Archive for the AO-Mistranslations Category

Ich/I/moi

Posted in AO-Mistranslations, Anti-Oedipus, Freud, Lacan, Language, Schizoanalysis, Speaking Desire, Subjects on 1 February 2008 by Fadi Abou-Rihan

        Back to the question of translation though this time the text is encumbered by a move from the German original. Freud’s Oedipal trinity is of the “es/it,” the “Ich/I,” and the “Uber-Ich/Over-I.” While his English translators introduced the “id,” “ego,” and “super ego,” their French cousins remained closer to the original with the “ça,” “moi,” and “surmoi.” It is interesting that the translators of Anti-Oedipus chose to comply with the English Freud instead of the French Deleuze and Guattari. “I,” “me,” and “ego” are the choices they alternate for the single word “moi” (often, it seems, without rhyme or reason). Perhaps it was their attempt to bring closer to their audiences a text that sounded strange enough already!

        Mine is not simply a linguistic concern since Freud had used the term “Ich” to refer at times to the self in its totality and at others to an agency or a part of that self. While it makes his text difficult to read, Freud’s equivocation also suggests that the two senses are co-dependent, that, in fact, one could not speak of a self, of an I, without that part, an ego, that negotiates between the demands of desire, reality, and the Law, that, in other words, and for Freud at least, to speak of a self is to speak of Oedipus. (To speak of a self, for Lacan, is to speak of and to insist on not only the necessity of the symbolic Law but also the unavoidability of a specular and imaginary “moi” without which the entire structure would also flounder.) Much like his predecessors (Kraepelin, Bleuler, and Binswanger), Freud relied on the “ego,” or its absence, to understand the schizophrenic, or at the very least to understand the schizophrenic as beyond psychoanalytic comprehension, and hence intervention.

        To be fair to Freud, in a manner of speaking, and to also be more accurate, conceptually and clinically, it is not on the “ego/moi” that the possibility of therapeutic psychoanalysis hinges. Rather, it is the capacity for object libido, which is to say for the love of an other, that Freud looked for in his prospective analysands. This is not an insignificant distinction. In classic psychoanalytic terms, the I that is capable of love is an I that has already been Oedipalised; it is an I that has passed from ego libido to object libido, from secondary narcissism to the super ego (via the ego ideal). The narcissist, the masochist, the homosexual, the schizophrenic, the woman, in sum anything that is not “Freud,” these are all quite capable of uttering an “I” but theirs has not been fixed enough by its relationship to the familial axes of Oedipus for it to be curable. It is in its endorsement of this non-Oedipal “I/moi” that Deleuze and Guattari’s schizophrenic process is to be distinguished from both Lacanism and Ego psychology. The only “real” relationship—be it of love, hate, or what not—is a relationship of production, of desiring production, of the production of the unconscious. Though he claimed all the names of history, Nietzsche, obviously, did not fail to utter an “I” whenever he fancied it or it suited his purposes. Similarly, the handyman has rarely hesitated to acknowledge an “I fixed it” even though his primary mode is of fixing things rather than of claiming for himself the things he has fixed.

Subjects-2

Posted in AO-Mistranslations, Anti-Oedipus, Conjunctive Synthesis, Freud, Lacan, Machines, Productions, Schizoanalysis, Speaking Desire, Subjects on 15 January 2008 by Fadi Abou-Rihan

        In Lacanian psychoanalysis, the psychoanalysis with which Deleuze and Guattari were most suffused, jouissance has come to hold pride of place amongst the categories and constructs. Jouissance is neither pleasure nor enjoyment (this is yet another one of those distinctions the translators seem to have completely missed); it is what goes beyond either of these two states. Pleasure, for Lacan and for Freud before him, is a minimum of excitation and its principle is to have as little pleasure as possible, to maintain, at whatever cost, the integrity and stability of its subject. Jouissance is what motivates a striving and a going beyond the limits of the pleasure principle, a transgression, a seeking out of more pleasure and hence, and in the process, an endurance of pain. Jouissance is that paradoxical pleasure that one derives from the symptom, or the gain from the illness as Freud would think it. Put differently, and whereas pleasure and enjoyment confirm the autonomy and integrity of the subject as ego, jouissance undermines that ego’s search for balance and control; it presses upon it, it disrupts its sanctum. Rather than the guarantor of a subject’s unity and organisation, jouissance is its destabilizer.

