幸福的要求与精神分析的展望
作者: LACAN / 11771次阅读 时间: 2017年12月22日
来源: 雄伯 译
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&MbK%JD;p P0Does life have anything to do with death? Can one say that the relationshipto death supports or subtends, as the string does the bow, the curve of therise and fall of life? It is enough for us to take up again the question thatFreud himself thought he could raise on the basis of his experience – everythingpoints to the fact that it is effectively raised by our experience.心理学空间AdO%DW%r?pLe

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人生跟死亡难道没有任何关系吗?我们能够说,跟死亡的关系支持或相反于人生的興起与衰微吗?如同弦跟弓的关系?让我们再次从事这个问题,弗洛依德自己认为他能够提出的问题,根据他的精神分析经验的精神:每样东西都指向这个事实:我们精神分析经验有效地提出这个问题。心理学空间;I6@L_/ub$BwF

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In what I was saying a moment ago, I wasn't talking about that death. Iam interested in the second death, the one that you can still set your sights on once death has occurred, as I showed you with concrete examples in Sade'stexts.心理学空间U ]g mo(Ps^

? pG#\/d/t4Z6G0以我刚才所说的东西,我并不是正在谈论那个死亡。我是对于二次死亡感到興趣。一旦死亡已经发生,你们依旧能够看得见的这个死亡。如同我跟你们显示的,用萨德的死亡的具体例子。心理学空间;?fsa,FK*p

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After all, the human tradition has never ceased to keep this second deathin mind by locating the end of our sufferings there; in the same way it hasnever ceased to imagine a second form of suffering, a suffering beyond deaththat is indefinitely sustained by the impossibility of crossing the limit of thesecond death. And that is why the tradition of hell in different forms hasalways remained alive, and it is still present in Sade in the idea he has ofmaking the sufferings inflicted on a victim go on indefinitely. This refinementis attributed to one of the heroes of his novels, a Sadist who tries to assurehimself of the damnation of the person he sends out of life into death.心理学空间5CO*{)I x.|5A

NmR~${?0毕竟,人类的传统从来就没有停止将这个二次死亡铭记在心,凭借找出我们在那里的痛苦的目的。如同人类的传统从来没有停止想象痛苦的二次死亡,超越死亡的痛苦,那是由跨越二次死亡的限制的不可能性,无限地维持。那就是为什么以不同形式的地狱的传统总是保持鲜活。它依旧存在于萨德身上,他拥有这个观念,让被赋加在受害者的痛苦无限地继续下去。心理学空间jl*ABYf N6mg

`5JO"EfZ0Whatever the significance of the metapsychological imagining of Freud'sthat is the death instinct, whether or not he was justified in forging it, thequestion it raises is articulated in the following form by virtue of the merefact that it has been raised: How can man, that is to say a living being, haveaccess to knowledge of the death instinct, to his own relationship to death?The answer is, by virtue of the signifier in its most radical form. It is inthe signifier and insofar as the subject articulates a signifying chain that hecomes up against the fact that he may disappear from the chain of what heis.

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无论弗洛依德的形上心理学的意象的意义是什么,那就是死亡本能,无论他在铸造它时能否自圆其说,它用以下的形式来表达,仅是凭借它被提出的这个事实。人类如何可能,换句话说,一个活生生的人,如何获得死亡本能的知识,获得他跟死亡的关系?答案是,凭借这个能指处于它最强烈的形态。就在这个能指,就在主体表达一个能指化的锁链,他遭遇到这个事实:他可能从他生命实存的锁链消失。心理学空间 PZV_v b ~~

Xh#g4nn2E^0In truth, it's as dumb as can be. Not to recognize it, not to promote it asthe essential articulation of non-knowledge as a dynamic value, not to recognizethat the discovery of the unconscious is literally there in the form of thislast word, simply means that they don't know what they are doing. Notremembering this fundamental principle causes the proliferation that one canobserve in analytical theory, a whole jungle, a veritable downpour of references- "It's coming down in handfuls," as they say in Charente - and onecannot help noticing the note of disorientation with which it resonates.I read no doubt a little hastily the translation of Bergler's last work. Healways has something scathing and interesting to say, except that one has theimpression of a wild stream of unmastered notions.

