Archive for the ‘Cixous’ Category

西苏论巴斯莎芭沐浴图 6

March 27, 2014

17. I’ve just seen, in the collection: The Lacemaker, The Astronomer by Vermeer. The
Erasmus by Holbein.
The Lacemaker is a sublime still life. I remained in contemplation before the light and
shadow of the lacemaker’s fingers. The sculptured aspect of the light. The Lacemaker is a
Cézanne by its ridges. The Lacemaker is perfect. In its every detail. It is a treasure chest
full of precious colors. It isn’t lacking in anything. We feel a great satisfaction. Like
before the perfection of a doll’s house: everything is there, down to the smallest cooking
pot. And into the bargain there are those yellows. Everything is in order in the house.
Erasmus hasn’t changed. It’s really him, today as three centuries ago, the same dry,
thin-lipped man. Erasmus’s appearance hasn’t changed in three centuries. It is a
photograph. There is no interior. Holbein is the master of the genial splendor of realism. I
imagine the surprise of his contemporaries. Such a resemblance!
(It seems that certain buyers would complain about the lack of resemblance in
Rembrandt’s portraits. What must resemblance resemble?)

17、 我刚刚在收集里看见:维米尔画的「蕾丝制造者」,「天文学家」。荷宾的「伊拉玛斯」。
「蕾丝制造者」是昇华的静画。我始终是在蕾丝制造者的手指的光与阴影之前,沉思。光的被雕塑的层面。「蕾丝制造者」是塞尚的画,作为它的脊梁。「蕾丝制造者」是完美的。在它的每个细节。这是一个充满了珍贵颜色的财宝箱。它并不欠缺任何东西。我们感觉到强烈的满足。就像在一所木偶之家的完美之前。每样东西都在那里,一直到最微小的烹饪的锅子。除外,那样那些黄色。在房间里每样东西秩序井然。伊拉斯莫斯并没有改变。那确实就是他,今天,如同三个世纪之前,相同的乾旱,嘴唇薄薄的男人。在三个世纪里,伊拉斯莫斯的外表都没有改变。那是一幅图画。没有内部。荷宾是写实主义的辉煌灿烂的大师。我想像他的当代人们的惊奇。如此的酷似!

(似乎,某些买家将会抱怨,在林布兰的肖像的欠缺酷似。酷似必须酷似什么?)

18. Why do I place Rembrandt above, elsewhere, apart? Since forever?
No realism: what he paints is a woman hidden under the appearance of Bathsheba. He
paints the precise passing instant, the instant that is the door to eternity. In the instant is
the eternity.
Stigmata 10In Rembrandt truly no realism. To what degree it is the soul he paints, the soul in flesh
and in light, can be seen by the indifference he manifests for the ‘realistic description’ of
the body. The position is impossible. I tried. But this is of no importance. It is the soul
that presses the thighs together.

18、 为什么我将林布兰放在上面,别的地方,隔离开来。从什么时候以后?
并不是写实主义:他所绘画的东西,是一位女人隐藏在巴斯莎芭堤外表底下。他画这个明确的瞬间的片刻。这个片刻就是进入永恒的门。永恒就在这个瞬间。
在林布兰的「圣痕101」,确是并不是写实主义。他绘画灵魂到什么程度,具有肉身与光的灵魂,能够被看见,从他展示的冷漠,对于身体的写实主义的描述。这个位置是不可能。我尝试过。但是这并不重要。将大腿挤压在一块的是灵魂。

He paints a woman struck by a letter, carried outside of herself and whom he calls—
we call—Bathsheba.
He paints the bruised heart of Bathsheba. He paints the slight and uncertain intensity.
Rembrandt paints the secret: the trace of what escapes us: he always paints what
escapes us: what has just happened, what is going to happen, and which traverses us
suddenly, pierces us, turns us upside down, escapes—beyond the painting, beyond
thought, and leaves us there panting, suspended, grazed, he paints the body that remains,
maybe the skin, maybe the cadaver.
The painting is the place of passage.

他绘画女人受到信息的击中。这位女人在她自身之外被带著,他称这位女人,我们称这位女人—巴斯莎芭。
他绘画巴斯莎芭的受伤的心。他绘画轻微而不确定度激情。
林布兰绘画这个秘密,我们无法掌握的东西的痕迹。他总是绘画我们无法掌握的东西。刚刚发生过的东西,将要发生的东西。这个东西突然旅行过我们,贯穿我们,颠覆我们,逃避—超越这个图和,超越思想,让我们在那里喘息,悬浮,上釉,他绘画始终保存的身体,也许是皮肤,也许是尸体。
这幅图画书讯息通过的位置。

雄伯译

西苏论巴斯莎芭沐浴图 5

March 27, 2014

14. The Violence of the Letter.
At first I didn’t see it. The letter.
Little by little the letter captures the gazes.
At first I looked at the body.
This body that lets itself fall into itself.
That weighs. Weighing. For? Against?
I looked at the body’s dough. The flesh furnishes. Without muscles. (See the muscled
thighs of the Woman Bathing.)
A despondency, a prostration. Of an animal that knows itself promised. To the
sacrifice.
‘The body lowers its head.’
(It seems there has been a pentimento3 of the head.)
(Whereas all the women rise, in one way or another. Even the modest ones, even
Hendrickje. They have muscles or a cap.)
Bathsheba is drooping. Slightly.
Chin drooping.
An indolence has seized her.
Dejection? Resignation?
How she holds the letter: Weariness. She might drop it.

