"China's great poets drew from wei-cg'is patterns of opposition three broad
metaphors: wei-ch'i approxinates war, offers paradigms for social order, and
teaches lessons about humankind's moral stake in the cosmic game.
...In wei-ch'i, an "eye"(yen) refers to a vacant intersection on the boad.
Any group of stones must enclose at least two "eyes" to be secure.
"Gouged-out eyes," then, can be read at three levels.
...The intellectual subtlety and intrinsic beauty of creative conception and
execution in wei-ch'i, has attracted generations of Chinese literati,
providing a framework for poetic articulation of the human spirit."
(Zu-yan Chen, The Art of Black and White: Wei-ch'i in Chinese Poetry, JAOS,
117:643-53)
"We thought we understood that the objet a was the ultimate identificatory
object, what we identify with on the verge(aubord) of no longer being
anything, in order to sustain ourselves awhile longer in our desire. But we
were wrong. We still had to learn not to be that object, to tear ourselves
away from it, to lose it definitively. We were nothing but a hole in the
image; and now, our eyes gouged out, we must plunge into that hole.
Better never to have been born, for how can we ever separate from ourselves
to the point of becoming, not even the lost object of the Other but, his
lost object -- not even his blank, impenetrable eyes, but the empty,
bleeding sockets of his desire to see where there is no longer anything to
see? How, we ask, can we survive this experience, which even Oedipus himself
could not bear? "How can a subject who has traversed the radical phantasy
[live(italics)] the drive? Let us listen one last time to Lacan's response,
oracular words, words of truth:
'This crossing of the plane of identification is possible. Anyone who
has lived through the analytic experience with me to the end of the
training analysis knows that what I am saying is true.'
Actaeon, chasing the goddess, found her at last. His dogs devoured him
eagerly. 'Some say that his spectre haunted the countryside; he would stone
those who ventured out into the night, and who knows what other devilries he
caused; since it was impossible to find his remains, the oracles decreed
that a statue be erected to him on the hillside, its gaze fixed afar; thus
he lies in wait for her still, as if fixed in that vision forever; he who
refused the simulacrum had his love of truth immortalized in a simulacrum.'"
(Mikkel Borch-Jacobsen, Lacan: The Absolute Master, Desire Caught by the
Tail, P.239)
Pork Soda would not listen to Dr. Ygdrasil. He knew that there were other
interesting rhizomes just under the surface.
"Pfeiffer Haunted by Supernatural Roles:
Michelle Pfeiffer says it's just a coincidence that she ends up playing so
many roles featuring the supernatural. In her new film, What Lies Beneath,
which also stars Harrison Ford, Pfeiffer plays a housewife possessed by the
ghost of a woman who haunts her home. Pfeiffer has also had roles dealing
with the supernatural in Batman, The Witches of Eastwick and Wolf."
(Herald Times, July 22, 2000, p. A1)
"They all took girls of good families, some four, some three, for these
disciplines and called that 'to sacrifice'(kung-yang). Then the emperor
daily engaged in these practices, assembling for the purpose great numbers
of women and girls, and found his joy only in this dissolute pleasure. He
also selected a number from among his many concubines and made them perform
tha dance of the Sixteen Dakini and Eight Males* (Shih-lui-tien-mo 'The
Sixteen Heavenly Devils').
*The tanric pantheon has many sets of sixteen, but this particular group is
not mentioned. Neither could I trace the term pa-lang "eight males." I
suppose that the sixteen represented tantric she-devils, who had intercourse
with men, representing their male companions, one pair of women with one
man. The brothers of the emperor and those men who are called 'companions.'"
(Van Gulik, Sexual Life in Ancient China. p. 260)
Thus "eight males" quite easily translates to "eight(pa) wolves(lang)" from
definitions in Matthews' and Giles' dictionaries.
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metaphors: wei-ch'i approxinates war, offers paradigms for social order, and
teaches lessons about humankind's moral stake in the cosmic game.
...In wei-ch'i, an "eye"(yen) refers to a vacant intersection on the boad.
Any group of stones must enclose at least two "eyes" to be secure.
"Gouged-out eyes," then, can be read at three levels.
...The intellectual subtlety and intrinsic beauty of creative conception and
execution in wei-ch'i, has attracted generations of Chinese literati,
providing a framework for poetic articulation of the human spirit."
(Zu-yan Chen, The Art of Black and White: Wei-ch'i in Chinese Poetry, JAOS,
117:643-53)
"We thought we understood that the objet a was the ultimate identificatory
object, what we identify with on the verge(aubord) of no longer being
anything, in order to sustain ourselves awhile longer in our desire. But we
were wrong. We still had to learn not to be that object, to tear ourselves
away from it, to lose it definitively. We were nothing but a hole in the
image; and now, our eyes gouged out, we must plunge into that hole.
Better never to have been born, for how can we ever separate from ourselves
to the point of becoming, not even the lost object of the Other but, his
lost object -- not even his blank, impenetrable eyes, but the empty,
bleeding sockets of his desire to see where there is no longer anything to
see? How, we ask, can we survive this experience, which even Oedipus himself
could not bear? "How can a subject who has traversed the radical phantasy
[live(italics)] the drive? Let us listen one last time to Lacan's response,
oracular words, words of truth:
'This crossing of the plane of identification is possible. Anyone who
has lived through the analytic experience with me to the end of the
training analysis knows that what I am saying is true.'
Actaeon, chasing the goddess, found her at last. His dogs devoured him
eagerly. 'Some say that his spectre haunted the countryside; he would stone
those who ventured out into the night, and who knows what other devilries he
caused; since it was impossible to find his remains, the oracles decreed
that a statue be erected to him on the hillside, its gaze fixed afar; thus
he lies in wait for her still, as if fixed in that vision forever; he who
refused the simulacrum had his love of truth immortalized in a simulacrum.'"
(Mikkel Borch-Jacobsen, Lacan: The Absolute Master, Desire Caught by the
Tail, P.239)
Pork Soda would not listen to Dr. Ygdrasil. He knew that there were other
interesting rhizomes just under the surface.
"Pfeiffer Haunted by Supernatural Roles:
Michelle Pfeiffer says it's just a coincidence that she ends up playing so
many roles featuring the supernatural. In her new film, What Lies Beneath,
which also stars Harrison Ford, Pfeiffer plays a housewife possessed by the
ghost of a woman who haunts her home. Pfeiffer has also had roles dealing
with the supernatural in Batman, The Witches of Eastwick and Wolf."
(Herald Times, July 22, 2000, p. A1)
"They all took girls of good families, some four, some three, for these
disciplines and called that 'to sacrifice'(kung-yang). Then the emperor
daily engaged in these practices, assembling for the purpose great numbers
of women and girls, and found his joy only in this dissolute pleasure. He
also selected a number from among his many concubines and made them perform
tha dance of the Sixteen Dakini and Eight Males* (Shih-lui-tien-mo 'The
Sixteen Heavenly Devils').
*The tanric pantheon has many sets of sixteen, but this particular group is
not mentioned. Neither could I trace the term pa-lang "eight males." I
suppose that the sixteen represented tantric she-devils, who had intercourse
with men, representing their male companions, one pair of women with one
man. The brothers of the emperor and those men who are called 'companions.'"
(Van Gulik, Sexual Life in Ancient China. p. 260)
Thus "eight males" quite easily translates to "eight(pa) wolves(lang)" from
definitions in Matthews' and Giles' dictionaries.
________________________________________________________________________
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