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v4r z#C G1FOF0事实上,这令人哑口无言。没有体认它,没有提升它,作为对一个动力的价值一无所知的基本的表达,没有体认出:无意识的发现实质上就在那里,以这个最后的字词的形式,这仅是意味着,他们并不知道他们正在做些什么。没有记住这个基本的原则,会引起我们在精神分析理论观察到的扩散,整个的丛林,符号指称确实地倾盆而下。「像是前仆后续地倾注」,如同在察仍特的人们所说。我们不由自主地注意到,它所迴响的天崩地裂的气势。

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I wanted to show you how the function of the signifier in permitting thesubject's access to his relationship to death might be made more concretethan is possible through a connotation. That is why I have tried to have yourecognize it in our recent meetings in an aesthetic form, namely, that of thebeautiful - it being precisely the function of the beautiful to reveal to us thesite of man's relationship to his own death, and to reveal it to us only in ablinding flash.

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4oW@?yj0我想要跟你们显示,当容许主体获得他跟死亡的关系时,能指的功能可能会因此而变得更加具体,比起经过外在意涵的可能结果。那就是为什么我曾经尝试要你们体认它,在我们最近的会议,用一种美学的形式。换句话说,用美的形式。这确实是美的功用,要跟我们显示人跟他自己的死亡的地点,并且将它显示给予我们,仅是以令人目盲的闪光。心理学空间%f"H YT3p j N

O@ rGc&j0Since I asked Mr. Kaufman to remind you last time of the terms accordingto which, right at the beginning of the period of man's relation to happinessthat we are still living in, Kant thought it necessary to define the relationto the beautiful, I have subsequently heard the complaint that the thing wasn't made vivid enough for you by means of an example. Well, let me try to give you one.

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WDL X;Ylq8R5e:^0因为上次我要去考曼先生提醒你这些术语。依据这些术语,就在我们依旧生活于人与快乐的关系的这个时期的开始,康德认为这是需要的,定义跟美的关系。我随后听到这个抱怨:对于你们而言,光是凭借一个例子,并未能让事情变得更加生动。好吧,让我尝试给你们一个例子。心理学空间Z7uj&]S*Ct

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Remember the four moments of the beautiful as they were articulated foryou. I will try by means of a graduated process to illustrate that for you. Forthe first step I will draw on an element of my daily experience.心理学空间i7t*u1Y0V6T{W(\0G.|

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请记住美的这四个时刻,因为它们被表达给予你们。我将凭借一个逐渐的过程,来跟你们说明。作为第一步,我将依靠我日常经验的一个元素。心理学空间8h/L3w Hb

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My experience is not that vast, and I have often said to myself that I haven'thad sufficient taste for it - things don't always seem to me to be that muchfun. Nevertheless, something always turns up to enable one to find an imagefor that path of the in-between where I am attempting to lead you.

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V_5nYtZ:]`0我的经验并没有那么广泛。我经常跟自己说过,我对于经验并没有充分地爱好。对于我而言,事情似乎并没有那么好玩。可是,某件东西总是出现,让我们能够找到一个意象,给我正在企图引导你们前往的中间的那个途径。

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Let us just say that, unlike Mr. Teste, if stupidity is not my strong point,

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Q6sb2]@Zdh gc0让我仅是说,不像帖斯特先生,虽然愚蠢并不是我的强项。

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/J)p^F/w X0I'm not particularly proud of the fact.心理学空间#k;c5WZ e s BlHA

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并不特别以那个事实感到骄傲。

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9l Bz T A$t;g3E^{*\3h(?0I'm just going to tell you a little incident.心理学空间1QWN^ m

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我仅是要告诉你们一个小意外。心理学空间*B woFP2A,x7I"\

gw1d])zW({h3z?0I was in London once in what they call a kind of "Home," where I wasbeing welcomed as a guest of an institution which disseminates French culture.It was in one of those charming little areas of London at some distancefrom the center, toward the end of October when the weather is often delightful.I was the recipient of a form of hospitality that was marked by a kind ofVictorian monasticism in a charming little building. The style of the establishmentwas marked by the delicious smell of toast and the menace of thoseinedible gelatine desserts that they are in the habit of consuming over there.

