Archive for the ‘Lacan on Desire’ Category

Desire 84 Jacques Lacan

June 3, 2011

Desire 84

Jacques Lacan
雅克、拉康

THE SEMINAR OF JACQUES LACAN
BOOK VI
Desire and its Interpretation
欲望及其解釋 `

28.1.59 149
Seminar 10; Wednesday 28 January 1959

And is this something that we can subscribe to right away? Once again I would simply ask you here to notice that the least that can be said is that there is perhaps some confusion in saying that it is a matter of an omnipotence that is wished for, or more or less secretly assumed by the subject, even though it seems that this subject, if we keep to the first approach of the dream, its manifest content in this case is rather on the contrary to reduce, to minimise. And the analyst herself underlines it on another occasion about the hood. The analyst is in fact so much further on than her own interpretation under the influence of a certain apprehension of that, of this reduced aspect of the subject in his whole presence in this phantasy, that she always says that he saw or perceived that when he was a tiny child.

這是某件我們能夠立刻同意的東西嗎?再一次,我僅是要求你們注意到,至少我們能夠說的是,可能會有某種的混淆,當我們說,所被欲望的是一個全能的問題。或是生命主體或多或少假定的問題。即使似乎這位生命主體,假如我們遵照夢的第一個方法,在這個個案,相反地,它明顯的內容是要化簡,要減少。精神分析師本人在另外一個場合強調它,關於這個頭巾。事實上,在某種焦慮的影響之下,生命主體在這個幻見的整個存在裏,精神分析師被化簡的部分的影響之下,她比自己的解釋更加受到影響。以致於她總是說:他在小時候,看到或是感覺到。

(23) In fact what do we see? We see rather the subject making himself small. In the presence of this kind of vaguely testicular appendix which at the very most he dares approach with a finger which he should perhaps cap, cover, protect, in any case
distancing from himself and from the proper exercise of his potency, in any case sexual potency, this signifying object, it is perhaps going a little far, and it is always the same confusion, to confuse the omnipotence imputed to the subject as even more or less denied, with what is on the contrary quite clear on this occasion, the omnipotence of the word.

事實上,我們看到什麼?相反地,我們看到生命主體使自己變得渺小。在這種模糊睾丸附件的面前,充其量他敢用手指去碰觸,他可能應該脫帽致敬,蓋住,保護,無論如何,跟自己拉開距離,跟他的潛力的適當運用,無論如何,那是性的潛力,這個能指的客體,它可能稍微過分,總是相同的混亂,混淆灌輸到生命主體的無所不能,甚至當作是有點被否認的東西。相反的,在這個場合,相當顯而易見的,文字的無所不能。

But the fact is that there is a world between the two because it is precisely in contact with the word that the subject is in difficulty. He is a lawyer, he is very talented, he is seized by the most severe phobias every time he has to appear, to speak. We are told at the beginning that his father died when he was three years old, that the subject had the greatest trouble in bringing him to life a little bit in his memories; but what is the only memory which remains absolutely clear for him: there has been transmitted to him in the family that the last word of his father had been: “Robert must take my place” (127) In what sense is the death of the father dreaded? Is it in so far as the father is dead or in so far as the dying father spoke, said, “He must take my place. Namely be where I am, where I am dying?”

但是事實上,在這兩者之間有個世界,因為確實就在跟這個文字的接觸時,生命主體遭遇困難。他是位律師,他非常有才華,每當他必須出現,必須演說,他都充滿極端恐懼。在開始時,我們被告訴,當他三歲時,他的父親死掉。生命主體遭遇極大困難,才從記憶裏讓他稍微恢復對父親的印象。但是對於他,始終絕對清楚的記憶是:在家庭裏曾經傳遞給他的他的父親曾經說過的最後的話:「勞勃必須代替我的位置」。父親的死亡受到恐懼的意義是什麼?是父親死了,或是垂死的父親說:「他必須替代物的位置。換句話說,他必須在我現在的地方,我快要死掉的地方?」

The difficulty of the subject with respect to the word, this distance which means that he uses the word precisely to be (24) elsewhere, and that inversely there is nothing harder for him than not just speaking, but making his father speak – that was only recently reached and it was a startling moment for him the analyst tell us to think that his father spoke – it is not something which at least ought to encourage us to accentuate for him more than for someone else this division between the other qua speaking and the other qua imaginary. Because to be honest, is there not a certain prudence required at this level.

關於這個文字,生命主體的困難,這個距離意味著,他確實使用這個字,為了要在別處。相反的,對於他而言,最困難的莫過於不僅僅是說話,而是要使他的父親說話。這是最近才獲得,對於他,這是一個令人驚嚇的時刻,精神分析師告訴我們要認為,是他的父親在說話。這個某件東西,至少應該鼓勵我們跟他強調,勝過某個其他的人,強調作為說話的大它者,及想像界的大它者之間的區分。因為坦白說,在這個層次,難道不是要求某些的謹慎?

The analyst finds a confirmation of the omnipotence of the subject in the immense character of the dream. The immense character of the dream we can only know about it from the subject. It is he who tells us that he has had a tremendous dream, that there was a huge story beforehand, that there was a whole tour around the world, a hundred thousand adventures which would take an enormous time to tell, that he not going to bore the analyst with. But when all is said and done the mountain gives birth to a little story, to a mouse. If there is here also a notion of something which is indicated as a horizon of omnipotence, it is a narrative but a narrative which is not told.

在夢的廣裘特性裏,精神分析師找到生命主體的無所不能的肯定。夢的廣裘特性,我們只能從生命主體知道它。他告訴我們,他曾經作了一個巨大的夢,事先有一個巨大的故事,有一個環繞世界的整個旅行,成千上萬的冒險,要花費巨大時間來描述。他不想要這樣讓精神分析師感到無聊。但是當一切都衡量之後,山產生一點故事,一隻老鼠。假如在此也有某件東西的觀念,被指示作為無所不能的地平線,這是一種描述,一種沒有說出的描述。

The omnipotence is always on the side of the other, on the side of the world of the word as such. Should we right away see the subject in this case as in terms of what is supposed, and what will immediately be implied in the thinking of the analyst, as
being the structure of the subject, not alone this phantasy as omnipotent, but with the aggressivity that this involves?

無所不能總是在大它者的這一邊,在文字本身的世界的這一邊。在這個情況,我們應個立刻看出生命主體,作為所被認為的東西,根據精神分析師的思維,當下被暗示的東西,作為生命主體的結構,不僅是這個幻見是無所不能,而且帶著牽涉到的攻擊性?

(25) It is at this that we should first of all stop to situate precisely what I am in the process of trying to get you to notice, namely the partiality that sometimes appears to occur in the interpretations in the measure that there is ignored a difference of plane which, when it is sufficiently accentuated in the structure itself, must be respected. It is on this condition alone that we know that this difference of plane exists.

就在此處,我們首先應該停下來確實定位我正在設法要你們注意的東西,換句話說,在釋夢時有時會出現的偏愛。有一個層面的差距被忽略,在結構的本身,它充分地被強調,必須被尊敬。僅是在這個情況,我們知道,這個層面的差距存在。

What is the question that is posed immediately afterwards, says the analyst : it is “why this phantasy of extreme power?” The answer is given in the dream. He is going around the world. I would put as commensurate with this idea the actual memory that
came to him when he was describing the hood in the dream which was so strange, for it brought out not only the fact that he was describing a projection, a fold of a hood, but that the hood was also overhanging like the lip of a cave. So that we get
directly the hood and lips of the vulva compared with the great cave on the hillside to which he went with his mother. Hence the masturbation phantasy is one associated with immense potency because he is dreaming of compassing mother earth, of being
adequate to the huge cave beneath the protruding lips. That is the second thing of importance” (139)

後來立即被提出的問題是什麼?精神分析師說:「為什麼會有極端有力的這個幻見?」這個答案在夢中被給予。他正在環繞世界。我將提出這個實際的記憶,跟這個觀念等量對比。當他正在描述在夢中如此奇怪的這頂頭巾,他想到這個記憶。因為它不但顯示這個事實:他正在描述一個投射,一個頭巾的褶疊,而且這個頭巾也像山洞的唇狀出口的垂懸。這樣我們直接獲得頭巾與陰戶的唇口,相較於他跟他的母親前往的山腳下的大山洞。因此,手淫的幻見,是一個跟巨大潛力聯想到幻見。因為他正夢見到測量母親的大地,他足可勝任突出唇口的巨大山洞。這是很重要的第二件事。

You see how the analyst’s thinking proceeds on this occasion. (26) Incontestably you cannot avoid sensing a leap here. That there is a relationship because of the association, this is demonstrated, between this memory of the child where he himself
was covered, as they say, and the one that is in question, mainly the signifying value of the phantasy that I would call the prolapse phantasy, this of course is not to be excluded.

你們看到精神分析師的思維,如何在這個場合進展。無可爭議的,你們無可避免在此感覺到一種跳躍。因為這個聯想,而有了某種關係被證實,處於他自己被涵蓋裏面的小孩的這個記憶,如他們所說,以及這個受到置疑的記憶之間。換句話說,幻見到能指的價值,我將會稱為是「脫出的幻見」。當然,這個幻見不應該被排除在外。

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

Desire 83 Jacques Lacan

May 30, 2011

Desire 83

Jacques Lacan
雅克、拉康

THE SEMINAR OF JACQUES LACAN
BOOK VI
Desire and its Interpretation
欲望及其解釋 `

28.1.59 149
Seminar 10; Wednesday 28 January 1959

And what am I saying there if not expressing in a more articulated fashion what our experience is when we are seeking to focus what the desire of the subject is. It is that, something which is a certain position of the subject face to face with a certain object in so far as he puts it in an intermediary position between a pure and simple signification, a thing assumed, clear, transparent for him, and something else which is
not a phantasy at all, which is not a need, which is not a (19) pressure, a rope (filin), but something which is always of the order of the signifier qua signifier, something closed, enigmatic. Between the two there is a thing which appears here in the form of a representation which is tangible, extremely precise, imaged. And the subject, warns us by his very associations: this is what is significant.

我現在正在說的,難道不就是以更清楚的方式表達,我們精神分析經驗是什麼,當我們正在設法專注於生命主體的欲望是什麼?生命主體的某個立場,跟某個客體的面面相覷的東西,當他以一個中間的立場表達它,處於一個純淨的意義,對他而言,是一個被假定,清楚透明度東西,及某件根本不是幻見到其他東西之間。這個其他東西不是一個需求,不是一個壓力,一條繩索,而是某件總是屬於能指作為能指的秩序的東西,某件封閉,謎團的東西。在這兩樣東西之間,有一樣東西出現在這裏。以一個具體,極端明確,意象化的再現符號的形式。生命主體用他的這些聯想警告我們:這就是具有意義的地方。

What am I going to do now? Am I going to go into the way in which the analyst interprets? I must therefore let you know all the material that we have.

