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| 2011/10/14 14:58:11瀏覽531｜回應0｜推薦2 | |
“Desire Horrified at Losing and at Losing Oneself” 1. Joy Demands That We Consume Our Resources of Energy 快樂要求我們消耗我們的能量資源 A. Anguish, when desire opens onto the void – and, sometimes, onto death – is perhaps a reason for desiring more strongly and for finding the desired object more attractive, but in the last instance the object of desire always has the meaning of delight, and this object, whatever one might say of it, is not inaccessible. It would be inexcusable to speak of eroticism without saying essentially that it centers on joy. A joy, moreover, that is excessive. (“Desire Horrified at Losing and at Losing Oneself” P. 103) 在慾望走向空虛---友時走向死亡的時候---焦慮或許是一個欲求更多和增加欲求之物吸引力的理由，但是最終，欲求之物總是有快樂的意義，而且不管怎麼說，此物都不是無法認識的。至於色情，如果不從根本上認為它的動力是快樂而去尋求，則是不可寬恕的。(色情史P. 85) B. But it does seem allowable to think that we may experience, in the related domains of eroticism and religious meditation, joys so great that we are led to consider them exceptional, unique, surpassing the bounds of any joy imaginable. (“Desire Horrified at Losing and at Losing Oneself” P. 103) 我們能在與色情和宗教觀照相鄰的領域體驗到這樣的快樂，以致我們相信這些快樂是不同尋常的，獨一無二的，超過了可以想像的快樂的限度。(色情史P. 85) C. What I said earlier tended to show that horror was present and played a part in erotic attraction…what we want is what uses up our strength and our resources and, if necessary, places our life in danger. (“Desire Horrified at Losing and at Losing Oneself” P. 104) 恐懼雜染在色情誘惑之中並舉足輕重…我們想要的是讓我們精疲力竭並讓我們的生活楚於危險之中的東西。(色情史P. 85) 2. Literature and Anguish; Sacrifice and Horror 文學與焦慮;獻祭與恐懼 A. We do well to live vicariously what we don’t dare live ourselves. Not that it is a question of bearing misfortune without weakening: on the contrary, enduring it without too much anguish, we should take pleasure in the feeling of loss or endangerment it gives us. (“Desire Horrified at Losing and at Losing Oneself” P. 106) 我們應該忍受苦難，別太焦慮，享受它帶給我們的毀滅或面對危險的感覺。(色情史P. 87-88) B. That it was of a game’s nature reduced its gravity, but it always involved plunging the spectators into anguish tied to a feeling of vertiginous, contagious destruction, which fascinated while it appalled. (“Desire Horrified at Losing and at Losing Oneself” P. 106) 從根本上說，一種遊戲的特徵說明了獻祭的重要性，但是，這總是意味著將 在敞的人帶到一種焦慮之中，這種焦慮與一種駭人聽聞的、有傳染性的毀滅 之感息息相關，此番感受既令人恐懼，又令人迷惑。(色情史P. 88) C. In the most common circumstances, horror may only have a putrescence as its object; or anguish, a kind of void. But the object that fascinates in sacrifice is not only horrible, it is divine, it is the god who agrees to the sacrifice --- who exerts an attraction and yet has only one meaning: losing oneself in death. The horror is there only to accentuate an attraction that would seem less great if he did not offer himself up to a painful agony. (“Desire Horrified at Losing and at Losing Oneself” P. 107) 在最普遍的條件下，恐懼的對象是一個腐爛物；或焦慮的對象是一種虛空。但是在獻祭中令人著迷之務不僅僅是可怕的，而且是神經的，是神與獻祭串通一氣，獻祭充滿誘惑並且只有一種意義；陷入死亡。恐懼在這裡只是為了更好地烘扥一種誘惑，這種誘惑若不接近極端的苦悶，就不會顯得那麼偉大。(色情史P. 89) 3. Life, “on the Level of Death,” Founded the Riches of Religion and Art “在死亡高度上”的生命創立了宗教和藝術的財富 A. We are constantly tempted to a abandon work, patience and the slow accumulation of resources for a contrary movement, where suddenly we squander the accumulated riches, where we waste and lose as much as we can…In a sense the death of a king is like looking into a void from which we are not separated by any guardrail…What is certain is that the lure of the void and of ruination does not in any way correspond to a diminished vitality, and that this vertigo, instead of bringing about our destruction, ordinarily is a prelude to the happy explosion which is the festival. (“Desire Horrified at Losing and at Losing Oneself” P. 107-108) 我們不斷地受到誘惑，放棄勞動，忍耐，緩慢的財富積累，以採取意義相反的活動，我們忽然揮霍積累的財富，我們浪費和損失無度…國王之死類似於一種空虛的顯現，任何欄杆都無法將我們與這空虛分隔…可以肯定的是，空虛或毀滅的誘惑絲毫也不意味著缺乏活力，這種暈眩非旦促使我們毀滅，反而通常預示著節日的幸福放縱。