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我有一次在伦敦,在他们所谓的「养老院」。在那里,我受到欢迎,作为是宣扬法国文化的机构的来宾。那是伦敦的其中一个迷人的小地区,离中心有点距离,将近十月底时,当天气通常费宜人。我接受到热烈款待,在一栋迷人的小建筑物,那是维多利亚的修道院接待的特色。那种建筑物的风格的特色,具有吐司面包的风味,却又有难以消化的动物胶的点心的威胁,那是他们在那里经常食用的食物。

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.pKH oY!L|[{&[0I wasn't alone but was with someone who has agreed to accompany methrough life, one of whose characteristics is an extreme sense of uniqueness.In the morning this person, that is to say my wife, suddenly says out of theblue: "Professor D ... is here." He is or was one of my mentors at the Ecoledes Langues Orientates. It was very early in the morning. "How do you know?"I asked her, since I assure you Professor D . . . is not a close friend of mine.I was told: "I've seen his shoes."

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4H]8E2j3T4dtB0我并不单独前往,而是跟某位同意要伴随我一生的人,这个人的特色是极端的独特。在早上,这个人,换句话说,我的妻子,突然出乎意料地说:「狄博士、、、在这里。」他是我在艾可尔学院以前跟现在的导师。那是大清早的时刻。「你怎么知道?」我问她,因为我告诉你,狄博士、、、并非是我的知己朋友。她的回答是:「我曾经看见过他的鞋子。」心理学空间dFL_l)u4w

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I must say that I couldn't help feeling startled by that answer; I was alsoskeptical. To read the highly personal traits of an individuality into a pair ofclodhoppers sitting outside a door didn't seem to me to be sufficiently convincingevidence, and there was nothing else that allowed me to believe thatProfessor D . . . might be in London. I found the thing quite funny anddidn't attach any importance to it.

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我必须说,我对那个回答不禁大吃一惊。我心里也是充满狐疑。我觉得,从放置门口的一双长筒靴,就判断是属于某个人的强烈的私人特征,似乎是难以令人信服的证据。除外,没有别的东西让我相信,狄教授可能在伦敦。我发现这种事很可笑,并没有重视它。

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V*uc t\;k:M7~0I made my way at that early hour along the corridors without thinkinganything more about it. And it was then that to my astonishment I saw ProfessorD ... in person slipping out of his bedroom in his dressing gown,exposing as he went a pair of long and highly academic drawers.I find that experience highly instructive, and it is on that basis that I intendto suggest to you the notion of the beautiful.心理学空间dq)u3d4lX

q \]ap}u9\0在那个清晨时刻,我沿着走廊往前行,根本没有想到它。就在那时,令我大吃一惊地,我看见狄教授本人从他的寝室,穿着睡衣走出来。显露出他穿着一条非常学者派头的长裤。我发现那个经验非常具有启发性。根据那个基础,我打算跟你们建议美的这个观念。心理学空间4Bh.j0KT'w R

'ze*ga O/A:\m9D0Nothing less was required than an experience in which the universalitybelonging to the shoes of an academic was intimately joined to whatever it was that was absolutely specific to Professor D . . . , for me to invite you quite simply to think of Van Gogh's old shoes - on the basis of which Heidegger has given us a dazzling image of what a work of beauty is.