我現在將要做什麼呢?我將要探討精神分析師用怎樣的方式來解釋。因此我必須讓你們知道我們擁有的所有材料。

What does this analyst say at that moment as she continues: “What else do you think of … ” She replies to the fact that the subject takes up after having coughed, comes back to the hood.

在那個時刻,精神分析師說什麼?當她繼續說:「除外,你認為那是什麼?」她回應這個事實:生命主體在咳嗽之後,從事,並且回到頭巾的問題。

“I’m still thinking of the hood.” “Yes, how now?”, says the analyst. “A funny man” he says, “at one of the earliest golf courses I remember. He said he could get me a golf bag cheaply and the material would be motor hood cloth’.” At this point he gives an imitation after having said: “It was the accent I remember. Imitating him like that reminds me of a friend who broadcasts impersonations which are very clever,” (“broadcast” is the important word), “but it sounds swank, to tell you as swanky
as telling you what a marvellous wireless set I have. It picks up all stations with no difficulty.” “My friend has a splendid memory,” he says. “She remembers her childhood too, but mine is (20) so bad below eleven years. I do remember, however, one of the earliest songs we heard at the theatre and she imitated the man afterwards.”

「我依舊正在想著頭巾。」「是對的,現在如何了?」精神分析師說。「一位很有趣的人,」他說,「在我記得的最早的高爾夫球場。他說他能夠很便宜替我買到一個高爾夫球袋,材料將是動力頭巾布。」在這個時候,說完後,他給我一個模擬的動作:「我記得的是這個語調。像那樣模擬他讓我想起一位朋友。他廣播一些微妙微肖的模仿人物。」(廣播是重要的字詞),「但是聽起來像是吹牛,大吹特吹地告訴你,我擁有一套神奇的無線電調頻。它毫無困難地收聽各種月臺。」我的朋友記憶力非常好,」他說,「她也記得她的童年,,但是我的童年在十一歲以下,是如此的悲慘。可是,我記得我們在戲院聽到的最早的一首歌。她隨後模仿那個人。」

It is a typical English music hall song which goes as follows: “Where did you get that hat, where did you get that tile?” The tile designates more particularly what is called
in this case a topper, a top hat. It can also signify simply lid, or galurin.

這是典型的英國音樂廳的歌,歌詞如下:「你在哪里獲得那頂帽子?你在哪里獲得那片瓷瓦?」瓷瓦更加特別地指明所謂的頂蓋物,在這個情況就是一個頂帽。它也能夠意指著就是蓋子,或是帽子。

“My mind,” he continues, “has gone to the hood again and I am remembering the first car I was ever in,” but at that time of course it was not called a car but a motor, because the subject is fairly old.

「我的心,」他繼續說,「再一次想到那個頭巾。我記得我曾經坐過的第一部汽車。」當然在那個時候,它不叫汽車,而叫動力車,因為生命主體非常老。

“Well! The hood of this motor was one of its most obvious features. It was strapped back when not in use. The inside of it was lined with scarlet.” And he continues: “The peak of speed for that car was about sixty,” he speaks about this car as if he were speaking about the life of a car, as if it were human. “I remember I was sick in that car, and that reminds me of the time I had to urinate into a paper bag when I was in a railway train as a child. Still I think of the hood.” (134-135)

「嗯!這部動力車的車蓋,是它最明顯的特徵。沒有使用時,車蓋被繩子捆住。它的內部有鮮紅色的條紋。」他繼續說:「那部汽車的最快速度是六十公里。」他談論到這部汽車,好像他正在談論一部汽車的一生,好似它是人。「我記得坐那部汽車時生病。那使我想起有一次我必須在尿到一個紙袋裏,當我小時候搭乘火車時。我依舊想到蓋子。」

We are going to stop here in the associations. They do not go very far yet, but I want all the same to counterpoint what I am bringing you here with the way in which the analyst begins to interpret this. “The first thing of importance” she says, “is to find the cardinal clue to the significance of the dream.” (21) She says quite rightly: “We can do that by noting just the moment when it came to the patient’s mind.” (138) And then she begins to speak about the dog which masturbated against his leg, about the moment when just before he spoke about the dog to say that he himself imitated this dog, then the cough, then the dream from which he awoke perspiring.

聯想時,我們將要停在這裏。它們並沒有進行很遠,但是我仍然想要區別我現在正在跟你們說的,精神分析師開始解釋這個。「最重要的事情,」她說,「是要找出夢的意義的重要的線索。」她適當地說。「我們能夠做那件事情,我們只要注意當病人想到它的時候。」然後她開始談論那條靠著他的腳手淫的狗,關於那個時刻,在他談到那條狗以前說:他自己模仿這條狗,然後咳嗽,然後他從這個夢醒來,全身流汗。

“The deduction,” she says, “concerning the significance of the whole dream is that it is a masturbation phantasy.” (138) I am in complete agreement with this.

That is of first importance, we agree with her completely. “The next thing to notice,” she says, “in connection with this masturbation phantasy is the theme of potency.” She does not understand it in the sense of sexual potency, but in the sense of potency in the most universal meaning of the term, as she would say further on, of omnipotence.

「這個推論,」她說,「關於整個夢的意義是,這個夢是一個手淫的幻想。」我完全同意這一點。

“He is travelling round the world. It is the longest dream he has ever had.” (This is what the subject says). “It would take a whole hour to relate. Correlate with that his deprecation of ‘swank’ regarding his friend’s impersonations which are broadcast for the whole world”, the analyst adds, “and his own wireless which picks up every station. Note his own imitation of the man whose accent had attracted him, a strong colloquial accent, and incidentally he said with regard to this man he had once been a butcher’.”

「他正在環繞世界旅行。這是他曾經有過的最長的夢。(這是生命主體所說的。)」「假如要敍述,要花整整一小時。」關於他的朋友的模仿表演,被廣播給全世界,他以「吹牛」表示藐視。」精神分析師補充說,「他自己的整無線電收音機收聽每一個月臺。請注意他自己對於口音吸引他的這個人的模仿。那是一個強烈的口語的口音。他不經意地說,關於曾經當過屠夫的這個人」

“Impersonation here, whether via friend or himself, has the (22) significance of imitating a stronger or better known person.” Is she wrong here? “This is again a further clue to the meaning of the masturbation phantasy, that is, a phantasy in
which he is impersonating another person, one of immense power and potency.” (139)

「在此的模仿表演,是否經由朋友或是他自己,都具有模仿一位更強大或是更著名的人的意義。」「她在此有錯誤嗎?」「這再一次是手淫幻想的意義的更進一步線索。換句話說,在這個幻想裏,他正在模仿另外一個人,或是具有巨大力量及潛力的人。」

Here therefore is what is held by the analyst to be self-evident. Namely that the simple fact of these mimed incarnations intervening more or less in connection with – the masturbation phantasy being supposed to be at the root of what happens – the very fact that the subject excused himself for swanking, for boasting, for pushing himself too much, signifies that we have a phantasy of omnipotence which should be put in the foreground.

因此,在此就是精神分析師認為是自明的東西。換句話說,這些被模仿的化身介入,關於這個手淫的幻想,被認為是處於發生的事情的根源。生命主體替自己尋找藉口,因為吹牛,因為自誇,因為過分逼迫自己。這個事實指示著:我們擁有一種全能的幻想。這個幻想應該被放置在前景。

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

Desire 82 Jacques Lacan

May 28, 2011

Desire 82

Jacques Lacan
雅克、拉康

THE SEMINAR OF JACQUES LACAN
BOOK VI
Desire and its Interpretation
欲望及其解釋 `

28.1.59 149
Seminar 10; Wednesday 28 January 1959

This is possible, but why hurry one’s self. All the more because she also underlines at this moment that it is difficult to make of this projection something linked to the presence of the vagina. It is sufficiently accentuated in the dream, and by the very manoeuver to which the subject lends himself, I would say substitutes for himself by putting his finger there and not his penis.

這是可能的,但是為什麼那麼急切。這會更加急切,因為她當時也強調。要用跟陰戶有關的東西解釋這個投射,並不容易。這在夢中已經充分被強調。以生命主體所運用的策略,我不妨說,將他的手指放在那裏,而不是放在他的陰莖上,生命主體代替了他自己。

How could one not see that very precisely this something is localised as one might say in this phantasy which is in effect, as the subject articulates it, something which has the closest relationship with the front and back walls of the vagina; that in a word for a doctor whose profession it is to practice medicine – which was not the case of Ella Sharpe who was a teacher of literature, and this gave her great openings into
psychology – it is a prolapse, something which happens in the wall of the vagina in which there occurs this projection of the front wall more or less followed by projections of the back wall and which at a still further stage makes the tip of the cervix appear at the genital orifice. It is something extremely frequent which poses all sorts of problems for a surgeon.

我們怎可能看不出,確實地,這個某件東西,我們可以說,在幻見中被找到。這個幻見,事實上,如生命主體所表達的,是某將跟陰戶的前後壁,有最密切的關係。總之,就職業是從事醫學的醫生而言。可是,阿拉 夏普的情況並不是這樣。她是教授文學,這使她有機會探討心理學。這是一種脫出,陰戶的壁牆經常發生的事情。在裏面,前壁的投射,會跟隨著後壁的投射。更深入的階段,會使子宮頸的尖端出現在外陰部的洞口。這是經常發生的事情,對於外科醫生會形成各種問題。

This is not what is in question. Naturally there is here something which brings into play immediately the question and the phantasy of the phallic woman, it is so true that I remembered (16) for your benefit – I was not able to verify the passage (it is a fact that is well enough known for it not to be new for some of you) that Queen Christina of Sweden, the friend of Descartes, who was a tough woman like all the women of that epoch – one could not insist too much on the influence on history of the women of that marvellous half of the eighteenth century. Queen Christina herself one day saw appearing at the orifice of the vulva the tip of a uterus which, without us knowing the reasons for it, happened at that moment of her existence to gape open in a quite characteristic case of uterine collapse (or prolapse).

這並是受到質疑的地方。當然,在此有某件東西立刻會運作這個問題,及具有陽具的女人的幻見。確實,為了提醒一下,我想到,(我無法驗證這個段落。這個事實眾所周知,你們有些人可能聽過),瑞典的克莉蒂娜皇后,笛卡爾的朋友。她是位堅強的女人,就像所有當代的女人一樣。我們無論如何堅持不為過,對於十八世紀的那個輝煌的半業,女人的歷史產生的影響。克莉蒂娜皇后她自己,有一天看到子宮頸的尖端出現在陰戶的洞口。我們不知道為什麼原因,這件事發生在她發生子宮脫出的特有情況,突然張開的時刻。

It was then that giving way to a gross flattery her doctor fell at her feet saying: “It is a miracle, Jupiter has finally rendered to you your true sex”. Which proves that the phantasy of the phallic woman does not date from yesterday even in the history of medicine or of philosophy.

