That Obscure Object of Desire: Autobiography and Repetition in the Work of Aldo Rossi
That Obscure Object of Desire: Autobiography and Repetition in the Work of Aldo Rossi
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那个模糊的欲望对象：阿尔多·罗西作品中的自传和重复
DOI：
10.1162/15263810260201599
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发表时间：
2002
期刊：
影响因子：
0.3
通讯作者：
Mary Louise Lobsinger
中科院分区：
文献类型：
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作者：
Mary Louise Lobsinger
在《科学自传》（A Scientific Autobiography）的中间部分，在几页的篇幅内，意大利建筑师阿尔多·罗西（Aldo Rossi）三次重复了“重复的冲动”这句话。第一次出现的原因是，当他看到他最近的一个项目——威尼斯泻湖的临时浮动剧院时，他也看到了摩德纳和库尼奥的项目。对于自我解决的问题——这种停滞是发展的条件吗？——他回答说：“强迫重复也代表着缺乏希望，但现在在我看来，重复做同样的事情，以至于每次都有所不同，这是一项困难的练习，就像看着事物并重复它们一样困难。”这一模棱两可的主张之后，又有人指责变化是不一致的特征当“强迫重复”再次出现时，它用几乎相同的术语表达，没有详细说明或参考读者认为是其精神分析基础的东西。事实上，在整篇文章中，精神分析学更多的是被唾弃，而不是被公开接受第二次与“强迫重复”的相遇强化了第一个断言，并强调了它对制作活动的重要性。提到同样的三个项目——威尼斯的浮动剧院、摩德纳的墓地和库内奥的纪念碑——引发了以下的回应：“重复的冲动可能表明缺乏希望，但似乎一遍又一遍地继续做同样的事情，以达到不同的结果是独特的自由发现。”在这里，重复实现了生产功能。做出相同的形式或理念是作者有意识地做出的决定，其目的是产生差异。在接下来的段落中，Rossi指出了他认为这三个项目共有的形式特征：立方体原型形式。罗西声称，重复这种形式一遍又一遍地产生差异，在这种重复中存在着独特的
Toward the midpoint of A Scientific Autobiography and within the space of a couple of pages, the Italian architect Aldo Rossi repeats the phrase "the compulsion to repeat" three times. The first occurrence follows the observation that when he sees his most recent project-a temporary floating theater for the Venetian lagoon-he also sees the projects at Modena and Cuneo. To the self-addressed question-is this stasis a condition of development?-he replies, "The compulsion to repeat also represents a lack of hope, but it now seems to me that to make the same thing again so that each time it turns out to be different is a difficult exercise, as difficult as looking at things and repeating them."' This ambiguous claim is followed by the charge that change characterizes inconsistency.2 When the "compulsion to repeat" appears again, it is couched in almost identical terms, without elaboration or reference to what the reader assumes to be its psychoanalytical underpinning. In fact, throughout the text the psychoanalytical is more spurned than overtly embraced.3 The second encounter with the "compulsion to repeat" reinforces the first assertion and emphasizes its importance to the activity of making. The mention of the same three projects-the floating theater for Venice, the cemetery at Modena, and the monument for Cuneo-elicits the following response: "The compulsion to repeat may manifest a lack of hope, but it seems that to continue to make the same thing over and over in order to arrive at different results is the unique freedom to discover."4 Here repeating fulfills a productive function. To make the same form or idea is a decision consciously taken by the author, the aim of which is to produce difference. Further along in the paragraph Rossi identifies the formal trait he sees shared by all three projects: a cubic archetype-form. Rossi's claim that to repeat this form over and over begets difference and that within this repetition lies a unique