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&Q#H4bZ_r6Z!U'Yd0实实在在就是需要这样一个经验,属于学者派头的鞋子的普遍性,跟绝对是狄教授特有的东西联想在一块。我建议那么就是要想到梵谷的「旧鞋子」名画。根据这幅名画,海德格曾经给予我们一个令人目眩的意象:美的艺术作品是什么。心理学空间 X%NXPY5}

+? g2x|5MD5H5p0You must imagine Professor D . . .'s clodhoppers ohne Begriff, with nothought of the academic, without any connection to his endearing personality,if you are to begin to see Van Gogh's own clodhoppers come alive withtheir own incommensurable quality of beauty.

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你们一定想象狄教授的长筒靴,不会联想到学者派头,也没有联想到他的迷人的人格,假如你们想要开始看到梵谷自己的长筒靴的栩栩如生,具有它们的无与伦比的美的特质。

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They are simply there; they communicate a sign of understanding that issituated precisely at equal distance from the power of the imagination andthat of the signifier. This signifier is not even a signifier of walking, of fatigue,or of anything else, such as passion or human warmth. It is just a signifier ofthat which is signified by a pair of abandoned clodhoppers, namely, both apresence and a pure absence - something that is, if one likes, inert, availableto everyone, but something that seen from certain sides, in spite of its dumbness,speaks. It is an impression that appears as a function of the organic or,in a word, of waste, since it evokes the beginning of spontaneous generation.

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它们就是在那里。它们沟通一种理解的讯息。这种理解的讯息确实被定位在同等的距离,跟想象的力量与能指的力量。这种能指甚至并不是走路,疲倦,或任何其他东西的能指,譬如,激情或人类的热情。它仅是一种能指,由一双被废弃的长筒鞋标示的能指。换句话说,既是一种存在,也是一种纯粹的欠缺。你们不妨说,它是某件每个人都可用到的东西。但却是某个会言说的东西,假如从某些层面来看,尽管它沉默不语。这一个印象出现作为一种有体体,或总之,是一种废物的功用,因为它召唤自动自发产生的开始。心理学空间U!{5Jr7aa:[)Tb

#G'@t/Xaa0That factor which magically transforms these clodhoppers into a kind ofreverse side and analogue of two buds proves that it is not a question ofimitation - something that has always taken in those who have written on thetopic - but of the capture, by virtue of their situation in a certain temporalrelationship, of that quality through which they are themselves the visiblemanifestation of beauty.心理学空间]l"M Wox5C

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那个因素魔术般地将那些长筒鞋转变成为一种倒转的层面,类同两个蓓蕾。那个因素证明,这并不是模拟的问题。某件东西总是吸引那些曾经写作探讨这个议题的那些人。而是捕捉的问题,凭借它们处于某种时间关系的它们的情境,某种特质的问题,通过这种特质,它们本身就成为是美的可见的证明。心理学空间CS0Kn2I1D M1~&w

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If you don't find this example convincing, find others. What I am, in effect,attempting to show here is that the beautiful has nothing to do with what iscalled ideal beauty. It is only on the basis of the apprehension of the beautifulat the very point of the transition between life and death that we can try toreinstate ideal beauty or, in other words, the function of that which sometimesreveals itself to us as the ideal form of beauty, and in the first place thefamous human form.

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Q0T:U2?5t1XO7O0假如你们发现这个例子并不令人信服,请再找别的例子。实际上,我在此企图要表达的是,美跟理想的美根本没有关系。仅是根据对于美的理解,在生与死之间的转移的时刻,我们才能够尝试重新陈述理想的美。或是,换句话说,理想美的功用有时显示它自己给我们,作为是美的理想形式。首先,就是这个著名的人大形式。心理学空间a P%h"{O6q

~&pY&ZK/c0If you read that work of Lessing's which is so rich in all kinds of insights,the Laocoon, you will find that he is absorbed from the beginning in theconception of the dignity of the object. Not that it is as the result of historicalprogress that the dignity of the object has finally been abandoned, thankGod, since everything seems to indicate that it always was. Greek artists didn'trestrict themselves to producing images of the gods; as we learn from Aristophanes'swritings, paintings of onions cost a lot of money. It is thus notjust with the Dutch painters that people began to realize that any object maybe the signifier by means of which that reflection, mirage, or more or lessunbearable brilliance we call the beautiful starts to vibrate.