就在當時,忍不住地恭維諂媚,醫生跪在她的腳邊說:「這真的是奇跡,丘比特神最後贈送你真實的性徵。」這證明,具有陽具的女人的幻見,並不是從昨天才開始,即使在醫學或哲學的歷史上。

This is not what is in the dream, nor should it be understood – the analyst remarks on it later in the observation – that the subject’s mother for example had a prolapse.

這並不是出現在夢中的東西,它也不應該被瞭解。精神分析師在觀察時後來評論說:例如,生命主體的母親就有陰莖脫出。

Although why not because in the articulation of her understanding of what is
happening the analyst remarks that the subject very probably saw all sorts of things from underneath, that some of his imaginings make us think that there could have been, that there even must have been, in order that her interpretation should be coherent, something analogous, namely a certain apprehension from underneath
(17) the skirt of the genital organ (and of that of his mother).

雖然這有何不可,因為在她表達所瞭解發生的事情,精神分析師談論說,生命主體很可能從底下看到各種的事情。某件他的想像使我們想到,為了讓她的解釋一致,當時本來會有,甚至一定會有某件類似的東西。換句話說,從性器官的裙子底下,(他的母親的性器官的裙下)有某種的擔憂。

But why not go in this direction? But that is not it. We will be much more entitled to do it in this sense than the analyst herself, in so far as in a little while she is going to pass necessarily by way of this supposition. For our part we have not yet got there. I point out simply that once there is question of references to images of the body – they are going to be brought into play in the interpretation – one would not be precise, why would one not distinguish the haunting memory, or the desire, or the fear of returning into the maternal womb, and the relationship very especially with the vagina which after all is not something of which, as can be seen clearly in this simple explanation, the subject could not have some direct or indirect apprehension.

但是為什麼我們不朝這個方向探討?但那不是重點。我們將會更加有資格這樣做,因為精神分析師她自己,過一下子,她將必須將它作為這個假定略過。就我們而言,我們還沒有探討到那裏。我僅是指出,一旦問題提到身體的意象,它們將會在解釋中被運作。我們無法確定,我們為什麼不區別欲望的縈繞的意義,或是欲望,或是恐懼回答母親的子宮。特別是回到跟陰戶的這個關係。畢竟,這並不是某件生命主體本來無法會有直接或間接的擔憂,如同這個簡單的解釋所能看出。

What I simply wish to underline here, after having marked the special accent of this image of the dream, is that in any case something retains us. It is the fact that the subject associates it right away with something of a quite different order, with this poetic or verbal game which I gave you an example of and not simply to amuse myself – it is to give an idea of the extremely rigorous literary style; it is a genre which has the strictest of laws – and it does not matter whether it is a joke or a limerick, bearing on a story defined literally, and itself bearing on a game concerning writing.

在此,我僅是希望強調,這個夢的意象的特別強調,無論如何,某件東西保留我們。生命主體立刻將它跟某件完全不同的秩序聯想,跟這個詩或文辭的遊戲。我給予你們作為例子,不僅是要娛樂我自己。這是要給予這個異常嚴謹的文學風格的觀念,這種文體擁有最嚴格的規則。它是則笑話或打油詩,或是實質定義的故事,或是本身跟寫作有關的遊戲,並不重要。

Because what we (18) have not found in the limerick that we dug up, is something
that the subject affirms that he has heard: it was in referring to the different direction of lines of writing in our way of writing and the Chinese that he evokes at that moment something which is not all that obvious in this association: namely
precisely something which puts him on the track of a link between the orifice of the genital lips and the lips of the mouth.

因為我們還沒有找到我們探索的打油詩,這是某件生命主體肯定的東西。他曾經聽過,就在提到寫作的途徑的不同方向,在我們與中國人的寫作的方式。他在當時召喚某件東西,並不是那麼明顯有關這個聯想。換句話說,確實是某件讓他追蹤性器官的洞口跟嘴巴的嘴唇的關係。

Let us take it that this link as such belongs to this symbolic order. What are more symbolic are the lines of Chinese characters, because it is something which is there, which designates to us that in any case this element here in the dream is an element which has a signifying value, that in this sort of adaptation, of assimilation, of accommodation of desire in so far as it constructs itself somewhere in relation to a phantasy which is between the signifier of the other and the signified of the
other – because that is the definition of phantasy – in so far as desire has to accommodate itself to it.

讓我們假定,這個連接的本身屬於這個象徵的秩序。更加具有象徵意義的事中文字的這幾行,因為那是某件在那裏的東西。它跟我們指明,無論如何,在夢這裏的這個因素,是一個具有能指價值的因素。以欲望的這種的適應,吸收,及容納,因為它在某個地方建構它自己,跟幻見有關。這個幻見處於大它者的能指與大它者的所指。因為那就是幻見的定義。欲望必須包容自己於幻見裏。

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

Desire 81 Jacques Lacan

May 26, 2011

Desire 81

Jacques Lacan
雅克、拉康

THE SEMINAR OF JACQUES LACAN
BOOK VI
Desire and its Interpretation
欲望及其解釋 `

28.1.59 149
Seminar 10; Wednesday 28 January 1959

These jokes, which in English are a sort of part of the cultural heritage, are well known, they are generally in the form of limericks. The limerick is something which is very important and revealing. I am only mentioning that. I searched in a fairly large collection of some three thousand limericks. This limerick certainly exists, I saw others which were close to it.

眾所周知,這些笑話,在英文裏是一種文化遺產的部分。它們通常是以打油詩的方式呈現。打油詩是某家非常重要而具有啟發性的東西。我只是提到某件東西,我在大約三千多首打油詩的厚厚詩集裏,我尋找到的東西。這首打油詩確實存在,我還看出其他的打油詩,意思非常靠近它。

I do not even know why the theme of China seems precisely to be considered – there was this sort of inversion of the written line – evoked, every time something comes close to a certain assimilation, and at the same time an opposition between the line (12) of the genital slit and that of the mouth, which is transversal, with also what is supposed to be behind the line of the genital slit in terms of the transversality of the vagina.

我甚至不知道為什麼中國的主體確實應該被考慮。有一種是在字裏行間逆轉,每一次某件靠近某種被結納的東西時,它就被召喚。同時,它又是性器官的縫隙跟橫向的嘴巴的縫隙之間的對立。以陰戶的橫向的術語來說,它也是被認為是性器官縫隙背後的東西。

This goes to show that all of this is very very ambiguous. The closest thing to it, and something which is amusing because of the fact that one cannot see why especially China should come into this association, is the following, limerick 1381 of a work
on limericks (English quotation):

這適足以證明,所有這些都的非常模棱兩可。最靠近它的某件有趣的東西,因為這個事實:我們無法看出我們特別要聯想到中國的理由是以下這本1381首的打油詩專輯。(英文版引文)

“There was a young woman from China who thought her mouth was her vagina
She covered her enormous clitoris with rouge And put lipstick on her labia minora” (?) This loses its spice in translation, but it is pretty remarkable that it is in any case something which is extremely close to what we are dealing with, and its author underlines for us that the superpositioning of two images, one which is here an
image of the mouth, the other which is a genital image, is very essential

「一位來自中國的婦女認為她的嘴巴就是她的陰戶。她用胭脂塗滿她巨大的陰核,然後將口紅放在她的陰唇上。」這個笑話翻譯時失去它的原味,但是相當引人注意到是,無論如何,某件極端靠近我們正在處理的東西。它的作者跟我們強調,這兩個意象的重疊,在此一個是嘴巴的意象,另一個是性器官的意象。這是很重要的。
.
What am I going to call attention to here? It is in connection with something with regard to which analytic thought slips right away towards imaginary elements, namely the assimilation of the mouth to the vagina, the mother’s womb considered as the
primitive element of engulfing or of devouring – and we have all sorts of different testimonies from ethnology, folklore, psychology which show this primitive relationship, as being that of container to contained, that the child may have with respect to what one can call the maternal image.

我在這裏要大家注意什麼呢?那是某件關於精神分析思想立刻滑溜向想像的因素的東西。換句話說。嘴巴被吸納到陰戶。母親的子宮被認為是吞噬或吞沒的原始的因素。從民族學,民間傳說,心理學,我們擁有各種不同的證詞。它們顯示這個原始的關係,作為應該包容的容器的原初因素。關於我們能夠稱為的素材意象,小孩可能會有的原初關係。

(13) Does it not seem to you that at this level something deserves to be retained of which I would say that it has quite the same accent as the point that I stopped you at the other time when it was a question of the big and the small giraffe. It was not simply the element between the small and the big, between the mother and the phallus; these elements were what little Hans made of them; one could sit on them, crumple them up; they were symbols, they were already in phantasy things transformed into
paper.

你們難道不覺得,在這個層次,某件東西應該被保留。我不妨說,這個東西有完全相同的強調,跟我在其他時刻擋住你們的那一點,那時的問題是大跟小的長頸鹿。這不僅是小與大之間,母親與陽具之間的因素。這些因素是小漢斯對於它們的解釋。我們能夠坐在它們之上,壓垮它們。它們是象徵符號,它們在幻見裏已經是被轉移為文字的東西。

One could say in a fashion that is more nuanced, more interrogative, more subject to confirmation, but let us say to punctuate what we are dealing with that this is not nothing, that it is not invalid to introduce there something concerning this very remarkable represented imaginary element which is in the dream and which was depicted for us as something very precisely described, “the fold on a hood”. This is not nothing.

我們能夠以某種更加細膩,更加質疑,更加受到肯定的方式說。但是為了提升我們正在處理的東西,讓我們說,這不是空無,這被不是徒勞無效,介紹某件關於在夢中引人注意的具體顯現的想像的因素

It is something which already has a certain structure, which covers, which caps, which is also dreaded; and the finger introduced – “to close round” – into this element, this sudden fright is also something which gives us something quite precise as an image, something which should not be lost in a simple general structure of envelopment or of devouring or of swallowing up.

這是某件已經有某種結構的東西。它涵蓋,它總括,它也被恐懼,然後手指一揮「逐漸包圍」進入這個因素。這個突然的害怕,也是某將給予我們相當確實,作為一個意象,某件不應該迷失於一般的涵蓋的結構,或是吞噬或吞沒的結構。

It is already put into a certain relationship, precisely with the subject’s finger. And I would even say that this is the whole question. Does he or does he not put his finger there? It is (14) certain that he puts his finger there and that he does not put anything else, in particular that he does not put there his penis, which is there present; that this relationship with what has enveloped, gloved the hand is something which is here quite prevalent, put forward, pushed forward at the outcome of the representativity as Freud says to designate the third element active in the dream-work (Traumarbeit).

