读德勒兹《Masochism》Chapter4 The Three Women in Masoch

Chapter4 The Three Women in Masoch

三种截然不同的女性：一是古希腊爱与美的女神 Aphrodite，异教徒、交际花（hetaera）、失序制造者。她为自己命名，专注于爱和美，只活在瞬间，是女性原则的胜利，女性支配男人。另一端是虐待狂女性，喜欢伤害和折磨他人，但她的行为由男人造成，她也是男人的受害者。三是M的理想：冷酷-母亲-严厉，冰冷-情绪化-残忍，介于交际花和虐待狂中间的幻想角色。

• three very different types of women.
  • The first type: the Grecian woman, the pagan, hetaera or Aphrodite, the generator of disorder. Her life, in her own words, is dedicated to love and beauty; she lives for the moment
  • At the other extreme we find the sadistic woman. She enjoys hurting and torturing others, but it is significant that her actions are prompted by a man or otherwise performed in concert with a man, whose victim she is always liable to become.
  • Masoch's ideal: cold - maternal - severe, icy - sentimental - cruel. the intermediate feminine type between the hetaera and the sadist…this fantastic character.

萨德的英雄和马索克的理想女性都是冷漠的。S的冷漠（apathy）是反对感情，所有的热情，尤其是对恶的热情，都将我们束缚于第二自然，是我们内心善的残余。M的冷漠（coldness）截然不同，不是对感觉的否定（negation of feeling），而是对感官满足的否认（disavowal of sensuality）。多愁善感（sentimentality）承担着更高的非人因素，感官满足（sensuality）使我们成为次级本性的囚徒。M用冷漠确保多愁善感的胜出，是辩证变化的冰点，冰河时代大灾难带来的神圣潜能（divine latency）。冷漠保护着内部世界的超感官的sentimentality，并表达为外部秩序、愤怒和严厉。

• The sadistic hero, just as much as the feminine ideal of Masoch, professes an essential coldness which Sade calls “apathy”….The "apathy" of the sadist is essentially directed against feeling….All enthusiasm, even and especially the enthusiasm for evil, is condemned because it enchains us to secondary nature and is still a residue of goodness within us.
• The coldness of the masochistic ideal has a quite different meaning: it is not the negation of feeling but rather the disavowal of sensuality. It is as if sentimentality assumed in this instance the superior role of the impersonal element, while sensuality held us prisoner of the particularities and imperfections of secondary nature. The function of the masochistic ideal is to ensure the triumph of ice-cold sentimentality by dint of coldness….Masochistic cold ness represents the freezing point, the point of dialectical transmutation, a divine latency corresponding to the catastrophe of the Ice Age...The coldness protects supersensual sentimentality as inner life, and expresses it as external order, as wrath and severity.

巴霍芬把人类进化分成三个时代：一是hetaeric或Aphrodic时期，人类生于混乱的原始沼泽，女性原则占支配地位，父亲是Nobody。 二是Demetrian时期，亚马逊人建立了严格的妇女当政（gynocratic）和农业文明；三是父权制、阿波罗体系建立自身，母权制只存在于堕落的亚马逊、或酒神的世界（Dionysian）。

马索克的三类女性在三个时期很容易认出：第一和第三个时期是第二个时期的两端，幻想找到了它需要的理论和意识形态框架，将幻想转化为人性和世界的一般概念。第二个时期在二者之间摇摆，代表不稳定的辉煌和完美。马索克就是要回到幻想的起点，进入问题出现时的理论框架。希腊的理想如何转变成受虐狂理想的？异教徒时代的混乱如何转变为女性当政sentimentality的新秩序？冰河时代的大灾难解释了对sensuality的压抑，也解释了severity的胜利崛起。

• Bachofen distinguished three eras in the evolution of humanity. The first is the hetaeric or Aphroditic era, born in the lustful chaos of primeval swamps，the feminine principle was dom inant and the father was “Nobody”. The second, or Demetrian era, dawned among the Amazons and established a strict gynocratic and agricultural order; Finally the patriarchal or Apollonian system established itself, matriarchy surviving in degenerate Amazonian or even Dionysian forms.
• Masoch's three feminine types can easily be recognized in these three stages, the first and third eras being the limits between which the second oscillates in its precarious splendor and perfection. Here the fantasy finds what it needs, namely a theoretical and ideological structure which transforms it into a general conception of human nature and of the world. Masoch remarked that we must proceed from our starting point in the obsessive fantasy we must progress to the theoretical framework where the problem arises.
• How does the Greek ideal become transformed into the masochistic ideal, the chaotic sensuality of the hetaeric era into the new order of gynocratic sentimentality? Obviously through the catastrophe of the glacial epoch, which accounts for both the repression of sensuality and the triumphant rise of severity.

冰河时期的严寒是转型的原因：女性成了男性思想的客体，正是女性的多愁善感和残忍迫使男人思考，并构建了受虐狂的理想。

马索克区分了两种本性：粗糙的本性被个人的专断（individual arbitrariness）所统治，从此狡猾和暴力、仇恨和破坏、混乱和感官满足无处不在。在此之上的是伟大的原始本性，非人的、自我意识的、感觉的、和超感官的。

马索克主义的特点是女性施虐者特殊的残忍：理念的残忍，理念得以实现的冰点。

• The glacial cold was wholly responsible for the transformation: sentimentality became the object of man's thought, and cruelty the punishment for his coarseness. In the coldhearted alliance between man and woman, it is this cruelty and sentimentality in woman that compel man to thought and properly constitute the masochistic ideal.
• Masoch distinguishes two natures, but he characterizes them differently. Coarse nature is ruled by individual arbitrariness: cunning and violence, hatred and destruction, disorder and sensuality are everywhere at work. Beyond this lies the great primary nature, which is impersonal and self-conscious, sentimental and supersensual.
• What characterizes masochism and its theatricality is a peculiar form of cruelty in the woman torturer: the cruelty of the Ideal, the specific freezing point, the point at which idealism is realized.

马索克的三种女性也对应了三种母亲形象：一是原始的、子宫、异教徒的母亲、排泄（cloaca）和沼泽的母亲；二是俄狄浦斯母亲，被爱的形象，是虐待狂父亲的受害者和同谋；三是在这两者之间的，口腔的、草原的母亲，生育和死亡的母亲。她处在中间，又是最后出现的，她既是口述的，又是沉默的，因此拥有决定权（the last word）。

masochism的特殊成分是口腔母亲，介于子宫母亲和俄狄浦尔母亲中间，是冷漠的、关切的（solicitude）、死亡的理想。

• Masoch's three women correspond to three fundamental mother images: the first is the primitive, uterine, hetaeric mother, mother of the cloaca and the swamps; the second is the Oedipal mother, the image of the beloved, who becomes linked with the sadistic father as victim or as accomplice; and in between these two, the oral mother, mother of the steppe, who nurtures and brings death. We call her intermediate, but she may also come last of all, for she is both oral and silent and therefore has the last word.
• the specific element of masochism is the oral mother, the ideal of coldness, solicitude and death, between the uterine mother and the Oedipal mother.