(色情史P. 89) B. In principle, there is no collective festival that cuts into a basic wealth, without which the coming of the next festival --- measureless and measured at the same time, like the first --- could not be assured. And ultimately it is not ruination, let alone death, it is joy that the pursuit of ruination attains in the festival. We draw near to the void, but not in order to fall into it. We want to be intoxicated with vertigo, and the image of the fall suffices for this. One might say rather precisely that true joy would require a movement to the point of death, but death would put an end to it! We will never know authentic joy…. Moreover, death itself is not necessary…Thus, only the fictitious approach of death, through literature or sacrifice, points to the joy that would fully gratify us, if its object were real --- that would gratify us at least in theory, since if we were dead we would no longer be in a condition to be gratified. (“Desire Horrified at Losing and at Losing Oneself” P. 109) 這個節日同第一個一樣，既是過度的又是有節制的。最終這不是毀滅，更不是死亡，這是對毀滅的追尋在節日中得到的快樂。我們靠近空虛，但不是為了墜入空虛。我們希望自己感到暈眩，只要有墜落之形就夠了…真正的快樂要求一種直至死亡的快樂，但是死亡結束了快樂…我們應該避免死亡，倘若我們想得到快樂。所以，唯有通過文學或獻祭在假想中接近死亡，才能預告充溢我們的快樂，如果快樂的對象是真實的，快樂至少在根本上充實我們，因為我們死後，就不再可能有充實的感覺。(色情史P. 90) 結論 只有這種真正的勇氣才能使我們再有形的死亡或衰弱的焦慮中找到這個唯一的極端快樂，這種快樂使人毀滅。沒有這種勇氣，我們就無法以宗教或藝術的財富對抗動物生活的貧乏。(色情史P. 91) “The Object of Desire and the Totality of the Real” 1. The Object of Desire Is the Universe, or the Totality of Being 慾望的對象是存在的空間或總體性 A. In reality, what fascinates in this way speaks to passion but has nothing to say to the intellect. Thus it appears, in many cases, that the latter is less lucid than a simpler reaction. (“The Object of Desire and the Totality of the Real” P. 111) 事實上，令人著迷之物訴諸激情而絲毫不牽涉心智。於是在許多情況下，可以明顯地看到，心智不如一次更簡單的反應那麼清晰。(色情史P. 92) B. The intellect fails, in fact, in that with its first impulse it abstracts, separating the objects of reflection from the concrete totality of the real. It constructs, under the name of science, a world of abstract things, copied from the things of the profane world, a partial world dominated by utility…We escape this empty and sterile movement, this sum of objects and abstract functions that is the world of the intellect, only by entering a very different world where objects are on the same plane as the subject, where they form, together with the subject, a sovereign totality which is not divided by any abstraction and is commensurate with the entire universe…The object of sensual desire is by nature another desire. The desire of the senses is the desire, if not to destroy oneself, at least to be consumed and to lose oneself without reservation. Now, the object of my desire does not truly respond to it except on one condition: that I awaken in it a desire equal to mine. (“The Object of Desire and the Totality of the Real” P. 112-113) 其實，心智失敗了，原因在於它首要的活動就是抽象，它使思考的對象脫離真實性的具體的全體性。他以科學的名義建立一個摹仿世俗世界的抽象事物世界，一個功利性統治的片面世界…在這個迴然不同的世界中，客體與主體地位相同，他們與主體共同構造一種至高無上的總體性，這個種體性是任何抽象畫都無法分割的，它兼併了整個世界…情慾的對象從本質上說是另外一種慾望。肉慾倘若不是毀滅自己的願望，至少也是尋求刺激和無保留地放縱自己的欲望。但是我的慾望對象只能在一種條件下真正滿足這種欲望：我在對方身上喚起了與我的慾望相同的一種欲望。(色情史P. 93) 2. The Analytical Representation of Nature and the Vague Totality, Which Is Both Horrible and Desirable 自然的表現博大與既可怕又迷人的曖昧的總體性 A. This becomes clearer if I come back to “foul nature”: it is the animality that I can grasp in the totality which the embrace constitutes. (“The Object of Desire and the Totality of the Real” P. 118) 倘若我回到”骯髒的自然”，這一點變的更加清楚：我在總體性及擁抱中把握的是獸性。