它已經被置放進入某種關係,確實用生命主體的手指。我甚至說,這是整個問題所在。他的手指放在那裏?或是沒有放在那裏?他確實將手指放在那裏,而且沒有放別的東西。特別是,他並沒有放他的陰莖在那裏,陰莖是出現在那裏。跟所涵蓋的東西的關係,將手穿上手套,在此是某件非常盛行的事情,由於重新再現的結果,被提出,被推向前面。如佛洛伊德所說,要指明夢的運作的這第三個因素。

It is a question of knowing what we should make of this. Whether we should immediately resolve it into a series of readymade, preformed significations, namely everything that one is going to be able to put under that heading, ourselves introduce into this kind of conjurer’s hat everything that we are used to finding in it, or whether we should dwell on this, respect it as something which has here a specific value.

問題是要知道,我們將如何解釋這個。我們是否應該立刻用一系列的現成的運作的意義,解決它?換句話,每一樣我們將能夠放置在那個標題之下,將我們習慣於在那裏找到的每一樣東西,都介紹進入魔術師的這種帽子裏。或是我們是否應該詳述這一點,尊重它,當著是在此具有明確價值的東西。

You must see, when I say specific value, provided you have a little bit more than book-knowledge about what a phantasy-life like this can be, that after all that it is quite appropriate that we should not lose this in the very general notion for
example of the interior of the mother’s stomach of which there is so much talk in phantasies.

你們必須看出,當我說它具有明確的價值,只要你擁有稍微不僅是書本的知識,關於像這樣的人生幻見可能是什麼。畢竟,相當適當的是,我們不應該在一般的觀念裏失去這個。例如,母親的胃的內部,在幻見裏,就有許多談論。

Something which is so well developed in the dream deserves to be dwelt on. What we have here before us, is certainly not the interior of a uterus, it is overhanging, this edge which is projecting. And moreover, because she is extremely subtle, Ella
Sharpe underlines further on, in a passage which we may (15) subsequently have to encounter, that we are before something remarkable. It is a projection, she says, and immediately afterwards in the passage she announces it is equivalent to a penis. (144)

在夢裏如此被發展的某件東西,應該值得被詳述。我們在此面前所擁有的,確實並不是子宮的內部,而是伸出的東西,投射出來的邊緣。而且,因為她是極端微妙,阿拉、夏普更進一步強調。她採用一篇段落,我們隨後必須碰到的段落,我們面對某件值得注意的東西。這是一個投射,她說,然後在這篇段落之後,她立刻宣佈,這個東西相等於是陰莖。

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

Desire 80 Jacques Lacan

May 25, 2011

Desire 80

Jacques Lacan
雅克、拉康

THE SEMINAR OF JACQUES LACAN
BOOK VI
Desire and its Interpretation
欲望及其解釋 `

28.1.59 149
Seminar 10; Wednesday 28 January 1959

(8) At the very moment that my last lecture ended, the subject, the analyst tells us, coughs again, he gives a little cough, as if he were punctuating. (132) After this little cough he tells the dream which I already read.

在我上一次演講結束的時刻,精神分析師告訴我,生命主體又再咳嗽,他發出輕微咳嗽,好像他正在強調。輕微咳嗽後,他說了我已經閱讀過的那個夢。

What I want to tell you is what, starting from this, and in this dream, in connection with this dream, our aim is going to be. I told you that what is manifested in the dream about the relationship of desire to phantasy is manifested with an accentuation which is exactly the opposite of the one which was given in the phantasy which came in the associations.

我想要告訴你們的是,從這裏開始,在這個夢裏,關於這個夢,我們的目標將是什麼。我告訴你們,在這個夢所被顯示的是關於欲望跟幻見的關係,用一種強調展示出來。這個強調確實是跟聯想而來幻見裏所被給予的強調相反。

There what was accentuated was that the subject himself barks. He barks, it is a message, an announcement. He announces himself as essentially other. It is on the plane of a relationship which disguises him in so far as he barks like a dog that he does not understand why he proceeds in this way, that he should put himself in the position either of not being there, or if he is there of announcing himself as an other, and in such a way that the others at that moment, namely what is there to be seen,
separate, disappear, no longer show what is there to be shown.

那裏所被強調的是生命主體自己吠叫。他吠叫,這是一個訊息,一種宣佈。他宣佈他自己作為基本的大它者。就在這個偽裝他的關係的層次,他像狗一般吠叫,他不知道為什麼他以這種方式繼續。他要就應該將他自己放置在不在那裏的地方,要不然就是假如他在那裏,他將自己放置在宣佈他自己,作為一位它者。以這樣一種方式,在當時的其餘的人,換句話說,在那裏能夠被看見的人,他們分開,消失,不再顯示,有什麼被顯示。

The enigma, is obviously what he imagines. The enigmatic character being well underlined by the fact that in effect what can he have to announce, desire to announce for him to give this cough at the moment that he enters his analyst’s office? What
is veiled is that aspect of the relationship with this object x who is on this occasion I would not say his analyst, but what is in the room.

這個謎團顯而易見是他所想像。謎團一般的特性清楚地被這個事實強調:實際上,在他進入他的精神分析師的辦公室的時刻,他發出這個咳嗽,他有什麼能夠宣佈?就是想要宣佈的欲望嗎?所被遮蔽的就是跟這個未知客體關係的這一面。在這個場合,這個未知客體,我姑且不說是他的精神分析師,而是房間裏的東西。

(9) In the dream what we are going to see being put completely in the foreground, is something which is here. It is an imaginary element as we are going to see, which is not an indifferent one.

在夢裏,我們將要看出完整被擺放在前景的東西,是某件這裏的東西。這是一個想像的因素,如同我們將會看到的。這並不是一個漠不關心的因素。

And as you might expect, being in a dream it is marked by a certain function. What I have taught you about dreams would have no meaning if this function were not a signifier-function.

如你們的期望,處在夢裏是由某種功用標示。關於夢我曾經教導你們的,將沒有意義,假如這個功業並不是能指的功用。

We know well that what belongs to this aspect of the relationship in the phantasy of the subject, is also something which must have a complex function, not be just an image, but something signifying. But this remains veiled, enigmatic for us. We
cannot articulate it as such.

我們心知肚明,在生命主體的幻見,屬於這個關係的層面,也是某件一定會有一個複雜的功用,不僅是一個意像,而是某件能指的東西。但是這個東西始終被遮蔽,對於我們是謎團。我們無法依照實際情況表達它。

All that we know, is that from the other side of the relationship, the subject has announced himself as other.

一切我們知道的東西,從這個關係的另一半,生命主體已經宣佈他自己,作為它者。

Namely as a subject marked by the signifier, as a barred subject. In the dream, it is the image that we have, and what we do not know, is what is on the other side, namely: what is he, in this dream, namely what Ella Sharpe, in her interpretation of the
dream, is going to try to articulate for him.

換句話說,作為生命主體,被能指所標示,作為一個被禁制的生命的主體。在夢裏,這是我們擁有的意像。我們不知道的是,在另外這一邊,換句話說,在這個夢裏,他什麼身份。也就是說,阿拉、夏普,在解釋這個夢時,將要設法替他表達什麼。

We now take the associations connected with the dream. Immediately after the subject has made this remark which concludes the dream, about the usage of the verb “to masturbate” which he had used in a transitive sense, and regarding which he
points out that he should have used it intransitively in order to use it in a correct fashion, that having said: “She was so (10) disappointed I thought that I would masturbate her.”

我們現在接受跟這個夢有關的聯想。就在生命主體發表作為夢的結論這個談話後不久,關於「手淫」這個動詞的用法,他曾經用在及物動詞的意義。關於這個意義,他指出,他本來應該使用它作為不及物動詞,為了要以正確的方式使用它,因為他曾經是:「他很失望我以為我要跟他手淫。」

It is obviously something else that is in question, either it is a question of the subject masturbating himself – this indeed is what the analyst thinks, and this is what she is going to suggest to him immediately by underlining what the subject himself has
remarked, namely that the verb should have been used intransitively. In this connection the subject remarks that in effect that it was very rare for him to masturbate anybody. He only did it once with another boy. “That is the only time I can
remember.” And he continues: “The dream is in my mind vividly. There was no orgasm. I see the front of her genitals, the end of the vulva.”

顯而易見,受到質疑的是某件其他東西,這個問題要就是生命主體替他自己手淫,這確實精神分析師所認為的,這確實是她將要立刻跟他建議的。她強調,生命主體自己曾經談論,也就是動詞本來應該以不及物狀態被使用。關於這一點,生命主體談論,實際上他很少替任何人手淫。他跟另外一個男孩,僅做過一次。那是唯一的一次我能夠記得,然後他繼續說:「這個夢在我的心裏非常深刻、沒有高潮。我看到她的生殖器的前面,陰戶的後面。

And he describes something large and projecting hanging downwards like a fold on a hood. “Hood like it was, and it was this that the woman made use of in manoeuvring” (it is the term that he had used in the dream). “The vagina seemed to close around my finger. The hood seemed strange.” (133)

他描述某件巨大的東西,像是一頂頭蓋的褶疊往下投射垂落。「像那樣的頭蓋,女人在買弄風情時,使用的頭蓋。」(這是他在夢中使用的術語)「陰戶似乎環繞我的手指封閉。頭蓋似乎怪異。」

The analyst replies: “What else do you think of – let the look of it be in your mind.” The patient replies: “I think of a cave. There is a cave on the hillside where I lived as a child. I often went there with my mother. It is visible from the road along which one walks. It’s most remarkable feature is that it has an (11) overhanging top to it which looks very much like a huge lip.” (134) Something like the grotto of the cyclops at Capri where the coast is littered with things like that. A cave with a part of it projecting forward.

精神分析師回答:「除外,你還想到什麼?讓這個東西浮現在你的心裏。」病人回答:「我想到一個山洞。有一個山洞在小山邊,我小時候住過那裏。我時常跟我的母親去那裏。從著我們走路的路邊,就看得見。這是非常引人注意到特色,它有一個垂掛的頂端,看起來很像一個巨大的嘴唇。」某件像是奧德賽冒險的島上巨人的洞穴,海岸散佈著像這樣的東西。一個山洞,有一部分投射出來。

In this connection he makes a very remarkable association. “There is some joke about the labia running crosswise and not longitudinally, but I don’t remember how the joke was arranged, some comparison between Chinese writing and our own, starting
from different sides, or from bottom to top. Of course the labia are side by side, and the vagina walls are back and front, that is one longitudinal and the other crosswise. I’m still thinking of the hood”, he says.

關於這一點,他做了一個引人注意的聯想。「關於這個斜向而不是縱向的陰唇,有個笑話。但是我不記得這個笑話如何安排,在中文檔寫作跟我們的寫作之間,有個比較。從不同的方向,或從底端到上端。當然,陰唇是並排而立,陰戶的牆壁是背後跟前面。前者是縱向,而後者是斜向。我依舊想到頭蓋。」他說。

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

Desire 79 Jacques Lacan

May 24, 2011

Desire 79

Jacques Lacan
雅克、拉康

THE SEMINAR OF JACQUES LACAN
BOOK VI
Desire and its Interpretation
欲望及其解釋 `

28.1.59 149
Seminar 10; Wednesday 28 January 1959

The phantasy is something which cuts, a certain vanishing, a certain signifying fainting of the subject in the presence of an object. The phantasy satisfies a certain accommodation, a certain fixation of the subject, something which has an elective value. The electivity of this value, is what I am trying to show you this year with the help of a certain number of examples.

