這個小客體, 就是大它者扣減陽具,, o = 0 – J>。

In others words it is from this angle that the © (phi) comes to symbolise what is lacking to the 0 in order to be the noetic 0, the 0 in full exercise, the Other in so far as one can trust its response to the demand.

換句話說, 就是從這個角度, 這個(phi) 漸漸象徵大它者欠缺的東西, 為了成為這個純粹知性的大它者, 這個充分運作的大它者, 我們能夠信任它的回應這個要求的大它者。

The desire of this noetic Other is an enigma, and this enigma is tied into the(9) structural foundation of its castration. It is here that there is going to be inaugurated the whole dialectic of castration.

這個純粹知性的大它者的欲望是一個謎團。這個謎團跟它的被閹割的結構的基礎緊密相連。就在這裡, 閹割的整個辯證法將會被開始運作。

Pay attention now not to confuse either this phallic object with
this same sign which would be the sign at the level of the Other
of its lack of response, the lack of which there is question here
is the lack of the desire of the Other.

現在請注意,不要將這個陽具的客體,跟這個相同的訊息混淆。後者是大它者層層的訊息, 是它的回應的欠缺的訊息。對於這個回應的欠缺, 在此有一個問題。那就是大它者的欲望的欠缺。

The function that this phallus is going to take on in so far as it is encountered in the field of the imaginary, is not to be identical to the Other, as designated by the lack of a signifier, but to be the root of this lack.

這個陽具將會具有這樣的功用,當它在想像界的領域被邂逅時。 它不應該等同於就是大它者,如同一個能指點欠缺所指明的, 而是要等同於這個欠缺的根源。

It is the Other who is constituted in what is certainly a
privileged relationship to this object (phi), but a complex
relationship. It is here that we are going to find the point of
what constituted the impasse and the problem of love which is
that the subject cannot satisfy the demand of the Other except by
lowering it again, by making of him, this other, the object of
his desire.

這個大它者被組成,跟陽具這個客體確實具有特權的關係。 就在這裡, 我們將要找到形成愛的這個僵局及難題的這個點。這個僵局與難題就是:生命主體無法滿足大它者的要求,除了再一次降低它,將它解釋為,這個大它者,就是他的欲望的客體。

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

拉康論移情 0322f

September 22, 2011

拉康論移情 0322f

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 15:Wednesday 22 March 1961

The most ancient testimonies that we have of human agglomerations as such,
are enormous pyramids of broken shells, which has a name in Scandanavian.

對於人類堆積的本身,我們擁有的最古代的證詞,是破碎的貝殼的巨大金字塔。在斯堪地拿維亞,有一個名字。

It is not for nothing that things are so. What is more it seems that if it is necessary some day to reconstruct the mode by which man has introduced himself to the field of the signifier, it is in these first heaps that it will have to be designated.

事情是這樣,並不是徒然的。 而且,似乎某一天假如重建這個模式是需要的,憑藉它,人們介紹他自己到能指的領域。就在這些最初的堆積裡, 它將必須被指明。

Here the subject designates himself in the evacuated object as such. Here is, as I might say, the zero point of desire. It reposes entirely on the effect of the demand of the Other.

在此,生命主體指明他自己,在被撤離的客體本身。在此,我不妨說, 欲望的零度點。 它完全依靠大它者的要求的影響。

The Other decides about it, and indeed it is here that we find the
root of this dependency of the neurotic. Here is the tangible point, the tangible note through which the desire of the neurotic is characterised as pregenital.

大它者決定關於它,的確,就在這裡, 我們發現神經症患者的依賴的根源。 在此就是這個實質點,這個實質的注釋,神經症的欲望被表現的欲望是性器官前期。

It is in so far as he depends to such a degree on the demand of the Other that what the neurotic demands from the Other in his neurotic demand for love, is that he should be allowed to do something from this place of
desire, that it is this place of desire which manifestly remains to a certain degree dependent on the demand of the Other.

因為他有很大的程度,依靠大它者的要求,神經症從大它者的要求,在他對於愛的神經症的要求是, 他應該被容許做某件事情,從欲望的這個立場。 就是這個欲望的立場, 到達某個程度,明顯是依靠大它者的要求。

Because the only sense that we could give to the genital stage in so far as at this place of desire there might reappear something which would have the right to call itself a natural desire – even though given its noble antecedents it can never be it – the fact is that desire must indeed one day appear as that which is not demanded, as aiming at what one does not demand.

因為這是我們唯一能夠給予性器官階段的意義。在這個欲望的位置, 有某件東西會重新出現, 這個東西有權利稱它自己為一種自然的欲望—即使考慮到它的高貴的先行者,它永遠不會是它—事實上, 有朝一日, 欲望確實必須出現,作為並沒有被要求的欲望, 作為目標朝著我們沒有要求的東西。

And then do not rush to say that it is what one takes for example, because anything you say will never do anything except make you fall again into the little machinery of demand.

