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边沁的环形监狱与演义骨子论BY:米兰.博佐维克

SINO-TRANS:沁园春树 REV：章闻哲

诚然他主要的意思在于谈德和政事形而上学以及立法， 但这是通过环形监狱（或全景监视监狱。在本翻译责任中一概以“环形监狱”或“圆形监狱”称之）和演义表面才使得边沁对当代念念想产生了要紧影响。这种环形监狱引起远大公众留意是在1975年通过福轲驰名的著述《监视与长入：监狱的出身》和雅克-阿兰. 米勒灿艳耀想法著述《专制是没灵验的： 杰米. 边沁的机器圆形监狱》；演义表面是在1932年被C.K 奥登在一真名为《边沁的演义表面》中发现的。 环形监狱和演义表面讲解边沁不单是是一个伟大的形而上学限制的校正者， 亦然，与J.S 米尔的不雅点相背，一位伟大的形而上学家。 《环形监狱》包括了1787年从俄国给一位在英国的一又友写的书信系列，以及两则分别于1790年和1791年写的附言（印刷于1791年，这些对于环形监狱的书信，从来莫得东谈主在书店发现过它们）。《环形监狱》所关旨的不会进步单纯的建筑学理念，迄今为止大齐的文本中并无一例也曾意识到描述这种新的赢得头脑战胜头脑的模式。这种力量的领有者是“捕快者”，它是无形的，却无处不在。一个统统玄色的点，统统知道在环形监狱强光的映照下。

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Although his main interest was in moral and political philosophy and legislation, it is through the panopticon and the theory of fictions that Jeremy Bentham made his most powerful impact on modern thought. The panopticon was brought to the attention of the wider public in 1975 in Michel Foucault’s famed Surveiller et punir: Naissance de la prison and Jacques-Alain Miller’s brilliant article ‘Le Despotisme de l’Utile:la machine panoptique de Jeremy Bentham’； and the theory of fictions was ‘rediscovered’ in 1932 by C.K. Ogden in a book entitled Bentham's Theory o f Fictions. It is the panopticon and the theory of fictions that prove Bentham was not only ‘a great reformer in philosophy，but， contrary to the opinion of J.S. Mill， also ‘a great philosopher’.The panopticon writings consist of series of Letters written from Russia in 1787 ‘to a friend in England’, and two Postscripts written in 1790 and 1791 (although printed in 1791, these panopticon writings never found their way into bookshops). The panopticon is nothing more than ‘a simple idea in architecture’， never realized， describing a new mode of obtaining power of mind over mind, in a quantity hitherto without example， - the possessor of this power is ‘the inspector’， with his invisible omnipresence， ‘an utterly dark spot, in the all-transparent, light-flooded universe of the panopticon.

书信中对环形监狱的磋磨体目下两个附件中，呕心沥血，且卜昼卜夜，在一定进度上原来筹备全透明的环形监狱监视室变得不透明，理念自身也不可实践。

The panopticon scheme developed in the Letters is endlessly elaborated upon in both Postscripts to the extent that the original plan for an all-transparent, panoptic inspection-house becomes to a certain extent opaque, and the idea itself unworkable.

在出乎预料的骨子论的碎屑下，边沁大部分完成于19世纪第一个十年内的论演义的文本是碎屑化的，原来是从注脚到附录， 到别的主题文本的一再离题神情。大部分这些文本第一次行为遗稿出书是波林剪辑的八卷本的《骨子论，逻辑，语言》，并非统统的稿子是彼此一致或者与它们自身相一统。

With the exception of the Fragment on Ontology， Bentham’s writings on fictions, for the most part written in the 1810s, are fragmentary, primarily in the form of digressions from, or footnotes and appendices to, texts on other subjects. Most of these writings were first published posthumously in volume VIII of the Bowring edition under the title Ontology, Logic, Language. Not all the writings are consistent with one another or even with themselves.