這個幻見是某件切割的東西,某種的消失,生命主體在客體面前的某種意符的暈眩。幻見滿足某種的適應,生命主體的某種的固定,某件具有選擇性的價值。這個價值的選擇性,就是今年我正在設法憑藉某些例子的幫助,跟你們顯示的。

In this opposition of the subject to a certain object there is something which is implicit in the phantasy, in as much as it is the preface, the prelude to the dream enunciated by the subject.

生命主體跟某種客體的對立,有某件東西暗含在這個幻見裏。那就是序曲,生命主體表達的夢的序曲。

I think I already gave you a sense of it the last time. The subject arrives and begins to speak about his cough, a message about a message, about this cough which is given as a mysterious warning before going into a room where two others might be, two others who might be making love, to warn them that it is time (5) to separate. On the other hand, in the associations, we see that this cough is something which is very close to a phantasy which he gives right away. Namely that he imagined in an old phantasy that if he were somewhere, and did not want to be found there because he ought not to be in this somewhere, he could bark like a dog, and everyone would say, oh, it’s a dog.

我認為上一次我已經給予你們對它的感覺。生命主體到達,然後開始談論有關他的咳嗽。這是有關訊息的訊息,有關這個咳嗽的訊息,被給予作為一種神秘的警告,在進入一個房間之前。兩個其他的人可能在那裏,兩個其他的人,可能正在作愛,要警告他們,該是分開的時候。在另一方面,在這些聯想,我們看到,這個咳嗽是某件非常靠近他立刻給予的一個幻見。換句話說,他在一個古老的幻見裏想像,假如他在某個地方,並且不想要被發現在那裏,因為他不應該在這個某個地方,他能夠像一條狗一般吠叫。每個就會說,哦,那是一條狗。

The barking reveals itself, as being the signal by which the subject profoundly absents himself from the place where he is, signals himself as being other. And the correlation of the cough with the fact that a couple of others among whom a third association shows us that the subject is also included – because this dog whom he has been in order to bark, namely to make himself other than he is, we see now that in a third memory, this time of a real event, he tells us that this dog is a dog which came to masturbate against his leg: and what would have happened if the two of them had been surprised? In short we see being outlined something which, from the structural order, is essential.

吠叫的本身顯露自己,作為生命主體從他所在地方,刻意避開的訊號。吠叫指示他自己作為它者。咳嗽跟這個事實的相關:還有兩三個人,第三個聯想跟我們顯示,生命主體也被包括在裏面—因為他一直是這條狗,為了要吠叫。換句話說,為了使自己成為不是他本質的樣子。我們現在看到,在第三個記憶,這一次是一個真實的事件。他告訴我們,這條狗是前來他大腿邊手淫的狗。假如他們兩個都大吃一驚,本來會發生什麼事?總之,我們看到某件非常重要的東西被描繪出輪廓,從結構的秩序來說。

When the two who are within a certain enclosure are confronted there face to face with one another in a properly imaginary relationship which means that what is in question is fairly well marked by the fact that this dog masturbates against his leg,
this dog on this occasion, by the very phantasy in connection with which he is introduced, is himself also imaginary, the one who shows himself masturbating, so that he is not absent from the couple of lovers.

在某個封閉空間裏的這兩個互相面對面相對,以一個非常是幻想的關係,這意味著,受到質疑的東西,很清楚被這個事實標示:這條狗靠著他的大腿手淫,在這個場合,這條狗,也是他自己的幻想,因為他被介紹,就是透過這個幻見。這條狗顯示他自己在手淫,所以他並沒有缺席離開那對情侶。

(6) But what is essential is not simply to describe that the subject’s identification, as one might expect, is everywhere. It is just as much with the subject who is outside, and who announces himself, as with the subject who is inside and who is caught up in the relationships of the couple with what it involves in terms of common imaginary fascination. Either the two elements of the imaginary, dual couple remain joined in the
common fascination here of the act, between embracing, intercourse and the specular fascination; either they remain joined and the other should not be there, or the other shows himself and then the others separate and break up.

但是重要的是,不僅是要描述生命主體的認同到處都有,如我們所預期的。同樣是關於在外面的生命主體,他宣佈他自己,如同在裏面,套陷於牽涉到伴侶的關係的生命主體,以共同的想像的著迷的術語。想像界的這兩個元素,雙重的伴侶始終加入對於這個行動的這個共同的著迷,在擁抱,作愛與魅影般的著迷之間,他們要就是始終參與,而大它者不在那裏,要不就是,大它者顯示他自己,然後其他的人分開,並且中斷。

It is the structure which it is important to highlight. It is what alters the problem, because when all is said and done what does the subject tell us: that he gave a little cough before going into his analyst even though it is clear that if he has been asked to come up it is because there was nobody else there, because she is all alone; that besides these are not the things, he says, which I would allow myself to think about in connection with you. However this indeed is the problem.

就是這個結構非常重要,要強調。這是改變問題的本質,因為衡量一切之後,生命主體告訴我們什麼?在進入他的精神分析師房間之前,他稍微咳嗽一下,即使顯而易見,假如他已經被要求上來,那是沒有其他人在那裏,因為她完全是孤單一人。除外,並沒有這些東西,他說,我會讓我自己思考它,關於你。可是,這確實是問題所在。

The subject by coughing, namely on the one hand by carrying out this act whose signification he himself does not know because he poses the question of its signification, in making himself by this cough like the dog with its bark other than he is he does not himself know what is this message, and nevertheless he announces himself by this cough.

換句話說,生命主體咳嗽時,一方面是在執行這個行動,這個行動的意義,他自己並不知道,因為他提出它的意義的這個問題,當他以這個咳嗽使他自己像這條帶著吠叫的狗,表現不同他的本質。他自己並不知道,這個訊息是什麼。可是,他用這個咳嗽宣佈他自己。

And in announcing himself what does he imagine? What does he imagine there is inside the room (7) for this cough that he signals for us as being in this case
an impulse, a compulsion, something which annoys him because it overcame him – it is he himself who signals it, and I highlighted in this connection how striking it is that Ella Sharpe thought that in this connection she should not speak about it, that the
subject was not conscious of it and that he should not be made conscious of it, even though it is he himself who introduces these questions, who says that it is a message, about what I do not know, but it is very clear – what does he imagine there is inside, what is the object that is there while he is outside, and announces himself in this fashion which alienates him, by this message which he does not understand?

當他宣佈他自己時,他想像什麼?他想像在這個房間裏面有什麼?因為他表示訊號的這個咳嗽,對於我們而言,在這個情況,是一種衝動,一種驅力,某件令他懊惱的東西,因為他不由自主地咳嗽—這是他自己在傳遞它的訊號。在這一方面,我強調阿拉、夏普認為,在這一方面,她不應該談論到它,這是多麼耐人尋味。生命主體並沒有意識到咳嗽,他不應該被迫意識到咳嗽,即使是他自己介紹這些問題。他說,咳嗽是一種訊息,關於我不知道的東西。但這是非常清楚的,他想像有什麼在裏面,當他在外面時,在裏面的客體是什麼?他以疏離他的這種方式,以他並不瞭解到這個訊息,介紹他自己。

By this message whose association with the dog’s bark is there to show that it is to announce himself as another, as someone other than himself that this condition manifests itself.

以跟狗吠叫的聯想到這個訊息,在那裏要顯示,它要宣佈他自己作為另外一個人,作為不是他自己的某個人,這個情況顯示它自己的人。

And notice that after making this loop, a first circuit in which he speaks to us first of all about his cough as a message, then of this phantasy in which he imagined himself to be a dog, we have pointed out in reality the linking of himself with a dog in
a room, having in a way traced this passage in an indefinite, ambiguous fashion because he passes consecutively through something which reflects his desire, then embodies his phantasy, he comes back after having completed the loop somewhere.

請注意,在製作這個圈套之後,他首先跟我們談話的第一個迴圈,關於他的咳嗽作為一個訊息,然後就是這個幻見。在幻見裏,他想像他自己是一條狗,我們事實上已經指出他自己跟在房間裏的狗的這個關聯。我們以某種方式追蹤這個過程,以一個不明確的曖昧的方式。因為他連續不斷地通過某件東西,反映出他的欲望,然後具體表現他的幻見。在某個地方完成這個圈套後,他回來。

Because from that moment he is going to change register.

因為從那時刻,他將要改變銘記。

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

Desire 78 Jacques Lacan

May 23, 2011

Desire 78

Jacques Lacan
雅克、拉康

THE SEMINAR OF JACQUES LACAN
BOOK VI
Desire and its Interpretation
欲望及其解釋 `

28.1.59 149
Seminar 10; Wednesday 28 January 1959

This research, this exercise which we are carrying out is to show you how in the use that we already make in our experience, practically, of the notion of desire, we presuppose without knowing it a certain number of relationships, of coordinates
which are the ones that I am trying to situate by showing you that they are always the same, that it is therefore important to recognise them, because by failing to recognise them thinking always slips a little more to the right, a little more to the left, gets attached to coordinates that are badly defined, and that this is not without giving rise to problems in the way interpretation is practised.

這個研究,我們正在執行的這個運用,是要跟你們顯示,在我們的精神分析,我們實際上已經使用欲望這個觀念。我們不知不覺的預先假定某些的觀念,某些的座標,那是我正在設法找出位置。我告訴你們,它們總是相同。因此認出它們非常重要。因為假如我們沒有認出它們,我們的思想會稍微滑向右邊,稍微滑向左邊,會跟定義不好的座標連接在一起。從解釋被實行的方式來看,這難免會產生問題。

Today I am going to continue the analysis of the dream that I chose in Ella Sharpe precisely for its exceptionally well elucidated character. And we are going to see things from these two aspects: the degree to which what she says, and the sharp,
subtle, remarkable things that she says in this observation of the session in which the dream is analysed and the two sessions which follow – what is most remarkable in it is that it is something which is so well inscribed in the categories whose usage I am trying to teach you, that it is thanks to this that one can give to these elements all their value – and the degree to which by failing precisely to distinguish the originality of
these elements, she manages to reduce in some way their importance, allows their colour and their features to fade a little, by mixing them, by reducing them to more impoverished, more summary notions which prevent her from getting everything
that she could from what she has in her hands.