        Interestingly enough, and in order to make the identical claim, Deleuze and Guattari choose to invoke the authority of Marx on this matter (16).

        What of the subject then? If the relations between body without organs and desiring machines are of attraction and repulsion, of miraculating and paranoid machines, the relation between the latter two is of a consuming and celibate machine whose jouissance, “sexual pleasure,” “volupté,” is the motor force behind the conjunctive (it’s me and so it’s mine…) synthesis.

        Crucial here is the difference in the language-word: whereas the “celibate” evokes constraints and denials, the “célibataire” (the bachelor) is a playful suitor, as with Duchamps, hovering on the border between the respectable and the unknown, and hence suspect, that is forever produced as a new alliance between the paranoid and the miraculating, between desiring machines and the body without organs.

        In this “celibate” machine the paranoid and the miraculating reconcile, which is not to say that they cancel each other out. Both persist, but this time alongside a degree of voluptuousness, a creativity of what Deleuze and Guattari refer to as states or zones of intensity.

        Hallucinations and deliriums are secondary to the experience of such zones: Schreber’s “I experience myself becoming a woman” is projected as a hallucination “I see my reflection in the mirror as a woman” and introjected as a delirium “I think I am a woman.” (I am choosing to render the French “je sens” as “I experience” instead of “I feel” in order to A) underscore the physicality of the Deleuzo-Guattarian usage and hence B) to distinguish it from the current obsession with “feeling” and “affect” in certain psychotherapeutic circles).

        This is where the I is located, as the outcome of a state and an intensity, of the lived experience of having breasts, for instance, which does not resemble having breasts (19).

Falling Back Onto

Posted in AO-Mistranslations, Anti-Oedipus, BwO, Dreams, Freud, Schizoanalysis, Subjects on 5 December 2007 by Fadi Abou-Rihan

        Before preceding any further, another note on the translation is in order.

        Most critical and most misleading in the English rendering is the translation of “se rabattre sur” as “to fall back onto.” The learned footnote on page 10 of the English text lists the various meanings of the verb “rabattre” and evokes, whether intentionally or not, the very same mechanisms Freud had identified under the heading of regression in the seventh chapter of The Interpretation of Dreams: temporal, formal, topographical. Indeed, the translators of Anti-Oedipus have in mind a return to a preceding position or state as they interpret “rabattre:” as a rotation followed by a reverse rotation, as a retreat, or as a reduction.

        But, and if production “falls back onto” recording, and recording, in turn, “falls back onto” consumption, which, for Deleuze and Guattari, is the site where “something in the order of a subject is discerned” (16), this would imply a logic of depth through which that subject grounds the syntheses of the unconscious. This could not be any further from the French original.

        Deleuze and Guattari use “rabattre” in its reflexive form, “se rabattre sur,” which means to come to or to reach something: the subject is not the ground for but rather a product of the interactions between body without organs and machines; the subject is, in other words, a product of consumption, recording, and production.

        I think it is important to qualify the effect of translating “se rabattre sur” as “falling back onto” as in itself a falling back onto and a regression, ironically, to the very theory the text is disputing.

Breaking Down

Posted in AO-Mistranslations, Anti-Oedipus, Associations, Connective Synthesis, Dreams, Machines, Productions, Schizoanalysis on 10 October 2007 by Fadi Abou-Rihan

        In the context of a connective synthesis, a machine or a chain of associations works only when it breaks down. It works by breaking down, continually, by having the flow it produces interrupted and consumed by another that is inevitably produced by it.

        “Breaking down” in the French original is actually “detraquée.” The word suggests not so much a malfunction but the impression of something gone awry, derailed. The “breaking down” of a machine is tantamount to the detours of slips, dreams, and symptoms that psychoanalysis has rightly marked as not so much proofs of the unconscious but rather products of its inner workings. As much as they are compromise formations designed to appease the demands of the secondary process, slips, dreams, and symptoms are odd, slippery.

        The question that has so far preoccupied psychoanalysis has been the identification and resolution, or at least containment, of the conflict that underlies such formations through a retrograde analysis; schizoanalysis marks them not only as effects but as causes and machines as well. How can they be re- or differently aligned? What can they be made to produce? What new sounds, significations, or formations do they point to? The question of effect and machine is always double: “Given a certain effect, what machine is capable of producing it? And given a certain machine, what can it be used for?” (3).