14、 信息的暴力
起初,我没有看见它。这个信息。
逐渐地,这个信息捕获各种凝视。
起初,我观看身体。
这个让自己掉入自己的身体。
那个沉重的身体。沉重?为了什么?反对什么?
我观看身体的肉身。肉身供应装配。没有肌肉。(请看「沐浴的女人」的大腿的肌肉。
沮丧。卖春。知道自己被许诺的动物。献给牺牲。
身体垂涎它的头。
(似乎,始终存在着头的悔恨)。
(虽然所有的女人起来,以某种的方式。即使最谦虚的女人,即使亨瑞杰。她们都有肌肉或帽子。)
巴斯莎芭低垂着。稍微。
下巴低垂着。
混身散发着懒散。
沮丧?顺服?
她保有这个信息的方式是:疲倦。她可能掉落它。

15. (N.B. the victory of the letter: the slow rise to the surface, the insistence.)
So there is a letter.
There is always a letter.
The letter, what violence! How it seeks us out, how it aims at us!
Us.
Especially women.
And more often than joy, it is some death it brings to us.
I don’t know why I hadn’t seen it. And you?

15、(信息的胜利:缓慢上升到表明,坚持)
所以,信息存在。
总是有一个信息。
信息,怎样的暴力!它如何寻找出我们,它怎样目标朝着我们!
我们。
特别是女人。
更加经常的,不仅是欢乐,信息带给我们的是某种死亡。
我不知道为什么我没有看见它。你看见它吗?

What’s a letter, next to a big body full of buttered light? a crumpled paper, next to
these unctuous linens?
Suddenly I am letterstruck. And I see only it.4 This letter! no, it’s a hole in the body of
the painting, the rent, the tear in the night. It I see the letter, I no longer see Bathsheba.
And now that I have my eyes on the letter, I see that it’s the letter that spills this shadow
on to Bathsheba’s left leg. This letter is in opposition. To the veil. To the linen.
To the reading. It is a letter from the back. It turns its back to us. When I wanted to
read it: forever forbidden. To paint a letter seen from the back! The Door is closed. It is
David, an old tale whispers to me.

怎样的信息,在充满塗奶油的光的庞大身体的旁边?在这些杂乱的内衣的旁边,怎样的一张皱乱的纸?
突然地,我被信息击中。我看见的仅是信息。这封信息!不,这是在图画的身体里的一个空洞,这个撕裂,夜晚的撕开。它。我看见这个信息。我不再看见巴斯莎芭。
既然我的眼光注视这封信息。我看见,就是这个信息,将这个阴影喷洒到巴斯莎芭左腿上。这封信息处于对立。跟薄纱对立,跟内衣对立。
跟阅读对立。这是一封从背后来的信息!门是封闭。那是大卫王。古老的传说跟我们喃喃叙述。

15
David is the outsider. The outside. The arranger.5 Invisible.
‘David and Bathsheba,’ that’s it: it is Bathsheba to the letter… The letter resounds
throughout the entire painting.

Form
This painting is divided more or less into two triangles.
Shadow of gold and (carnal) light of flesh.
In the center, the stroke of the letter.

15、 大卫王是外人。在外面。陌生人,隐而不见。
大卫王与巴斯莎芭,那就是它。那是巴斯莎芭跟信息的对立。在整个图画里面,这个信息迴响着。

形式
这个图画有点被区分成为两个三角形。
黄金的阴影与肉身的(肉体的)光。
在中央,信息的击中。

16. The letter has just been read.
The two women are under the letter’s sway.
The letter has taken their breath away. Has dispatched them over there into the closed
time, before the closed doors to the future.
Here in the painting, in the tent, they have already past, the present already past falls in
heavy folds toward the bottom.

16、 这封信息刚刚被阅读。
这两位女人受到这个信息的影响。
这个信息让她们惊叹不已。这封信息将她们配送到那里,进入封闭的时间,在进入未来的被封闭的门之前。
在图画,在帐篷,这里,她们已经有过去,已经过去的现在,以沉重的皱波掉落,朝向底端。

How white the letter is in the middle of the painting. Of a shadowy rosy whiteness.
The letter is within the scale, so it is a part of Bathsheba’s colors.
Letter one neither holds on to nor drops. Holds the entire painting under the
indecipherable charm of its breath.
And how red the stain is at the corner of the letter.

在图画的中央,这个信息是多么白。属于阴影般的玫瑰的白。
这封信息在天平之内。所以它是巴斯莎芭的颜色的部分。
信息,我们既没有掌握,也没有掉落它。我们将整个图画,放置在图画的呼吸的无法描述的魔力底下。
在信息的角落的这个污点是多么的红。

Like a signature. The mark on the shoulder. A touch of purple on the white. Sign or
signature. Piece of red seal? A bit of wax. So is it realistic? No, it is red. It is an element.
Incarnadine.
Portrait of Sadness: presentiment of mourning.
Bathsheba’s sadness:
She becomes sad under the insistence of our gaze.
The mouth made for smiling, the mouth doesn’t droop.
The sadness is in the brow: the brow slightly rises like thought slightly rises as it
attempts to think farther.