今天,我將用繼續我從阿拉、夏普那裏選來到夢的精神分析,確實是因為這個夢具有被解釋的特別詳細的特性。我就將要從這兩個觀點觀看事情:她所說的內容,這些尖銳,微妙,傑出的事情,及隨後的兩節諮商時間。其中最引人注意的是,某件東西清楚地銘記在這個範疇,這個範疇的用途,我正在設法教導你們。由於這個,我們能夠將所有它們的價值給予這些元素。除外,假如我們沒有確實地區不這些元素的原創性,她成功地用某種方法,還原它們的重要性,容許它們的顏色及它們的特徵稍微褪色。她混合它們,將它們還原成更加貧瘠,更加總結的觀念。這個觀念使她無法從她的手中所擁有的,獲得她能夠獲得的東西。

(2) But here and now, to fix if you wish in your minds something which is destined to take shape always more precisely and a little better, I think that you are beginning to glimpse what the two stories of the graph mean. In sum this route of analytic
enuntiating which returns on itself in so far as it is I would say liberated by the principle, the rule of free association, tends towards what? To highlight as far as possible what is included in every discourse, a signifying chain of everything
that each one knows qua fragmented, namely of interpretable elements.

但是此時此地,假如你們心裏希望修補某件註定要成形的東西,使更確實及更好。我認為你們正漸漸瞥見這個圖形的兩個故事是什麼意思。總之,精神分析表達的路線,回轉到它自己。我不妨說,它將會被這個原則解放,這個自由聯想到原則,傾向於什麼呢?為了盡可能強調每個真理論述被包括的東西,每件事情的意符化鎖鏈,我們每個人都知道,也就是作為可解釋的元素的碎片。

And these interpretable elements, qua fragmented, appear precisely in the measure that the subject tries to reconquer himself in his originality, to be beyond what demand has fixed. has imprisoned in him in terms of his needs. And in so far as
the subject, in the expression of his needs, primitively finds himself caught up, moulded in the necessities which are proper to the demand, and which are essentially founded on the fact that already the form of the demand is altered, alienated by the fact that we must think in this form of language, it is already in the register of the other as such, in the code of the other that it must be inscribed.

這些可以被解釋的元素,作為碎片,確實出現,隨著生命主體設法重新克服他自己,在他的原創性,要超越要求被固定的東些,在他身上以需要的術語囚禁他的東西。生命主體,在表達他的需要時,原始本能地發現他自己被套陷,被塑造在這個生活所需裏。對於需要而言,這些生活所需是合適的,基本上是根據這個事實被建立。要求的形式已經被改變,被這個事實所疏離:我們必須用語言的這個形式來思考。這已經是在大它者本身的銘記裏,在它必須被銘記的大它者的符碼裏。

It is at that level that there is produced the primitive separation, the primitive distance of the subject with respect to something which in its roots is his need, but which cannot, when it arrives, be the same thing, because it is going to be reconquered at the arrival, but only conquered beyond the demand, only in something realised by language, in the form of the subject who speaks, and that this something which is called what (3) the subject wants is something which is referred to the fact
that the subject is going to constitute himself as being in a relationship that is no longer in a way immanent, completely included in his living participation, but on the contrary as declaring, as being, and therefore in a certain relationship to being.

就在那個層次,原始的分離被產生,生命主體的這個原始的距離,關於某件其根源是它的需求的東西。但是這個東西到達時,不可能是相同的東西。因為到達時,它將會重新被征服。但是它被征服超越這個需求,只是在某件被語言所實現的東西,以說話的生命主體的形式。這個被稱為所生命主體所要的某件東西,是某件被提到這個事實:生命主體將要建構他自己,作為一種關係。這個關係在某方面不再是內在性,完全被包括在他的生活的參與裏。但是相反的,作為一種宣稱,作為生命的實存,因此跟生命的實存具有某種的關係。

In this interval – it is between language which is purely and simply questioning (guesitif), and language which is articulated, in which the subject responds to the question of what he wants, in which the subject constitutes himself with respect to what he is – it is in this interval that there is going to be produced this something which is going to be called specifically desire.

在這個中間,處於語言中間,一種語言道道地地就是質問,另一種語言是表達。在表達當中,生命主體回應他要什麼的這個問題。在這個問題裏,生命主體建構他自己,關於他生命的本質。就在這個中間,這個某件東西將會被產生。這個東西將明確地被稱為是欲望。

And this desire, in this double inscription of the graph, is something which has some homology with this desire in so far as it is situated somewhere in the upper part of its coordinates, and the function that the ego has in so far as this discourse of the other corrects itself, and that the appeal to the other for the satisfaction of a need is constituted with respect to the other in what I sometimes called the full word, the committed word, in a relationship such as the following in which the subject constitutes himself with respect to the other, when he says to the other, “You are my master, you are my wife”, this relationship which takes the ego and which establishes it with respect to an object in order to return here in the form of a message.

這個欲望,在這個圖形的雙重銘記裏,是某件跟這個欲望有某些同質性的關係。這個欲望被定位在它的座標點上方部分的某個地方。自我擁有的功用,當大它者的真理的論述改正它自己。訴諸於大它者獲得一種需求的滿足,被建構,關於這個大它者在我有時稱為所充分的字詞,被信奉的字詞,關係如下:生命主體建構他自己,關於這個大它者,當他跟大它者說:「你是我的主人,你是我的妻子。」這個關係形成這個自我,建立它,關於客體,為了要以語言的形式回轉到這裏。

There is some homology between this relationship in which the ego is captured in the discourse of the other and the simple fact that someone speaks about me as me, about himself as himself; there is something articulated in a fragmentary way, which requires a (4) deciphering of a special order of desire. Just as the ego is constituted in a certain imaginary relationship to the other, so also desire is established, is fixed somewhere in the discourse of the other, halfway to this discourse, in which the
subject by his whole life tends to complete himself in something in which his being halfway declares itself.

在自我被捕獲在大它者的真理論述的這個關係,跟這個簡單的事實之間,有某個同質性。這是事實是:某個人談論到我,作為我,關於他自己,作為他自己。有某件東西以碎片的方式被表達,這要求欲望的特別秩序的解釋。正如自我被建構,是用某種跟大它者的想像的關係,欲望也這樣被建立,在大它者的真理論述的某個地方,在這個真理論述的半途被固定。在這個真理論述,生命主體以其完整的一生,傾向於完成他自己,在某件他在真理論述的半途,宣稱自己的東西。

Desire is a reflection, a return in this effort by which the subject situates himself somewhere before what I designate for you as phantasy – namely the relationship of the subject qua evanescent, in so far as he vanishes in a certain relationship to
an elective object, the phantasy always has this structure; it is never simply an object relation.

欲望是一種反思,一種這個努力的回轉。生命主體憑藉它在某個地方來定位他自己,在我跟你們指明是幻見的東西之前。換句話說,生命主體作為逐漸要消失的東西,以跟一個選擇的客體的某種關係,他逐漸消失。這個幻見總是有某種的結構,它永遠不會僅是一種客體關係。

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Desire 77 Jacques Lacan

May 22, 2011

Desire 77

Jacques Lacan
雅克、拉康

THE SEMINAR OF JACQUES LACAN
BOOK VI
Desire and its Interpretation
欲望及其解釋 `

21.1.59 132
Seminar 9: 21 January 1959

And what we see here in this associative line that has been travelled, is precisely first of all the fact that we have got there in the form: it is a question of the signifier of the
other who is in me. That is the question.

從被旅行過的這個聯想到脈絡,在此我們看到,確是首先是我們從這個形式獲得的這個事實:這是在我身上的大它者的能指的問題。就是這個問題。

And what the subject in this connection begins to unwind here is nothing less than to pass by this point here to which we will come back subsequently, then here at d, at the level where there is the question of his desire.

關於這一點生命主體開始展開的,道道地地就是忽視在此我們隨後將回頭談論的這一點。然後在欲望這個地方,在他的欲望的問題的層次。

What is he doing by giving this little cough, namely at the moment he enters a place where there is something that he does not know anything about; a sexual fantasy (fantaisie) involving the analyst…

他給予這個小小的咳嗽,他是在幹什麼?也就是在他進入一個地方的這個時刻,在那裏有某件東西他什麼不知道,那是一個牽涉到精神分析師的性幻想。

What shows itself by pushing his own phantasy, namely he himself there, if he were at the place of the other he would first of all think of not being there. Or more exactly of
being taken for someone other than himself. And now we arrive at what? Very exactly at what happens.

當他傳遞他自己的幻想時,什麼顯示出來?換句話說,他自己在那裏。假如他在那個大它者的位置,他首先會想到不在那裏。或更確實地說,他首先會想到被認為不是他自己的某個人。現在我們獲得什麼?確實地說,我們看到發生什麼事?

The scene here is all of a sudden exposed, developed by the patient. What happens is
what: this dog in so far as it is himself he is not there. Here this dog is no longer phantastical, but well and truly this time in reality it is an other, no longer a signifier in any way, but an image, a companion in this room, and a companion all the
more obviously close to him, assimilated to him, that it is against his own leg, to the patient that the dog comes to masturbate.

在此這個場景突然被暴露,被病人發展。發生的事實是:這條狗就是他本身不在那裏。在此,這條狗不再是幻想,而是道道地地這一次在現實界,它是一個它者,無論如何,它不再是一個能指,而是一個意象,房間裏的一個同伴,更加顯而易見的是靠近他,被他接納的一個同伴。靠著他自己的大腿,這條狗來到病人這裏手淫。

(30) What is the schema of what happens at this moment? It is essentially founded on the fact that the other, here the animal qua real, and which we know to have a relationship to the subject because the subject took care previously to inform us of it, he could imaginarily be this animal on condition that he takes on the signifier barking. This other who was present is masturbating.

在這個時刻發生的這個基模是什麼?基本上它的基礎是這個事實:大它者,在此是這隻動物作為真實,我們知道它跟生命主體有層關係。因為生命主體先前小心翼翼地告訴我們有關它。他能夠想像地成為這隻動物,只要他擔負起吠叫的這個能指。以前在現場的大它者正在手淫。

He shows him something, very precisely by masturbating. Is the situation determined here? No, as the patient himself tells us, there is the possibility that someone might enter, and then what shame, the situation would no longer be sustainable. The subject would literally disappear with shame before this other witness of what is happening.

他確實以手淫的方式,跟他顯示某件東西。這個情況在此被決定嗎?不,依照病人他自己告訴我們,有可能某個人會進來,然後多麼令人羞愧,情況不再能被維持下去。生命主體實質上羞愧地消失,在大它者見證正在發生的事之前。

In other words, what is articulated here: show me what I must do, on condition that the other in so far as he is the big Other, the third, is not there. I look at the other who I am, this dog, on condition that the other does not come in, otherwise I would disappear with shame.