在每一个文本中边沁所发展的理念，在一运行，老是从一个稍稍不同的角度开头， 仿佛一种演义的明确的清楚是不可能一样。这也许是因为在边沁眼里，现实是不成问题的， 况兼它的存在无可质疑，事情变得复杂是在一种不真实的，不存在的限制，比如演义限制。在边沁对演义骨子论的策划中，很少对分袂演义与现实发买卖思， 或者对演义自身发买卖思，而更多地探究演义作用于现实的方式。尽管两种主要的演义类型或者非现实的实体--捏造的实体和幻想的非实体，是不存在的， 两种依然作用于现实：不管前一种有它们不存在的事实，后一种较着是因为它们不存在的事实。“骨子论碎屑”主要抨击的是捏造的实体把逻辑上的偏离与不一致性借给现实。而环形监狱文稿的主要抨击在于某种现实--环形监狱--通过一种统统不现实的事物，也即是一种幻想的非实体，握续地存在。它是通过一种特殊的不存在，非实体在存在中保握现实性--若是它想存在，现实自身就会解体。

In each text Bentham develops the idea from the beginning, always from a slightly different angle, as if a definite account of fictions were not possible. It is perhaps because in Bentham’s eyes reality is unproblematic and its existence unquestionable that things become complicated in the field of the unreal, the non-existent, i.e. in the field of fictions.In the elaboration of his ontology of fictions, Bentham is less interested in distinguishing fictions from reality, or between fictions themselves, than he is in exploring the effects that fictions have on reality. Although neither of the two main classes of fictions or unreal entities - fictitious entities and imaginary non-entities ~ exist, both nonetheless have effects on reality: the former despite the fact that they do not exists and the latter precisely because o f the fact that they do not exist. The main thrust of the Fragment on Ontology is that fictitious entities lend reality its logical-discursive consistency. And the main thrust of the panopticon writings is that a certain reality - the panopticon prison - is sustained in existence by something that is utterly unreal, that is, by an imaginary nonentity; it is through its very non-existence that the non-entity sustains the reality in existence - if it were to exist, the reality itself would disintegrate.

功利主义法学鼻祖边沁

经管的奇不雅

II T H E SP EC T A C L E OF P U N I SH M E N T

在今天， 边沁被视为实用主义的首创东谈主而被顾忌， 也许最好从望望成问题的演义奈何与犯罪与经管发生议论运行。在谈德与立法原则的表现段落里，是对莱布尼茨“神正论”的激烈召魂， 边沁写谈：

As Bentham today is remembered as the founder of utilitarianism, it is perhaps best to start by looking at how the problematic of fictions relates to the moral problematic of crime and its punishment.In a passage in the Introduction to the Principles o f Morals and Legislation, which is strongly reminiscent of Leibniz’s Theodicy, Bentham writes:

【A】II 经管是开顽笑： 统统经管在它自身中是狠毒的。 在实用原则上， 若是它根柢上应当被承认， 它只应当在它欢喜排斥一些较大的狠毒的鸿沟内被承认。这里， 边沁了了地受到莱布尼茨狠毒表面的影响 ，对莱布尼茨来说，天主允许谈德上的狠毒是因为他知谈在异日的某些点上会发生一些对更大的善的饱读吹，一种倘使莫得刻下的这种狠毒，这种善就不会到来 。因此，比如说，天主允许第六种罪，因为他知谈这种罪恶将对更伟大的事物发生作用：很较着 这种罪恶将领导建立一个伟大的帝国，为东谈主类提供一个崇高的榜样。若是这种罪恶莫得发和一， 那么更好的善自身，也即是--这种伟大帝国， 行为崇高的榜样--将不会产生；‘经过这个宇宙的最小的狠毒已错失在其中’的一刻，将不再是这个宇宙。天主， 于是允许聪惠动物的罪恶在这些罪恶能导致暖和发生在这个宇宙并最大可能地超越狠毒的进度上--那即是说，天主允许罪恶发生，在一定进度上较着是因为这些恶能够导致一种在统统可能的宇宙中最好的宇宙的产生。

【A】II punishment is mischief: all punishment in itself is evil. Upon the principle of utility, if it ought at all to be admitted, it ought only to be admitted in as far as it promises to exclude some greater evil.Here, Bentham is clearly influenced by Leibniz’s theory of evil. For Leibniz, God allows le mal morale moral evil, only because he knows that at some point in the future it will give rise to an incomparably greater good, a good that, in the absence of this evil, would not have come about. Thus, for instance, God permitted the crime of Sextus because he knew that this crime would serve ‘for great things’: it was precisely this crime that led to the founding of a great empire which provided mankind with ‘noble examples’， If this crime had not taken place, the greater good itself - the great empire, noble examples - would also not have occurred; and the moment 'the smallest evil that comes to pass in the world were missing in it, it would no longer be this world’.God, then, permits the crimes of intelligent creatures to the extent that these crimes cause the good in this world to surpass evil to the greatest degree possible - that is to say, God permits the crimes to the extent that it is precisely because o f these crimes that the created world is the best of all possible worlds.