就像一个签名。在肩膀上的记号。白色上面的紫色色调。讯息或签名。一块红色印章?一点腊封。所以,那是写实的吗?不,那是红色。那是一个元素。
肉体的颜色。
悲伤的肖像:哀悼的恶兆。
巴斯莎芭的悲伤:
在我们的凝视的坚持,她成为悲伤。
嘴巴是为了微笑而形成,嘴巴没有垂下。
悲伤是在眉毛。眉毛稍微上扬,就像思想稍微上升,当它企图更深远地思想。

雄伯译

西苏论巴斯莎芭沐浴图

March 26, 2014

12. The older woman further down at the bottom is a remainder. She comes back to us
from this drawing (see Figure 1.2).
Bathsheba is also then this other woman.
The woman with the cap is: Bathsheba’s strange foreignness, her exoticism, Asia.
Nude with a cap! extravagance: something aberrant in the coifed nudity.
And the coif: oriental…

12、 在底端稍远处的这位老妇人,是个剩余者。她从这幅图画回到我们。(请看图画1.2)
巴斯莎芭也因此就算这位另外的女人。
戴着帽子的这位女人是:巴斯莎芭堤陌生的外来者,她的性爱狂。亚洲。
戴着帽子的裸体!奢侈:戴着披头帽的裸体,有某件偏离的东西。
披头帽:东方的、、、

This nude cut in two: the body is Bathsheba’s the coif is the older woman’s… The
cap! is at work.
The ‘servant’s’ gaze moves off toward the future in the East.
Bathsheba’s gaze withdraws toward the occidental future.
The two gazes descend slowly, toward the bottom.
Cross each other, don’t see each other. Are on two parallel planes.
The two women withdraw from the scene thoughtfully.

这个裸体被切成两半:身体是巴斯莎芭的身体;披头帽是老妇人的披头帽。
帽子在运作。
「仆人」的眼神移开,朝向东方的未来。
巴斯莎芭的眼神撤退,朝向西方的未来。
这两种眼神缓慢降下,朝向底端。
互相跨越,没有看见彼此。它们处于两个平行的层面。
这两位女人沉思地从场景撤退。

The ‘servant’ wipes Bathsheba’s feet distractedly. She is elsewhere. They are
elsewhere. In soul they are elsewhere. The body, left, weighs more heavily.
Bathsheba or the interior Bible 7What is the ‘servant’ thinking about? These two women are day-dreaming of the end
of the year. At the end of the year, a path will have been lost,
The end of the year…

这位「仆人」心不在焉地搽拭巴斯莎芭的脚。她在别的地方。她们都在别的地方。在灵魂,她们都是在别的地方。被留下的身体,重量更加沉重。

At first glance, at tenth glance, this is the face that at first I see. I should say: this
demi-face. We call this: profile. In fact it is a side, a half, a demi-star. The other side
belongs to the night. I will never know then but half of Bathsheba, the illuminated part.

首次瞥见,第十次瞥见,首先我看见的就是这个脸孔。我应该说:这个一半的脸孔。我们称这个为:轮廓。事实上,它是个旁边物,一个一半,半颗的星。另外一半属于夜晚。我将永远不会知道,当时仅有一半的巴斯莎芭,这个被启蒙的部分。

Figure 1.2 Fragment of a drawing by
Rembrandt. London, Victoria & Albert
Museum.

图画1.2 林布兰德图画片断,伦敦,维多利亚与阿伯特博物馆。

Stigmata 813.
Something unreadable catches my eyes. Maybe this, I tell myself, after a long
time: it is something that glides from head to toe. A motion-less movement, a
transformation. Now I see it, it is time, and even: it is time’s writing, it is age. From the
young head, the body goes forward, aging imperceptibly. Ah! so that’s what was gripping
my heart. This young woman is in the process of aging. The future is spreading through
her limbs. Her breasts are still childlike, already her pelvis, her thighs, her legs are in the
hands of age.
What? I mustn’t say this? But this is nonetheless what Rembrandt paints: the passion
(the suffering) of Bathsheba, starts here, in the body, between the knees,
where floats…the letter.

圣痕 8.13
某件无法阅读的东西吸引我的眼光。也许是这个。我告诉我自己,经过一段长时间之后。这是某件从头到脚滑走的东西。一个没有动作的运动,一种转变。现在我看见它。那是时间,甚至那是时间的写作。那是:年岁。从年轻的头,身体向前前进,不知不觉地衰老。啊!那就是紧捉住我的心的东西。这位年轻女人正处于衰老当中。未来摊开,穿过她的四肢。她的乳房依旧像小孩一般。她的骨盘,她的大腿,她的脚,都处于衰老的手中。
什么?我一定不要这样说?》但是这仍然是林布兰所绘画的东西。巴斯莎芭堤激情(痛苦),从这里开始,在身体里,在两个膝盖之间。在那里,这个讯息飘浮着、、、

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

西苏论巴斯莎芭沐浴图

March 26, 2014

9. With what is she painted?
Van Gogh said that Delacroix said that Veronese painted white blonde naked women
with a color which, by itself, greatly resembles street mud.
Van Gogh wants to paint with the earth. To mould.
With what mud is Bathsheba painted? With what earth?
With the flesh’s butter. With ghee. That rosy blond butter.
Libations.
Bathsheba nude.
I see Rembrandt painting the veil (that doesn’t hide a thing) on her groin.
Rembrandt grazing Bathsheba’s groin with a veil.
The veil, a nothing that creates the nudity.
Without this transparent nothing we would forget she is nude.
Bathsheba is in person. In a dressing gown. In body.
It is the body that is the face.

