論無常

							上週問題討論
• 心的變異
認同形塑背後的無意識動力性質與機轉
黑/白與島民/皇民之區分邏輯

• Uncanny
《鳥》的uncanny
最後一幕
論無常(On Transience)
      Sigmund Freud
•   1915年為紀念歌德而作
•   背景：1913年…
•   美好事物是否因為短暫而減損其價值？
•   哀悼(mourning) 服喪
•   渴求不朽
• 無常的可貴
• 詩人與朋友無法領略Freud
• What spoilt their enjoyment of beauty
  must have been a revolt in their minds
  against mourning.
• The mind instinctively recoils from
  anything that is painful…they felt their
  enjoyment of beauty interfered with by
  thoughts of its transience.
• Capacity for love
• If the objects are destroyed or if they are
  lost to us, our capacity for love (our libido)
  is once more liberated; and it can then
  either take other objects instead or can
  temporarily return to the ego.
• But why it is that this detachment of
  libido from its objects should be such a
  painful process is a mystery to us.
• Mourning: libido clings to its objects and will
  not renounce those that are lost even when a
  substitute lies ready to hand.
• Spontaneous end of mourning (however painful)
• When once the mourning is over, it will be
  found that our high opinion of the riches of
  civilization has lost nothing from our discovery
  of their fragility. We shall build up again all that
  was has destroyed, and perhaps on firmer
  ground and more lastingly than before.
      三個匣子的主題
(The Theme of Three Caskets)
            （1913）
夢的解析
• “Thou owest Nature a death”
• （Freud的輓歌p.72）
•   《The Merchant of Venice》
•   Three caskets: gold, silver and lead
•   Symbolic substitution of woman
•   A man’s choice between three women

• The old king Lear
• The shepherd Paris
Who is the this excellent third
woman?
• Beauty
• Cordelia makes her self unrecognizable,
  inconspicuous like lead, she remains
  dumb, she “loves and is silent’.
• Cinderella hides so that she cannot be
  found
• In dreams dumbness is a common
  representation of death
• “The Twelve Brothers”, “The Six Swans”
• The third one: the Death itself, the
  Goddess of Death
• The Fates (Moera); spinner
• The Horae (Seasons): the guardians of
  natural law and of the divine Order which
  causes the same thing to recur in Nature
  in an unalterable sequence
• Replacement by the precise opposite:
  Goddess of Love or beauty
• Contraries are so often represented by one
  and the same element in the modes of
  expression used by the unconscious, as for
  instance in dreams
• The Moerae were created as a result of a discovery that
  warned man that he too is a part of nature and therefore
  subject to the immutable law of death.
• Something in man was bound to struggle against this
  subjection.
• Man makes use of his imaginative activity in order to
  satisfy the wishes that reality does not satisfy. So his
  imagination rebelled against the recognition of the truth
  embodied in the myth of the Moerae, and constructed
  instead the myth derived from it, in which the Goddess
  of Death was replaced by the Goddess of Love.
Choice: wishful reversal
• Choice stands in the place of necessity, of
  destiny. In this way man overcomes death,
  which he has recognized intellectually.
  No greater triumph of wishfulfilment is
  conceivable. A choice is made where in
  reality there is obedience to a compulsion;
  and what is chosen is not a figure of terror,
  but the fairest and most desirable of
  women.
• Nevertheless…
• The free choice is no free choice, for it
  must necessarily fall on the third.
• Characteristics of uncanny
• What lies beneath…
• Lear is an old man and a dying man.
• The doomed man is not willing to
  renounce the love of women; he insists on
  hearing how much he is loved.
• The last scene
• Eternal wisdom, clothed in the primaeval
  myth, bids the old man renounce love,
  choose death and make friends with the
  necessity of dying.
The original meaning of the three
female figures
• Three inevitable relations that a man has with a
  woman—the woman who bears him, the
  woman who is his mate and the woman who
  destroys him.
• The Mother Earth
• It is in vain that an old man yearns for the love
  of woman as he had it first from his mother; the
  third of the Fates alone, the silent Goddess of
  Death, will take him into her arms.
Freud之死
《佛洛伊德傳》
  Peter Gay
Death of a Stoic
•   1923年，診斷罹患下顎癌（66歲）
•   歷經31次大小手術，6次化療
•   1938年6月流亡至英國
•   為了「死於自由」
•   致力於《摩西與一神教》之出版計劃
•   揮別的手勢
•   與Max Schur的約定
•   1939年9月23日臨晨三點死亡
•   給費斯特(Pfister)的信
      悲痛與抑鬱
(Mourning and Melancholia)
          （1917）
        （寫於1914-1915）
In what does the work which
mourning performs consist?
• Reality-testing has shown that the loved object
  no longer exists, and it proceeds to demand that
  all libido shall be withdrawn from its
  attachments to that object.
• This demand arouses understandable opposition:
  people never willingly abandon a libidinal
  position, not even, indeed, when a substitute is
  already beckoning to them.
• Wishful psychosis
• The orders of reality are finally carried out bit by
  bit…
• each single one of the memories and
  expectations in which the libido is bound to the
  object is brought up and hypercathected, and
  detachment of the libido is accomplished in
  respect of it.
• The painful process is not easy to explain in
  terms of economics
• When the work of mourning is completed the
  ego becomes free and uninhibited again
Melancholia vs. mourning
• Melancholia is in some way related to an object-
  loss which is withdrawn from consciousness, in
  contradistinction to mourning, in which there is
  nothing about the loss that is unconscious.
• Extraordinary diminution in self-regard, an
  impoverishment of ego
• In mourning it is the world which has become
  poor and empty; in melancholia it is the ego
  itself.
• 失眠、不進食
• The critical agency is here split off from the ego:
  one part of his ego sets itself over against the
  other, judges it critically, and takes it as its object
• The most violent criticism are hardly applicable
  to the patient himself, but…they do fit someone
  else, someone whom the patient loves or has
  loved or should love.
• We perceive that the self-reproaches are
  reproaches against a loved object which have
  been shifted away from it on to the patient’s
  own ego
• Complain as revolt
identification
• In melancholia the free libido was not
  displaced on to another object; it was
  withdrawn into the ego. It served to
  establish an identification of the ego with
  the abandoned object. Thus the shadow
  of the object fell upon the ego, and the
  latter could henceforth be judged by a
  special agency, as though it were an object,
  the forsaken object.
• In this way an object-loss was transformed into
  an ego-loss and the conflict between the ego and
  the loved person into a cleavage between the
  critical activity of the ego and the ego as altered
  by identification.
• The narcissistic identification with the object
  then becomes a substitute for the erotic cathexis,
  the result of which is that in spite of the conflict
  with the loved person the love-relation need not
  be given up.
sleepless
• The complex of melancholia behaves like
  an open wound, drawing to itself cathectic
  energies—which in the transference
  neuroses we have called “anticathexes’—
  from all directions, and emptying the ego
  until it is totally impoverished. It can
  easily prove resistant to the ego’s wish to
  sleep
mania
• Both disorders are wrestling with the same
  ‘complex’, but probably in melancholia the ego
  has succumbed to the complex whereas in
  mania it has mastered it or pushed it aside.
• All state of mania depend on the same economic
  condition.
• What has happened here is that a large
  expenditure of psychical energy, long maintained
  or habitually occurring, has at last has at last
  become unnecessary, so that is it available for
  numerous applications and possibilities of
  discharge…
愛（Freud的輓歌，pp.53-58）
•   愛的基本藍圖—依戀與自戀
•   依戀性對象
•   自戀性對象
•   愛恆常是內在人我之間的交戰
•   抑鬱：拒絕哀悼的後果