一个单纯是善的宇宙天然 将比最好可能的宇宙更好的，但这种宇宙在里面是不可能的。雷同的根由莱布尼茨用来讲解三种狠毒 中的一种存在，即罪恶，被边沁用来讲解 罪恶的经管。 咱们究竟通过经管赢得了什么？通过经管， 也即是在它自身中，罪-罚 轻佻了一些被经管的个体的抖擞，这么， 全部社区的抖擞就被减少了。其他的东谈主，那些”引起冒犯“的东谈主， 不同于犯罪者， 但与那些犯罪相仿， 也即是说，以致在更猛进度上，其步履将减少社会全部抖擞。而通过珍视这种狠毒，咱们照旧曲折地对最大数目上最大抖擞作出了孝敬。通过经管， 于是是通过就义被经管的个体的抖擞，咱们才对统统他者的最大的善，最大数目的最大抖擞作出了孝敬。这么，对莱布尼茨来说，正如与边沁一样，咱们是通过减少阅历第一种纪律宇宙的狠毒的风险来奋发于于第二种纪律宇宙的更大的善。关联词，若是对莱布尼茨和边沁来说，罪是狠毒，那么，对边沁来说它同期亦然狠毒的罪的经管。

A world that would simply be good would of course have been better than the best possible world - but such a world is inherently impossible.

The same reasoning Leibniz used for justifying the existence of one of the three species of evil, i.e. crime, is used by Bentham to justify punishment for crimes. What exactly do we achieve by punishment? By means of punishment, which is in itself evil - punishment destroys some of the punished individual’s happiness， and thus the overall happiness of the community is reduced - others, that is those ‘under temptation to offend’， are deterred from committing acts similar to those of the criminals, that is, acts that would reduce the overall happiness of the community to an even greater extent. And it is by preventing this greater evil that we have indirectly contributed to the greatest happiness of the greatest number. With punishment，then， it is by sacrificing part of the punished individual’s happiness that we contribute to the greatest good of all others, to the greatest happiness of the greatest number. Thus for Leibniz as for Bentham, we contribute to a greater ''good of the second order by risking a lesser ‘evil of the first order’; however， if for both Leibniz and Bentham, crime is evil, for Bentham it is also the punishment of crime that is evil.

边沁的全景敞视监狱图之一

在边沁的眼里， 经管自身是较少倾向于对被经管的东谈主（即有罪的东谈主）而设，而更倾向于为每个无罪的东谈主（即无辜的东谈主）而设：当边沁量度促改的价值与设立一种告诫范式的价值——行为经管的两种主要的筹备——他了了地为后者站队：告诫范式的树立价值进步了校正， ‘在无辜者与被定罪的比例下’。此外， 对经管的所磋议来说， 告诫‘最缺陷的是超越比拟’。促改针对的是一种可比拟 的极少量的个体——那即是说，针对那些照旧被冒犯的——而一种告诫范式的树立则是针对统统那些‘知道在冒犯的诱骗下’的东谈主，后者的数目字据边沁的不雅点， 单纯是“组成几个政事社团的全部个体——换句话说， 统统东谈主类’。

In Bentham’s eyes, the punishment itself is less intended for the punished, i.e. the guilty person, than it is for everyone else, i.e. the innocent: when Bentham weighs the value of reformation against that of setting an example - as the two principal objectives of punishment - he unequivocally opts for the latter: the setting of an example outweighs reformation, 'and that in the proportion of the number of the yet innocent to that of the convicted guilty’. Moreover of all the objectives of punishment, example is ‘beyond comparison the most important’. Reformation is aimed at a comparatively small number of individuals - that is, at those who have already offended - whereas the setting of an example is aimed at all those 'exposed to the temptation of offending’, and the number of the latter according to Bentham is, simply, "the whole number of individuals of which the several political communities are composed - in other words， all mankind’.