9、 她被用什么来画成?
梵谷说那个,德拉科罗说那个,威楼尼斯画白金黄色的裸体女人,用一种本身酷似街上泥巴的颜色。
梵谷想要用泥土来画。来塑造。
巴斯莎芭是用什么泥巴来绘画?用怎样的泥土?
用肉身的奶油。用加热过的奶油,那种玫瑰般的棕色奶油。
塗圣油。
巴斯莎芭堤裸身。
我看见林布兰画这个薄纱(什么都没遮蔽)在她的大腿上。
林布兰用一层薄纱替巴斯莎芭的大腿上釉。
这层薄纱是创造裸体的一种空无。
假如没有这层透明的空无,我们将会忘记她是裸身的。
巴斯莎芭亲自出席。穿着衣袍。以身体为衣袍。
身体就是她的脸孔。

10. She does not look at us. She is of those who do not look at us. I mean to say: those
women, Bathsheba, Mary, Hendrickje, don’t look at us, don’t stop living, (that is to say
dreaming, that is to say leaving) in order to look at us.
Stigmata 6
They withdraw, they take their leave slowly, a thought carries them toward the
unknown, far away. We hear—barely—the call from afar—
And we, looking at them, we see thought taking its leave. We see thought. It is a
portrait of thought, according to Rembrandt. Thought is not the weighty thinker seated. It
passes, inside, distracted, traveling, it is the foreigner, the stranger.
He paints the foreigner, the stranger in me, in you.
The times when under the letter’s sway—
we suddenly become the stranger, the foreigner in ourselves. We separate ourselves
from ourselves. We lose ourselves. From sight also.

10、 她并没有观看我们。她属于没有观看我们的人之一。我意图要说的是,那些女人。巴斯莎芭,马丽亚,亨瑞杰,她们并没有观看我们,没有停止活着(换句话说,没有停止作梦,换句话说,没有停止离开)为了观看我们。
圣痕第6图
她们撤退,她们缓慢地告辞,思想带领她们朝向遥远的未知。我们听见—勉强地—从遥远而来到召唤—
我们,观看她们时,我们看见思想不辞而别。我们看见思想。这是一幅思想的图画。依照林布兰。思想并不是端坐那里的沉重的思想家。思想通过到里面,心神不宁,旅行,就是这位外来客,这位陌生人。
他绘画这位外来客,这位陌生人,在我身上,在你们身上。
有好几次是受到讯息的影响。
我们突然变成我们自己身上的这位陌生人,这位外来客。我们跟自己分开。我们迷失自己。也视而不见。

He catches, paints, the point of departure. The hour, when destiny slips from our eyes.
Everything seems domestic. And yet such a strangeness wells up in our eyes, like
tears. It’s that she is already gone, she who is called Bathsheba. But the body remains.
That much more body, that much more flesh, that much heavier here, now that she-
Bathsheba is elsewhere.
The face is traveling: a great silence reigns in the painting. ‘What are you thinking
about?’ we wonder.

他捕捉,绘画出发点。这个时刻,当命运从我们的眼睛里溜走。
每样东西似乎都是家常。可是,这样的陌生感在我们的眼睛里膨奔腾起来,就像眼泪。她已经消失,她被称为巴斯莎芭。但是身体始终在。
那种不仅是身体,不仅1是肉身,在这里不仅更加沉重。既然她,巴斯莎芭在某个别的地方。
脸孔正在旅行:巨大的沉默降临图画。「你正在想什么?」我们想要知道。

11. A nude woman thinking. ‘Thoughtful body.’
On the one hand the thoughtfulness accentuates the nudity: naked nudity. Nudity unthought.
Un-attended to, un-kept. Given.
(What does a naked woman think about—her rapport to her body, always the slight
attention, like a veil, the glance or the gaze. Whenever I’m naked, I don’t look at myself,
I cast a glance my way (—the glance of the other, of you/me at me)—But no, Bathsheba
does not look at her body. She is not before herself. She is not here. She is gone, behind
her eyelids.)
On the other hand, the person who thinks in front of us, abandons us. A very slight
betrayal rouses us: we miss her a little, she who is (only a little bit here) absent.
Distracted, she is abstracted from us.
‘He doesn’t paint great Historical subjects (said a contemporary). He paints
thoughts…’ (Roger de Piles, 1699, Paris).
(He paints thoughtfulness. This absence in the body. This leave-taking by the soul that
leaves the body deserted like a living tomb. We think: we’re parting.

11、 一位裸体的女人在思想。「会思想的身体」。
在一方面,这种思想特质强调裸体:赤裸裸的裸体。没有被思想的裸体。没有被陪伴,没有被照顾。就是被给予。
(一位赤裸裸的女人思想些什么—她对她的身体的支撑,总是轻微的专注,就像一层薄纱,瞥见,凝视。每当我赤裸时,我并没有观看我自己。我以我的方式瞥见(–它者的瞥见,你或我瞥见我)–但是,不是这样。巴斯莎芭没有观看她的身体。她并不是在她自己面前。她并不在那里。她离开了,在她的眼皮背后。)
在另一方面,在我们面前思想的这个人,放弃我们。我们被激发稍微的背叛。我们稍微失落她。在此是缺席的她(在此稍微有一点)。
她恍惚分身。她从我们这里恍惚分神。
「他并没有绘画伟大的历史的主体(一位当代人说)。他绘画思想、、、(1966年,巴黎,Roger de Piles,)
(他画思想特质。画身体的这个缺席。灵魂的这种辞别,让身体成为荒漠,像一座活生生的坟墓。我们思想:我们正在离开。

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

西苏论巴斯莎芭沐浴图

March 25, 2014

8. Of what secret lights are we made?

Of what densities?