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假如你们阅读拉辛的那部充满各种洞察力的作品「拉奥孔」,你们将会发现,他从一开始,就关注客体的尊严的观念。倒不是因为它是历史进步的结果,这个客体的尊严最后被放弃。感谢上帝,因为每样东西似乎指示著,它总是被放弃。希腊艺术家并没有限制他们自己仅是创作众神的形象。如同我们从亚利斯多分段著作里看出,洋葱的图画要耗费很多钱。因此并非从荷兰的画家,人们才开始体会到,任何的客体可能就是这个能指。凭借这个能指,省思,幻景,或是相当令人无法承受我们所谓美的灿烂,才开始引起共鸣。心理学空间#H7R3]9U7J!BS

A!DD i+ij TS:Q A0But since I have just referred to the Dutch, take the example of the stilllife. You will find there moving in the opposite direction from that of theclodhoppers discussed above, as they began to bud, the same crossing of theline. As Claudel showed so admirably in his study of Dutch painting, it is tothe extent that the still life both reveals and hides that within it which constitutesa threat, denouement, unfolding, or decomposition, that it manifeststhe beautiful for us as a function of a temporal relation.心理学空间i@/\:l S#~E4F

x7W9jD6U0但是因为我刚刚提到荷兰画家,我就举个这幅静画写生作例子。你们将会发现有相同的线条的跨越,从以上讨论的长筒靴的相反的方向,当它们开始发展时。如同克劳德尔在他研究荷兰图画时,如此令人赞赏地显示。甚至,这幅静画写生既是显现,也是隐藏在它里面的东西。这个东西构成威胁,结局,展开,或瓦解,以致于它给我们展现出美丽,作为是时间关系的功用。

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|VQ&J _O+mX0Moreover, insofar as it engages the ideal, the question of the beautiful canonly be found at this level as operating at the limit. Even in Kant's time it isthe form of the human body that is presented to us as the limit of the possibilitiesof the beautiful, as ideal Erscheinen. It once was, though it no longeris, a divine form. It is the cloak of all possible fantasms of human desire. Theflowers of desire are contained in this vase whose contours we attempt todefine.心理学空间x F @G ZY&X

@z*Ym8}J%^0而且,当它参与这个理想,美的的问题仅能在这个层次找到,作为是在极限运作。甚至在康德的时代,那是人类的身体的形式被呈现给我们,作为啥美的可能性的极限,作为是是理想的「灵显现」。它以前是一种神灵的形式,虽然它不再是。它是人类欲望的一切可能的幻想。欲望的花被包含在我们尝试要描绘轮廓的这个花瓶里。

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And it is this that leads me to posit the form of the body, and especially itsimage, as I have previously articulated it in the function of narcissism, as thatwhich from a certain point of view represents the relationship of man to hissecond death, the signifier of his desire, his visible desire.心理学空间7[I ~7j(u!d'vf

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就是这个花瓶引导我提出身体的形式,特别是它的意象,如同我先前曾经表达的,在自恋的功用里。作为是从某个观点,它代表人跟他的第二次死亡,他的欲望,他的可见的欲望的能指的的关系,心理学空间p.M_ `'z o\t P

%`5KG'S~!ge0The central mirage is to be found in "Ιμερος εναργής, which both indicatesthe site of desire insofar as it is desire of nothing, the relationship ofman to his lack of being, and prevents that site from being seen.心理学空间|dvk`8u%`P f

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中心的幻景能够被找到在这个拉丁字词,一方面指示著欲望的地点,因为它是空无的欲望,人跟他的生命实存的关系。另一方面,它阻止那个地点不要被看见。

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«《悲剧的本质:索福克勒斯的安提戈涅之评论》三 安提贡尼处于两次死亡之间 拉康 | Jacques Lacan
《拉康 | Jacques Lacan》
《悲剧的本质:索福克勒斯的安提戈涅之评论》二 戏剧的表达»
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