換句話說,在此所被表達的是:告訴我必須怎麼做,只要大它者不在那裏,因為他就是這個大它者,這個第三者。我觀看是我自己的這個大它者,這條狗,只要大它者沒有進來,否則我將羞愧地消失。

But on the contrary this other that I am, namely this dog, I look on him as an ego-ideal, as doing what I am not doing, as an ideal of potency as Ella Sharpe will later say, but undoubtedly not in the sense that she intends because precisely that has nothing to do with the words.

但是相反地,是我自己的這個大它者,也就是這條狗,我看待他當著是一個自我理想,當著正在做我沒有正在做的事情,作為一個潛力的理想,如同阿拉、夏普後來會說。但是無可置疑地,這並不是她打算的意義。因為確實地那跟文字根本沒有關係。

Here it is to the degree precisely that the dog is not himself a speaking animal that he can here be the model and the image, and that the subject can see in him what he desires to see, namely that he is shown what he should do, what he can do, and this in
so far as he is out of sight of the other, the someone who might come in, and of the one who speaks.

在此,確實是這條狗並不是他自己,作為一個說話的動物,他在此能夠使這個模範跟意象。生命主體能夠在他身上看出他欲望看到的東西。換句話說,他被告訴他應該怎麼辦,他能夠怎們做。當他沒有被大它者看見的時候,這個某個人可能進來,說話的這個人。

(31) And in other words, it is in so far as I have not yet gone to my analyst that I can imagine her, namely Ella Sharpe the poor woman, showing me by masturbating, and I cough in order to warn her that she has to take up a normal position.

換句話,因為我還沒有去我的精神分析師就診,我能夠想像她。換句話說,阿拉、夏普,這位可憐的女人,以手淫告訴我。我咳嗽為了警告她,她必須從事一個正常的立場。

It is in this game between the two others, the one who does not speak that one imagines, and the one to whom one is going to speak, that he is asked to be careful lest the confrontation should happen too quickly, lest the subject should begin to
disappear. This is the point, the level. Where all of a sudden the memory of the dream is going to emerge. Well we will take up the dream the next time so that we can see that the interest of what the dream and the phantasy is going to show us is very
precisely that it is the contrary of this phantasy that is forged in the waking state whose features we have today been circumscribing.

在這兩個它者的遊戲之間,我們想像沒有說話的這一位,還有一位我們將要跟他說話。他被要求要小心,唯恐這樣的衝突竟然還太快地發生,唯恐生命主體竟然開是消失。這就是這個重點,這個層次,突然地夢的記憶將會從那裏出現。下一次,我們將會探討這個夢,這樣我們才能看出,夢跟幻見將要告訴我們什麼,這個興趣確實就是,這個幻見到相反的東西,在清醒的狀態被編造。它的特徵,我們今天一直在下定義。

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Desire 76 Jacques Lacan

May 22, 2011

Desire 76

Jacques Lacan
雅克、拉康

THE SEMINAR OF JACQUES LACAN
BOOK VI
Desire and its Interpretation
欲望及其解釋 `

21.1.59 132
Seminar 9: 21 January 1959

You know that it is not just yesterday that these things have been seen. Darwin had already dealt with them, except that for lack of the linguistic apparatus things remained very problematic for him. But it is a phenomenon that is so general, so
essential, so functionally dominant in the development of the child that even Darwin who was inclined rather towards naturalist explanations did not fail all the same to be struck by the following: it was quite funny all the same that a child whose
intelligence was already so remarkable that he could isolate the quack from the duck – this is how it is in Darwin’s text, the cry of the duck that the child takes up is put in phonetic form – (26) that this quack is referred by him to a whole series of objects whose generic homogeneity is sufficiently noted by the fact that if I remember properly there were among these objects wine and a sous. I am not too sure what this sous designates, whether it designates a penny or something else. I have not verified what that meant in Darwin’s day, but it was a coin because Darwin in his embarrassment does not fail to remark that this coin had the stamp of an eagle in the corner.

你們知道,不僅在昨天,這些事情曾經被看見。達爾文已經處理過它們,除了因為缺乏語言學的工具,他對於事情總是感到棘手。但是這個現象是如此普遍性,如此基本,對於小孩的發展,是如此功用性佔優勢,以致於即使性情傾向於自然主義解釋的達爾文,對於以下的事情,仍然印象深刻:非常有趣的是,一位智力已經如此傑出的小孩,他能夠區別鴨叫聲跟鴨的不同。這就是為什麼在達爾文的文本,小孩開始感到興趣的鴨叫聲,被用語音的形式表達。小孩提到這個鴨叫聲是指整個系列的客體。這些客體的一般同質性從這個事實充分地被看出。假如我記得沒有錯,這些客體當中有葡萄酒及錢幣。我不太確定這個錢幣指明什麼,是否它指明的便士或其他東西。我沒有證實在達爾文時代,那是什麼意思。但是那時一個銅板,因為達爾文尷尬之餘,一定說出這個銅板擁有老鷹的戳記在角落。

It may appear that the explanation which would unify the relationship of the quack to a general species of flying creatures on the pretext that an image as ambiguous as that of an eagle with open wings on a coin is something which we could consider as having to be homogenised by the child to his perception of the duck. Obviously that of wine, of liquid, would still create a problem. Perhaps we could simply think to
ourselves there is some relationship between wine, something which would be let us say the liquid element in so far as the duck paddles in it.

似乎這個解釋將會連接鴨叫聲跟一般的飛禽走獸,藉口是:一個銅板上,展開翅膀的老鷹的意象,是如曖昧的一個意象,是某件東西,可以讓我們認為,小孩會將它對於鴨的感覺,必須具有同質性。顯而易見的,葡萄酒的意象,液體的意象,仍然是令人費解的難題。可能,我們僅能夠自己認為,在葡萄酒與鴨子涉水之間會有某種關係。我們不妨說,葡萄酒是具有液體元素的東西。

We see in any case that what is once again in question is much more designated as marked by the passage of the signifying element as such; here let us admit it in the contiguity of perception if we want to admit in effect that the liquid quality is what is in question when the child applies to it the quack of the duck. You can see that it is in any case in the register of the signifying chain that we are able to grasp the fundamental thing that is established in the child in his grasp of the world as a world structured by the word.

無論如何,我們看出再一次受到質疑的東西,是被意符化的元素本身的經過所標示指明。在此,讓我們在一系列的感覺事物承認它,假如我們想要實際上承認,這個液體的特質就是受到質疑的東西,當小孩將它應用到鴨的叫聲。你們能夠看出,無論如何,在意符化的鎖鏈的銘記,我們能夠理解在小孩身上被證實的基本的東西,在他理解這個世界,作為被文字建構的世界。

(27) He is not one either to look for the meaning or the essence of birds, of fluid or of sous. The fact is that he finds them literally by the use of nonsense. Because when all is said and done if we have the time we will pose ourselves questions about what nonsense is technically. I mean non-sense. In the English tongue it is a specific genre.

他要就是尋找鳥類的意義或是本質,要不就尋找液體或是銅板的意義或是本質。事實上,他發現它們實際上沒有什麼意義的用途。因為當一切衡量之後,假如我們有時間,我們將會跟我們自己提出關於無意義這個術語是什麼的問題,我指的是沒有意義。在英文語言裏,這個一個明確的類型。

The English tongue has two outstanding example of nonsense, specifically Edward Lear a writer of nonsense which he defined as such, and Lewis Carroll among whose works you at least know I think The Adventures of Alice in Wonderland.

英文語言有兩個無意義傑出的例子。明確地說,愛德華、李爾是寫作無意義的作家。他定義無意義的本身。還有一位是路易士、卡洛爾。你們至少知道他的一本著作:愛麗絲歷險記。

I must say if I had to recommend a book as an introduction to someone who was going to be a child psychiatrist or a child analyst, rather than any one of the books of Mr. Piaget, I would advise him to begin by reading Alice in Wonderland, because he
would grasp effectively something which I have the best of reasons for thinking, given everything that we know about Lewis Carroll, to be something which is based on a profound experience of children’s jokes, and which effectively shows us the value, the incidence, the dimension of the operation of nonsense as such.

我必須說,假如我必須推薦一本書,作為某個人的導論。這個人將是一位研究兒童的精神病醫生,或是一位研究兒童的精神分析師,而不是皮亞傑的書中的任何人,我將會推薦他開始閱讀「愛麗絲歷險記」。因為他會有效地理解某件我很有理由認為是某件基於小孩的笑話的深刻經驗,假如我們考慮到我們對於路易士、卡洛爾所瞭解的一切。這個東西有效地跟我們顯示這個價值,這個意外,無意義的本身運作的維度。

Here I can only begin this indication. I began it in parenthesis, and in connection with the: “It is a dog” of our subject. I mean, from the formulated, signifying fashion in
which one should interpret the phantasy that is outlined here and title you will easily note here I think in the term phantasy; I mean that in this phantasy: It is a dog, only a dog.

在此,我只能個開始這個指示。我用括弧開始它,關於這個「這是一條狗」,我是指,從這個被說明的意符化的方式,我們的這位元生命主體的一條狗。以這種方式,我們應該解釋在此被描繪輪廓的這個幻見,以及你們很容易就注意到我用幻見到術語的標題。我的意思是,在幻見裏:這是一條狗,僅是一條狗。

You will rediscover what I gave you as being the formula of the phantasy, namely that what the subject appears to elide is not (28) himself in so far as there is another one there. An imaginary other, o. A first indication of the suitability of this schema for helping you locate the validity of the phantasy as such.

你們將會重新發現,我給予你們,作為幻見到公式。換句話說,生命主體似乎省略的東西,並不是他自己,因為還有另外一個人在那裏。一個想像的大它者。這個基模的適當性的最初指示,用來幫助你們找出,幻見本身的有效性。

I come to the fourth associative element which Ella Sharpe gives us in this case. Dog again brought the memory of a dog masturbating – the intransitive use naturally (cf 136). It is a question of a dog who is masturbating, as the patient told it, namely that as immediately after the schema a dog …… “That reminds me of a dog rubbing himself against my leg, really masturbating himself. I’m ashamed to tell you because I did not stop him. I let him go on and someone might have come in.” (132)

我探討到第四個聯想到元素,這是阿拉、夏普在這個情況給予我們。狗再一次帶來狗手淫的記憶。手淫在這裏當然是不及物動詞的用法。一條狗正在手淫的問題,如同病人所說的,換句話說,在狗的這個基模之後,立刻、、、「那使我想起一條狗,靠著我的大腿摩擦,他自己確實是在手淫。我很慚愧地告訴你們,因為我沒有阻擋他。我讓他繼續手淫,某個人可能已經進來。」

Is the connotation of this as an element to be put in the sequence of the chain by the analyst, namely: the memory of a dog who is masturbating, something which should completely satisfy us here? I do not believe so. Because this element allows us to
advance again a little further into what is in question in this message bringing the dream.