What Rembrandt gives back to us: the dough, the depth, the tactile, that which we

lose, which we have lost, we who live flat, without density, in silhouettes on a screen: the

interior radiance.

– A scene by Rembrandt (let’s take a family scene, or a scene like this one, a scene of

‘corporation’), what gives it its force—by which it takes us, pushes us, pinches us,

caresses us, is, beyond courtly war exchanges—beyond pretenses, codes…

– that it always occurs at the same time in the cellar in the cave or in the forest, in

these great and somber prehistoric cathedrals where our colors, our drawings stir, where

attraction and repulsion shine, like lanterns in our obscurity. It is there (to the bottom)

Bathsheba or the interior Bible 5that Rembrandt leads us. Taking the red staircase, down to the bottom of ourselves, underthe earth’s crust,

This world is full of night and of golden stuff. The stuff of night is a clay. A mud. It is

still moving, imperceptibly.

 

6、  我们是由什么秘密的光组成?

林布兰还给我们的东西:肉身,深度,触觉,我们丧失的东西。我们已经丧失的东西,我们平实生活的东西,没有激情,仅是萤幕上的轮廓:内部的光辉。

—林布兰的一个场景(让我们採用一个家庭的场景,或像这样的一个场景,公司的场景),给予它力量的东西—凭借这个力量,它带领我们,逼迫我们,捏紧我们,爱抚我们,它超越宫廷的权谋交换,超越伪装,密码、、、

—它总是同时发生在地窖,在洞穴,或在森林,在这些伟大而暗淡的史前教堂。在那里,我们的颜色,我们的图画骚动着。在那里,吸引与排斥闪耀着,就像我们的朦胧里的灯光。就在那里,(到达底端),林布兰引导我们到巴斯莎芭或内部的圣经。走这道红色的楼梯,一直到我们自己的底层,在泥土的外壳底下。

这个世界充满了夜晚与黄金般的质料。夜晚的质料是泥土。泥巴。它依旧在移动,不知不觉地。

No landscape and no ‘furniture’ either. Instead of furniture, ‘shelving,’ ‘shelves’ of

color. Bands, brush strokes. What do you see, there?

A man said to me, here’s a cupboard. With linens piled up.

Another man, this one a painter: an architectural background, a pilaster.

A commentator said to me: the curtain has been drawn aside.

We have such a need of cupboards, of curtains, such a need to furnish.

 

没有风景,也没有「傢具」。没有傢具,「橱架」,颜色的「架子」。带子,刷子的笔画。你们在那里看见什么?

有个人对我说,在此是一个橱柜。堆满内衣。

另外一个人说,这个是一位画家:建筑的背景,

 

The interior world is full of night and of golden stuff, of the stuff of night. Spools of

Curtains? The curtains have been drawn aside? The stuff, the linens, the dark golds,

the white golds, border on, play in major and minor, the body’s blond gold.

The entire room is flesh. Sex.

The ‘curtains’ have raised themselves like eyelids, uncovering the clear pupil: the

luminous body of Bathsheba.

 

内部的世界充满夜晚与黄金的质料,夜晚的质料。夜晚的线轴。

帘幕?帘幕已经被拉开一边。质料,内衣,黑色的黄金。

白色的黄金,迹近于身体的棕色的黄金,主要与次要的扮演。

整个的房间是肉身。性。

这个「窗帘」已经拉起,就像眼皮,显露清楚的瞳孔:巴斯莎芭堤闪亮的身体。

 

I notice: ‘the sensation of curtains drawn aside.’ As if our naïveté were thinking: this,

this light in the cup of flesh, only exists hidden, preserved. It’s intimacy. We can never

see it, except by indiscretion.

(See the incredible Holy Family at the Curtain: it’s about magic: how to make us feel

the intimacy of intimacy, the intimitude?2 We are graced with being shown what is

hidden behind the curtain: same gesture as for gazing at a baby in its cradle: we lean over,

pull the sheet aside, the veil, the curtain, taking care not to tear it from its intimacy.

Bathsheba in the cradle, sleeps before us, very near, very far from us.)

It’s about the discrete sensation of ‘revelation.’

We see a mixture of slowness and agitation. The moment ‘just after’—not yet. It does

not yet have a name.

