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Does 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.
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。
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.
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。
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.
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。
Whatever 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.
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。
In 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.
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。
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.
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。
Since 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.
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。
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.
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。
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.