然後,請你們不要匆促地說, 這是我們作為例子的東西, 因為你們說的任何東西,永遠無法做任何事情,除了讓你們重新掉入要求的這個小機械。

Natural desire has, properly speaking, this dimension of never being able to be said_in any way, and this indeed is the reason why you will never have any natural desire, because the Other is already installed at the place, the Other with a big 0, as the one where there reposes the sign. And the sign is enough to set up the question: Che vuoi? What do you want?

自然的欲望,適當地說,這個從來不能夠以任何方式說的維度。這確實是為什麼你們將永遠不會有任何自然的欲望, 因為大它者已經被安置在那個地方。 大它者帶有一個大寫的字母O,作為訊息依靠的地方。這個訊息足夠建立這個問題: 你到底想要什麼?

To which at first the subject can respond nothing, always delayed by the question in the response that it solicits. A sign represents something
for someone and, for want of knowing what the sign represents, the subject becomes that question, when sexual desire appears, loses the someone to whom the question is addressed namely himself – and gives birth to the anxiety of little Hans.

起初,生命主體無法回應任何東西, 總是被這個問題拖延,在它所請求的回答。 一個訊息代表某件某個人的東西,因為不知道那個訊息代表什麼,當性的欲望出現時,生命主體變成那個問題, 喪失問題對談的那個某人,也就是他自己—並且誕生小漢斯的焦慮。

Here there is delineated this something which, prepared by the furrow of the fracture of the subject by the demand, is set up in the relationship that for an instant we are going to consider as it is often considered, isolated, of the child and the mother.

在此, 這個某件東西被描述,由這個要求的準備的生命主體的斷裂的鴻溝。這個某件東西在那層關係被建立。有一陣子,我們將會認為這層關係,是小孩與母親的孤立,依照一般的想法。

The mother of little Hans – and moreover all mothers, “I am calling on all mothers”, as someone once said – distinguishes her position in the fact that she marks, for that which begins to appear as a little wagging, as a little trembling not to be doubted in the first wakening of sexual genitality as such in Hans: “That’s really dirty”, desire is disgusting, this desire that he cannot describe.

小漢斯的母親—而且是所有的母親,「我正在召喚所有的母親」,如同某一個人有一次說—她根據她所標示的事實,區別她的立場。因為開始出現作為這個不應該被置疑的小小搖擺的東西,作為有點顫抖,在小漢斯身上,性器官的本身。的初次甦醒,「那真是骯髒!」,欲望是令人厭惡毒, 他無法描述的這個欲望。

But this is strictly correlative to an interest which is no less doubtful in something which is here the object, the one to which we have learned to give all its importance, namely the phallus.

但是這是嚴格相關,跟對於某件東西同樣可疑的興趣,這個東西在此就是這個客體。 我們曾經學習給予重視的價值, 換句話說,就是陽具。

In what is no doubt an allusive but not ambiguous fashion, how
many mothers, all mothers, confronted with little Hans’ little
tap, or something else, however it is called, will have thoughts
like: (8) “My little son is very well endowed”, or indeed: “You
will have lots of children”.

以無可置疑是具有暗涵意義,但是並不模棱兩可的方式, 有多少的母親, 所有的母親, 面臨小漢斯的陰莖,或某件其它東西, 無論它怎麼被稱呼,將會有這些思想:「我的小兒子稟賦良好」,或者確實說:「你將會生許多小孩」。

In short, the appreciation qua brought to bear on the object, it well and truly partial, again here is something which contrasts with the refusal of desire.

總之, 跟這個客體息息相關帶來的賞識,它道道地地就是部分客體。再一次,在此是某件東西,跟欲望的拒絕相對比。

Here, at the very moment of the encounter with what solicits the subject in the mystery of desire, the division is established between this object which becomes the mark of a privileged interest, this object which becomes the agalma, the pearl at the heart of the individual (who here trembles around the pivotal point of his advent to living plenitude) and at the same time of a debasement of the subject. He is appreciated as object, he is depreciated as desire.

在此, 在這個遭遇的時刻, 跟在欲望的神秘裡懇請生命主體的東西。這個區分被建立在這個客體。 這個客體變成為一個特權的興趣的標記, 這個客體變成這個貢品,個人核心的珍珠( 在此,這個個人對於生命力豐饒的來臨的軸心點的四周顫慄),與同時是生命主體的貶低的欲望之間。他被賞識作為客體, 他被貶低作為欲望。

And it is around this that there is going to turn this establishment of the register of having, that the affair is going to be played out. The matter is important enough for us to dwell on it, I will go into further detail.

擁有的銘記的這個建立,就環繞這個旋轉。情事將會被扮演。事情足夠重要,我們應該詳述它。我將會探討細節。

The thematic of having I have been announcing to you for a long time by formulae such as the following, love is giving what one does not have, of course, because you see clearly that, when the child gives what he has, it is at the preceding stage.

擁有的這個主題,我曾經跟你們宣佈很久的時間。我用以下的這個公式: 愛是給予我們沒有擁有的東西, 當然, 因為你們清楚地看出, 當小孩給予他擁有的東西, 那是處於先前的階段。

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