 

我注意到:「窗帘被拉开一边的感知」。好像我们的纯真者正在思维:在肉身的杯子的这个光,仅是隐藏地,保留地存在着。那是「亲密」。我们永远没有办法看见它,除了凭借不谨慎。

 

(请你们观看在帘幕那里的不可思议的神圣家庭。那是关于魔术:如何让我们感觉亲密的亲密,亲密者?我们被给予恩典,被显示帘幕背后隐藏的东西。相同的姿态,关于凝视在摇篮里的婴孩。我们倾靠过去,拉开被单,遮盖,帘幕,小心不要将它跟它的亲密性撕开。

巴斯莎芭在摇篮里,在我们面前睡着,非常靠近,跟我们很远。)

这是关于启示的分开的感觉。

我们是缓慢与激动的混合物。「刚刚过去」的时刻—还没有。它还没有一个名字。

 

雄伯译

 

西苏论巴斯莎芭沐浴图

March 24, 2014

6. One must penetrate into the country (—says Van Gogh—stay in the Midi, until, by
penetration, you become it).
Sharpen one’s eye on the land.
Cézanne being absolutely from the very land, he knows it so intimately, one must
make the same calculation internally in order to arrive at tones like this (Firm tones).1
Rembrandt’s very land? Neither the city, nor the countryside. The interior land: ‘the
landscape of the interior Bible.’ I say the Bible, that is to say, the land of the most ancient
passions, it is a land without landscape, without monuments. But not without form and
without inhabitants.
How to get there? How to get inside a star, Van Gogh wondered? The fastest method
of transportation is not the train, it’s death.
And to get inside the interior Bible? One must take the stairs, and plunge into the
flesh. Down to the farthest memory.

6、 我们必须穿透进入乡下(梵谷说:停留在米地,直到凭借穿透进入,你成为它。)
让我们的眼睛锐利地观看这块土地。
塞尚绝对来自这块土地,他如此亲密地知道它。我们必须从内部从事相同的估算,为了到达像这样的色调(坚定的色调)。
林布兰的土地呢?既不是城市,也不是乡下。内部的土地。「内部圣经的风景」。我说圣经。换句话说,最古代的激情的土地。那是一块没有风景的土地,没有纪念碑。但是并非没有形式,没有居民。
如何到达那里?如何进入一颗星?梵谷想要知道吗?最快速的运输工具并不是火车,而是死亡。
为了进入内部的圣经呢?我们必须要攀登楼梯,然后投入肉身,一直到最遥远的记忆。

7. It’s dark here. We’re down below. We’re here.
In the breast. Immediately. Such an absence of exterior!
The country is a room of palpitating folds.
What I feel: this obscurity. It is the troubled air of our secrets, those that govern us and
that we’re not really aware of. We (Bathsheba) are in the secret. The secret surrounds us.
Bathsheba is seated in our room, in our breast, like a luminous heart. She contains the
light. The light doesn’t spill out.
The Body: bread of light.
I verify: where is the light coming from? The shadow of the ribbon on Bathsheba’s
skin tells us that a strong light is coming from the left. But the pearly luster of the
triangular lining under the servant’s cap tells us that a stream of light must be rising up
from the right.
The source of the light is cut off. The light remains. The secret fire that emanates from
the flesh.

7、 在此,天暗了。我们在底下。我们在这里。
在乳房。当下。欠缺外部。
乡下是悸动的皱波的房间。
我感觉到的东西是:模糊暧昧。这是我们秘密的混乱的空气,那些统辖我们的秘密,我们并没有确实知道的秘密。我们(巴斯莎芭)处于秘密里。秘密环绕我们。
巴斯莎芭端坐在我们的房间,在我们的乳房,就像一颗发亮的心。她包含光。光并没有散发出来。
身体:光的面包。
我验证:光是从哪里出来?巴斯莎芭堤皮肤的条纹的阴影告诉我们:一道强烈的光从左边过来。但是仆人的帽子的三角形内里的珍珠般的光泽告诉我们:一道逃离的光线一定是从右边上升。
光的来源被切断。光始终存在。秘密的火从肉身散发。

西苏论巴斯莎芭沐浴图

March 24, 2014

4、
4. What there is not in Rembrandt: there is no da Vinci.
Not the smile. Not the look that takes or the smile that flees.
There is no smile: no exterior. No face that lets itself be looked at. That knows it is
looked at. No face. No surface. No scene. Everything is in the interior. No representation.
The passivity of Bathsheba. The despondency.
The imminence. Drooping over her somber heart.

5、 在林布兰并没有的东西,就没有达文西。
没有这个微笑。没有接收到这个眼神,或逃离的这个微笑。
没有微笑。没有内部。没有场景。每样东西都在内部。没有再现表象。
巴斯莎芭堤被动性。依赖性。
即将发生。垂下她的暗淡的心。

5. There is no Vermeer.
No walls, no painting on the walls, no window, no panes, no curtain, no nautical map
on the wall, no cupboard.
In Vermeer, light enters by the window on the left and draws. Everything is in the cell.
The outside knocks on the windowpanes. The exterior enters the interior.
Here: no objects in the foreground, no fruits. No spools of thread. Here, no exterior, no
era, no city.
Vermeer takes us to Delft. To the Lacemaker’s. Eternal Reconstitution.
Where does Rembrandt take us? To a foreign land, our own.
A foreign land, our other country.
He takes us to the Heart.
Stigmata 4(The camera obscura, the machine for seeing gives us: photographic vision, from
foreground to background.)