這個句子的內涵,作為精神分析師的意符鎖鏈系列,被表達的元素。換句話說,正在手淫的狗的記憶。在此我們應該對這件事感到完全滿意嗎?我不這樣認為。因為這個元素使我們能夠再一次更深刻地探討帶來夢的這個段落,受到質疑的是什麼。

And to show you the first loop which was gone through by the associations of the patient, and to show you the place that it is, I would say that nothing is more
obvious on this occasion than the associative line. It is precisely what I am drawing here for you in dots. (29) in so far as it is in the enunciating of the subject; these
broken signifying elements are going to pass into ordinary and normal speech by these two points that have been mapped out of the message and the code, and the message and the code being here something of a quite different nature than the partner who speaks the same tongue who is in question in the term of the other 0.

為了跟你們顯示,病人的聯想所經歷的這第一個圈套,為了跟你顯示這個位置。我不妨說,在這個場合,最顯而易見的,莫過於這個聯想到脈絡。這確實就是我在此用小數點所畫的。在生命主體的表達,這些破碎的意符化的元素,將要成普通而正常的語言。根據訊息及符碼,已經被標示出來的這兩點。訊息及符碼在此,跟以大它者的術語受到質疑的講相同的語言的伴侶,是某件屬於完全不同的特質。

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

Desire 75

May 21, 2011

Desire 75

Jacques Lacan
雅克、拉康

THE SEMINAR OF JACQUES LACAN
BOOK VI
Desire and its Interpretation
欲望及其解釋 `

21.1.59 132
Seminar 9: 21 January 1959

Other people who may on occasion talk to me in a way that I would not say is directly
illuminated by the projects for investigation that I give them, but solely because of my teaching, have pointed out to me something else that not only does the child limit to the designation of the dog this “bow-wow” which is something which is primitively chosen in the dog among all his characteristics – and how could we be surprised at it, because the child is obviously (22) going to begin already by qualifying his dog, but indeed before being able to handle any kind of attribute, he begins by bringing into play what he can say about him, namely that by which the animal presents itself as itself producing a sign which is not a signifier.

其他的人有時跟我談論,所用的方式,我不願說是直接受到我給予他們的這些計畫的啟發。但是只因為我的教學,他們跟我指出某件其他的事情:小孩不但將這個「旺旺」限制於狗的命名,「旺旺」是某件原初被選擇,在狗的所有特徵當中。我們如何會對它大吃一驚?因為小孩顯然是已經要開始給予狗的特質。而且,在開始處理任何這種屬性之前,他開始運作他所能說的關於他。換句話說,動物呈現它自己作為本身產生並非是意符的符號。

But notice that here it is by the approach, by the chance that is presented to him by what there is in what is manifested, precisely the presence of an animal, something which is isolated enough to furnish its material, something which is an emission of the larynx, that the child lays hold of this element.

但是請注意,在此憑藉這個方法,憑藉呈現給他的機率,由於所被展現的東西,確實就是一個動物的存在,某件被孤立的東西,足夠供應它的材料,某件是喉音的發出,小孩掌握這個因素。

As what? As something which, because it replaces the “dog” which he has already perfectly understood and heard to the point of being able both to direct his regard towards the dog when one names the dog, and towards an image of this dog when one
says dog, and replaces it by a “bow-wow”, which is to construct the first metaphor. So that it is here that we see beginning, and in a fashion which is in the closest conformity to the true genesis of language, the operation of predication.

作為什麼?作為某件因為它替代這條「狗」,他已經完全瞭解並且聽見,到達能夠引導他的關心,朝向這條狗,當我們命名這條狗。並且朝向這條狗的意象,當我們說狗時,然後用「旺旺」來替代它。這就是要建構第一的比喻。所以就在此,我們看到述詞的運作的開始,跟語言的真實的開始頗為一致。

It has been remarked that in the primitive form of language what plays the function of adjective are metaphors. This is confirmed here in the subject, except that we do not find ourselves here before some mysterious primitive operation of the spirit, but before a structural necessity of language which requires that in order that something should be engendered in the order of the signified, there must be the substitution of a
signifier for another signifier.

曾經有人說過,在語言的原初的形式,扮演形容詞功用的就是比喻。在生命主體這裏,這件事情被證實,除了我們並沒有發現我們自己,處於精神的某種神秘的原初的運作之前,而是在語言的一個結構的需要之前。語言的結構需要要求:為了某件東西應該被產生,按照所指的秩序,必須要有一個能指代替另外一個能指。

You will say to me: what do you know about it? I mean why do you affirm that the essential is the substitution of “bow-wow” (23) for dog. First of all I would say to you that it is a common observation – and it was brought to me not too long ago – that from the moment that the child has been able to call a dog “bow-wow”, he will call “bow-wow” a whole lot of things which have absolutely nothing to do with a dog, therefore immediately showing by this that what is in question is indeed effectively
the transformation of the sign into a signifier which one puts to the test of all sorts of substitutions with respect to that which at that moment has no further importance whether it is other signifiers or units of the real. Because what is in question is
to put the power of the signifier to the test.

你們將會跟我說:關於它,你知道什麼?我的意思是,你們肯定,這個基本的東西就是「旺旺」這個字代替這條狗。首先,我要跟你們說,這是一個共同的觀察,不久以前,人家跟我說:從小孩能夠稱一條狗叫「旺旺」的時刻開始,他將會將許多東西,都稱為「旺旺」,這些東西跟一條狗根本就沒有關係,因此立即由這裏顯示:受到質疑的,的確有效的就是符號的轉移成為一個能指,當我們考驗所有的替代物,關一在那個時刻不再有任何的重要性,無論它是其他的能指,或是真實界的項目。因為受到質疑的東西,要將能指的力量予以考驗。

The high point of this is marked in this decisive moment at which the child – it was about this that I made the remark at the end of the scientific communication that I was speaking about – declares with the greatest authority and the greatest insistence: the dog goes “miaow”, or the cat goes “bow-wow”. An absolutely decisive point because it is at this moment that the primitive metaphor, which is constituted purely and simply by signifying substitution, by the exercise of signifying substitution,
engenders the category of qualification.

這個高潮在這個決定性的時刻被標示。在這個時刻,小孩以最大的權威及最大的堅持宣稱:狗喵叫,貓旺吠。(關於這一點,我在談論科學的溝通結束時,我發表這個談話。)這是一個絕對關鍵的時刻,因為在這個時刻,原初的比喻產生特質的範疇,它純粹而簡單地由能指化的替代作組成,由能指化的替代的運作。

You should understand what I am saying, we can in this case formalize that if you wish, and say that the step, the progress that is accomplished consists in the fact that first of all a monolinear chain is established which says: “Dog” = “bow-wow”,
that what is in question and what is demonstrated in the clearest fashion by the fact that the child superimposes, combines one chain with another, is that he has managed to make cross over with respect to the chain, the dog goes “bow-wow”, the chain, the
cat goes “miaow”; that in substituting the “miaow” for the “bow-wow” he is going to bring into play the possibility of the crossing over of one chain with another, namely of a redivision of each one of the chains in two parts, what will provisionally be fixed and what no less provisionally will be mobile, namely of something of the chain which will remain, around which will turn what can change in it.

你們應該瞭解到我正在說什麼。在這種情況我們能夠正式宣佈,假如你們願意,然後說,這個步驟,正在被完成的進展在於這個事實:首先,一條單一直線的鎖鏈被建立。這條鎖鏈說:「狗」=「旺旺」。這個事實:小孩堅控一切,將鎖鏈互相連接,清楚質疑及證明的是,關於這個鎖鏈,狗「旺旺」這條鎖鏈,跟貓「喵喵」他已經成功地讓它們互相跨越。當他以「喵叫」代替「旺旺」時,他正在運作能指鎖鏈互相跨越的可能性。換句話說,每一個能指鎖鏈的兩個部分重新區分、暫時將會固定的東西,及同樣暫時將會浮動,也就是說,能指鎖鏈的某件東西,將會保留,將會在裏面改變的東西,則是環繞它運轉。

In other words it is only from the moment at which there is associated the S’ of the cat, in so far as it is signified by this sign with the S, the “bow-wow” signifier of the dog. And that this supposes that underneath – and to begin with there is no underneath – the child links the two lines, namely that the signified of “bow-wow”, the dog, produces S’ the “miaow” signifier of the cat. Only from the moment that this exercise has been accomplished, and the importance that the child gives to this exercise is quite evident and demonstrated by the fact that if the parents are tactless enough to intervene, to correct him, to reprimand him, or to chide him for saying such stupid things, the child has very lively emotional reactions, in a word he cries because he knows well what he is in the process of doing, as against the adults who think that he is being stupid.

換句話說,從貓的能指S‘被聯想到這個時刻開始,它被S的這個符號所意符化,狗的「旺旺」能指。這件事情假定:在底下,(首先,底下並不存在,)小孩連接兩條線索,也就是「旺旺」的所指,狗,產生貓的「喵叫」的能指S’ 。只有從這個運作被完成的時刻開始,小孩重視這個運作的重要性才完全顯現,並且被這個事實證明:假如父母親,不講究技巧地介入,改正他,譴責他,或是斥責他,因為說了如此愚笨的事情,小孩會有激烈的情緒反應。總之,他哭叫起來,因為他心知肚明,在做的過程,他是什麼樣子。他是在對抗成年人認為他是愚笨。

Because it is only from that moment on, and in accordance with the formula which I already gave of the metaphor which consists very essentially in the following: it is that something at the level of the upper line is displaced, is elided, with respect to
(25) something which in the lower line of the signified is also displaced. In other words, it is to the degree that from the point of view of the graph (scaf) from the moment that this game has been introduced, the “bow-wow” can be elided, that there
comes in the underpinnings of the enunciating about the dog – that this enunciating becomes properly a signifying enunciating, and not a simple imitative connection with respect to reality.

因為只有從這個時刻開始,遵照我已經給予比喻的這個公式。這個公式基本上運用如下:在上方層次的某件東西被取代,被省略,關於某件東西,在所指定底下這條線也被取代。換句話說,從這個欲望圖形的觀點,從這個遊戲被介紹的時刻開始,「旺旺」能夠被省略,關於狗,這個表達的支撐介入。這個表達適當地成為一個能指化的表達,而不是一個簡單的創意的關於現實界的聯想。

Whether the dog is indicated or named amounts to the same thing. But literally the fact that when the qualification, the attribution of a quality to the dog is given to him, that is not on the same line, it is on the one of quality as such: there are those who go “bow-wow”, there are those who go “miaow”, and all those who make other noises are implicated here in the verticality, in height, in order that there should begin to be
born from the metaphor the dimension of adjective.

狗是否被指明或是被命名,意思都是一樣。但是實質上,當狗的品質,品質的屬性被給予它時,它們的脈絡並不一樣。在品質本身的這個脈絡:有些狗會「旺旺」,有些狗會「喵叫」,還有些會發出其他的噪音,在這條垂直線,在高度的地方被牽涉到。這樣形容詞的維度才能開始從比喻誕生。

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