(色情史P. 98) “The Object of Desire” 1. Of Frenzy in the Distinctly Erotic Sense of an Object 依照一個客體純粹色情的意義論瘋癲 A. The positive, alluring aspect of eroticism is very different: there the object of desire is distinct, its nature opposes it to all others, and if it is erotic it is positively so first of all. A naked woman, young and pretty, is doubtless the exemplary form of this object. (But I speak of this now only in order to give a material image of it right away. In actual fact, a naked woman does not always have the erotic meaning that I ascribe to her. Moreover, the nakedness of the earliest times could not have had any particular meaning.) (“The Object of Desire” P. 137) 色情肯定的、誘人的特徵是非常不同的：慾望的對象非常明確，它的性質使它與其它一切對立，如果它是色情的，這首先是從肯定方面來看的：一個年輕、漂亮的裸露女人無疑是這個對象的典型形式。(但是，我現在談論這個問題，只是為了提供一個具體可感的形象。其實，一個裸體女人並非總有我賦予它的色情意義。此外，原始時代的裸露部會有特殊的意義。) (色情史P. 115) B. Slavery aside, men generally tended to see women as things. Before marriage, women were the father’s or brother’s things. If the father or the brother transferred this right of ownership by means of a marriage, the husband in turn became the master of that sexual field which she would need to lend him and of the labor power which she would be able to place at his service. (“The Object of Desire” P. 139) 除了奴隸制，婦女一般有被視為物的趨向。婦女在結婚之前是父親或兄弟的物。如果父親或兄弟通過婚姻轉讓他們的所有權，丈夫變成了這塊性的田地及其勞動力的主人，她賦予他這塊田地，並任他使用她的勞動力。(色情史P. 116) 2. The Object of Desire and the Prostitute 慾望的對象與妓女 A. The allure of nudity is not the exclusive property of prostitutes, but it is the allure of a thing, of a seizable object, and venal love has the privilege of reducing a woman to that “object” which erotic nudity is. (“The Object of Desire” P. 140) 裸體的誘惑不是妓女的專利，而是一個物、一個可以把握的對象的誘惑，賣淫具有讓一個女人淪為這個”物”即色情意義上的裸體的特權。(色情史P. 118) B. In fact, she is not just eroticism but also loss having taken the form of an object. That sparkling finery and that make-up, those jewels and those perfumes, those faces and those bodies dripping with wealth, becoming the objects, the focal points of luxury and lust, though they present themselves as goods and as values, dissipate a part of human labor in a useless splendor. The essence of loss is this intense consumption that exerts a dangerous fascination, that prefigures death and finally attracts more and more. (“The Object of Desire” P. 141-2) 其實，妓女不僅是色情，而且是採取物化形式的損耗。這些閃閃發光的手飾和這些香粉，這些珠寶和這些香水，這些流淌著財富、變成物，以及儘管豪華和奢侈的中心的面孔和身體，表現為財富和價值，卻將一部分人類勞動消解為徒勞無益的光芒。損耗的本質是這種巨大的消耗，這種消耗誘人致命，預告了死亡並最終越來越有誘惑力。(色情史P. 119) 3. The Object of Desire Signifies Instantaneous Gratification 慾望的對象有及時行樂的意義 A. Let us say that desire always seeks two objects, on that is mobile and alive, another that is fixed and dead. And what characterizes eroticism is not the mobile-living but the fixed-dead, which alone is detached from the normal world. This is the end to which we want to lead the mobile-living. It is a matter of breaking the ordinary and conscious sequences in order to find the detached: what is detached exists only as an object or a fusion. (“The Object of Desire” P. 143) 無論如何，欲望總是在尋覓一個活動的、生氣勃勃的對象和另一個固定的、死氣沉沉的對象。體現色情特徵的不是生氣勃勃的活動物，而是一個死氣沉沉的固定物，只有後者才從尋常世界分離出來。這是我們試圖引導生氣勃勃的運動物的方向的界限。這就意味著打破通常的和有意識的連貫性，以找到分離物:分離物只作為對象或融合物存在。只有付出了這個代價，色情才是自主的，性行為才堅定不移地為自身而為之，而不是再某種程度上服從於一系列合乎情理的意願、慣例或占有慾的需要。(色情史P. 121) 4. Prostitution and Idleness 賣淫與無所事事 A. Idleness, which made prostitution possible, is not the same thing as beauty; often beauty coexist with work, ugliness with idleness…Only figures that are slender and even a little wild correspond to what desire is seeking. The desirable form is always that which servile necessity has not subjected to its laws. By nature, the object of desire has nothing to do in this world except to respond to desire. (“The Object of Desire” P. 145) 賣淫許可的無所事事與美不是一回事；通常美與勞動共存，醜與無所事是共生…只有優美的、甚至有點野性的形象才與對慾望的尋求相契合。肉感的形式一像是有用的必要性不曾以法則馴服的形式。從根本上來看，欲望的對象在這個世界上除了滿足的需要之外，沒有任何用途。(色情史P. 122)
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