6、 没有弗美尔。
没有墙壁,墙壁上没有图画,没有窗户,没有窗框,没有窗帘,墙壁上没有航海图,没有纸板箱。
在弗美尔的图画,光从左边的窗户进来,然后绘画。每样东西都在地窖里。外面敲打窗框。外部进入内部。
在此,前景没有客体,没有水果。没有纺纱线轴。在此,没有外部,没有时代,没有城市。
弗美尔带我们到德弗特。到蕾丝制造商的「永恒的重建」。
林布兰带我们去哪里?去到陌生的土地,我们自己的土地。
一个陌生的土地,我们的另一个土地。
他带我们到「心」。

「圣痕图」4:(作为观看的机器给予我们「暗箱」:摄影的景像,从前景到背景。

西苏论巴斯莎芭沐浴图

March 24, 2014

2. This is Bathsheba. The dark surroundings must be what’s left of David. This sort of
blackness?… If there is a couple, a pair in the painting, indeed it would be day and night.
(I say blackness, and not: black. Blackness isn’t black. It is the last degree of reds. The
secret blood of reds. There are so many blacks… Twenty-four, they say.)
I said ‘without a man.’ I mean to say without a Visible’ man. I mean to say without an
interior man. Inside herself. Without… preparation, without rigidity. This woman is not
erect.
(And Rembrandt?—Ah! Rembrandt’s sex—
Nothing to do with Rubens’s sex of flourishes, nothing to do with da Vinci’s mirror.
Rembrandt is without ostentation.
The Rembrandt(’s) sex is matrical.)

2、 这是巴斯莎芭。黑暗的环境一定是有关大卫王留下的东西。这种的黑暗?假如有这样一个配对,图画里的配对,那确实就是白天与夜晚。(我说黑暗,而不是说黑色)。黑暗并不是黑色。黑暗是红色的最后的色度。红色的秘密的血色。黑色有好几种色度。据说有二十四种。)

我说「没有男人」。我意图要说的是「没有可看得见的男人」。我意图要说的是「没有一个具有内部的男人」。在她内部里面。没有、、、准备,没有僵化。这位女人并不是直立。
(林布兰呢?啊!林布兰的性—跟鲁宾斯的炫耀的性无关,跟达文西的镜子无关。
林布兰是没有夸张的。
林布兰的性是韵律的。)

3. Why wouldn’t Freud have anything to say about Rembrandt? Because there is no
family scene, one sees no menace, no transference, no projection, there’s no dependence,
no authority, no cruel attachment.
Look at Titus. Titus is not ‘a son,’ he’s a boy. This is a young man. This young man is.
This old woman is not maternalized. This old man is not venerabilized. The old man is
old.

The wars of appurtenance, of appropriation, that rage in families: no. No violence.
Only insistence and profundity. And to each, his or her profound destinal mission:
becoming human.

* ‘Bethsabée ou la Bible intérieure’ was first published in FMR 43, 1993 (April): 14–
18; this translation (of a different version) first appeared in New Literary History 24, 4,
1993:820–37.

Figure 1.1 Rembrandt, Bathsheba
bathing, 1654. Paris, Musée du
Louvre.

3、 为什么弗洛依德对于林布兰没有说任何事情?因为没有家庭的场景。我们看不见什么威胁,什么移情,什么投射。不存在着权威,残酷,或感情上的依附。

请看看泰特斯。泰特斯并不是儿子。他是位男孩。这是一位年轻人。这位年轻人。

老妇人并没有被物化。这位老妇人并没有可被尊敬。这位老妇人老矣。

附从与佔有的战争,在家庭里面进行。不,没有暴力。仅有坚持与深奥。对于每个人,他或她的深奥的命运的使命:成为人。

注释
1、「巴斯莎芭与圣经内部」在1993年四月首次出版。这个英译出现在1933年。
2、图画一: 林布兰的「巴斯莎芭沐浴图」,1964年,巴黎,罗浮宫

4、
4. What there is not in Rembrandt: there is no da Vinci.
Not the smile. Not the look that takes or the smile that flees.
There is no smile: no exterior. No face that lets itself be looked at. That knows it is
looked at. No face. No surface. No scene. Everything is in the interior. No representation.
The passivity of Bathsheba. The despondency.
The imminence. Drooping over her somber heart.

5、 在林布兰并没有的东西,就没有达文西。
没有这个微笑。没有接收到这个眼神,或逃离的这个微笑。
没有微笑。没有内部。没有场景。每样东西都在内部。没有再现表象。
巴斯莎芭堤被动性。依赖性。
即将发生。垂下她的暗淡的心。

BATHSHEBA OR THE INTERIOR

March 24, 2014

BATHSHEBA OR THE INTERIOR

BIBLE*

巴斯莎芭或圣经内部

Helene Cixious

赫伦娜、西苏

雄伯译

Translated by Catherine A.F.MacGillivray

 

I’ve taken twenty-four steps in the direction of Bathsheba.

1. To what degree it is not about ‘a nude’, behold why, between all the magic ones, I

first said that one.

From her, I want to receive the secret messages.

This female nude is not a nude.

She is not made—not painted—to be seen nude. Precisely her—Bathsheba. She who

was seen. Should not have been seen. She who is perceived. From afar.

She whom we see is not the mortal object.

Not the object of desire, and of murder.

It is Bathsheba in truth.

The non-nude nudity. Not denuded. Not undressed. Clean, characteristic.

Absolute Bathsheba. Without a man. Can we imagine seeing her: ‘David and

Bathsheba’? (The name Bathsheba invokes David—but not this woman, here, no.)

 

我曾经採取二十四个步骤,朝巴斯莎芭的方向。

1、  有几分程度,这并不是关于「裸体」,请你们注意,处于所有的魔术的裸体之间,我首先说那个那个裸体。

从她那里,我想要接收这个秘密的讯息。

因为女性的裸体并不是裸体。

她并非被迫被视为裸体,并不是被绘画成为裸体。确实就是她—巴斯莎芭。被看见的她。她本来不应该被看见。她被感知。从远方。

我们看见的她,并不是作为人身的客体。

并不是欲望的客体,谋杀的客体。

那是巴斯莎芭堤真相。

这位非裸体的裸身。并不是褪尽一切。并不是脱尽衣衫。乾净,具有特性。

绝对的巴斯莎芭。没有男人。我们能够想像看见她:「大卫王与巴斯莎芭」吗?(巴斯莎芭这个名字让人联想大卫王—但是并不是这里的这位女人,并不是。)

 

 

西苏论弗洛依德的陌生感

October 27, 2013

朝向幻想的理论:
幻想跟生命的经济活动息息相关,作为无可否认与暧昧的连接,譬如从陌生感传递到熟悉感。这并非是不真实,这是幻想的现实界,与现实界的振动。在幻想中的陌生感泛滥而且组成真实生活的陌生感。但是假如幻想是现实界的另外一种形式,我们了解,陌生感的秘密并没有提到一个更加深奥迪秘密,除了涵盖陌生感的这个陌生感,正如死亡泛滥进入生命。

现实界的幻想是什么?有一个问题萦绕弗洛依德的文本的各个入口处,但是没有进入它们。弗洛依德写到,「比起真实生活的各种可能,幻想呈现更多的机会,作为创造陌生感的感觉。」精神分析回到另外一个客体,它曾经不停地遭遇对抗的客体,但是没有穷尽它:幻想。在此的问题不仅是要检视陌生感的这个谜团,而是要检视幻想本身的谜团,幻想处于跟陌生感的特别关心的谜团。幻想呈现或代表它自己,首先作为陌生感的贮藏所或悬置。譬如,在仙女童话的世界,匪夷所思的东西从来没有让人不安,因为它曾经被取消,被这个艺术形式的传统取消。幻想的现实界因此被中断。或是幻想也能够加倍陌生感的影响,凭借中断于作者与读者之间的默契,在作者的评估里是「反叛的」程序,它让我们能够漫游,直到结局,对于陌生感并没有任何的防卫。仅有当被征服者的这个人从来没有完全被征服,那才有可能。这个不可能因此代表它自己作为是可能,(让我们在此区别通过不可能的现实界的欠缺,跟通过死亡的欠缺)。这个不可能并非是死亡,死亡并非是不可能。对于弗洛依德,被征服者的的这些变调事实上仅是起
源于神秘化。一个虚假的死亡。幻想的真实的秘密,依赖某个其他的地方。凭借杜撰陌生感的新的形势,幻想就是这个陌生的东西。假如我们考虑陌生感,作为是刀叉的分叉,一个指向陌生感的方向,另外一个指向焦虑的方向,我们看见,在陌生感的这个极端,幻想指向这个未知:在这个新颖中最新颖的东西,通过它,幻想部分跟死亡连接一块。

作为受压抑者的贮藏所,幻想最后就是抗拒精神分析的东西,因此,它最吸引它。仅有作家「知道」,并且拥有这个自由来召唤或压抑这个陌生感。换句话说,仅有作家拥有这个自由来撤销或压抑这个「受压抑物」。但是这个「自由」抗菌所有的精神分析,作为是陌生感的另外一个形式,它就像是「本来应该、、、始终隐藏的东西」。可是,这个幻想并没有逃避再现表象的法择,它对于每样其他的东西都是神秘的,除了它自己。

从我们的观点,作为不屈不桡地感到不安的读者,我们身不由已地认为,弗洛依德在霍普曼身上几乎没有东西可以羡慕,因为他具有「艺术或才华」,来挑衅陌生感的影响。假如我们阅读弗洛依德的论文时,经验到这种不安,那是因为作者在这场游戏里是他自己的双重人,这场跟他的文本无法脱离的游戏。情况是如此,以致他成功地在每个词语的起承转合时逃离出来。这也是,特别是当这个陌生感不再提到深刻的秘密,除了它自己。每个追求都产生它自己的取消,每个处理死亡的文本,都是回转的文本。死亡或是阉割的压抑到处都背叛死亡与压抑。谈论死亡就是要死亡。谈论阉割,要就是征服它,(因此取消它,阉割它),或是造成它的结果。「基本上」, 弗洛依德在这个文本里的冒险,被献祭给写作的这个矛盾。写作延伸它的各种迹象,为了「证实」它「包含」的这个秘密,。至于孤独。沉默,及黑暗,自从童年以来,它们总是在那里,「我们仅能够说,它们确实是产生婴孩的病态的焦虑的这些元素。大多数的人们从来没有完全免除这个病态的焦虑。」所以,关于陌生感(以及它的双重人,幻想),我们仅能够说,它从来就没有完全消息、、、它重新-呈现在孤独,沉默,与黑暗中,呈现或没有呈现给你的东西。「幻想」既不是真实,也不是虚幻,「幻想」是死亡的排泄,一种预期,对于非再现表象,木偶娃娃,由语言与沉默组成的杂交身体,在回转它或是它回转的运动中,「幻想」杜撰双重人,与杜撰死亡。

雄伯译
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