在边沁眼里， 经管率先是一种精彩的扮演：在经管轨制不是针对被经管的个体，而是针对全体他者的鸿沟内，经管的践诺是一种精彩的扮演。 经管中精彩的扮演的维度 因此发祥于经管自身的威慑表面。 这是一种只为经管（或者，换言之， 不言而喻的经管）的理念，现实上演呈于精神之中；经管自身（真实的经管）并不比使得那种理念发生具有更进一步的行径。赫然的经管，因此 ，其统统的服务， 我合计齐是在告诫的方式里， 这是主要的筹备。而果真经管（经管的践诺）是一切开顽笑。

In Bentham’s eyes, punishment is first and foremost a spectacle: it is insofar as punishment is not intended for the punished individual, but for all others, that the execution of the punishment

is a spectacle. The dimension of spectacle in punishment therefore stems from the deterrent theory of punishment itself.It is the idea only of the punishment (or, in other words, the apparent

punishment) that really acts upon the mind; the punishment itself (the real punishment) acts not any farther than as giving rise to that idea. It is the apparent punishment, therefore, that does all the service, I mean in the way of example, which is the principal object.It is the real punishment that does all the mischief.

率先，什么是经管？遭受凄沧的体验或者抖擞的丧失。 边沁所清楚 的经管其凿枘不入因此不言而喻，它针对的是统统他者，而不是被经管的东谈主：在经管中，唯有被经管的个体（也即是经管轨制并未蓄意针对的个体），那位受到晦气的东谈主，同期，通过独一的外部的显象，经管行径加诸统统他者（那些经管轨制意图针对的对象）。这的趣味指的是，那种显象（不言而喻的经管， 较着的晦气遭受）超越现实（现实的经管，现实的遭受），不管何时无辜者进步一位时。经管的主要筹备， 对无辜者的威慑，因此是通过显象自身来已毕的，那即是说，通过在无辜的大脑中提议经管表面。枢纽的问题于是酿成： 这些显象是怎样创建的？

First, what exactly is punishment? Suffering, the experience of pain or loss of pleasure. The paradox of Bentham’s punishment, which is intended for all the others rather than for the punished individual, is therefore evident: in punishment, it is only the punished individual (that is, the one for whom the punishment is not intended) who suffers pain, whereas the punishment acts upon all others (those for whom it is specifically intended) exclusively through its external appearance. This means that appearance (apparent punishment, apparent suffering) outweighs reality (real punishment, real suffering) whenever the number of the innocent exceeds one. The principal object of punishment, the deterrence of the innocent, is therefore achieved by means of appearance itself, that is, by raising the idea of punishment in the minds of the innocent. The key question then becomes: how is this appearance to be created?

在经管中这种精彩的扮演维度依于那处？在经管平分阶段进行的是什么？边沁在此主要所原谅的所以最小的果真晦气遭受来已毕最大的名义上的（非实质的）遭受，那即是说， 在他者那里以最小的晦气遭受来已毕经管的最大成果。由于它只是对其他东谈主的名义的经管，即加诸于其大脑的经管，这是莫得必要为了加多对其他东谈主的经管成果， 去用‘极度的果真经管’补充现实的经管——同等成果的加诸其他东谈主的经管成果不错通过‘别的更腾贵的技能’,即通过分阶段的‘不同于经管自身的尊荣性， 以及它的践诺’。Wherein exactly does this dimension of spectacle in punishment lie? What is it that is staged in punishment? Bentham’s main concern here is in achieving the greatest apparent suffering with the least real suffering, that is, achieving the greatest effect of the punishment on others with the least inflicted pain.Since it is only apparent punishment that acts upon others, upon their minds, it is not necessary, in order to increase the effect of punishment on others, to supplement the real punishment with some ‘additional real punishment’ 一 the same effect on others can be achieved by ‘other less expensive means’， namely， by staged 'solemnities distinct from punishment itself, and accompanying the execution of it’.

全景监视监狱的种种遐想图式不一而终，体现了东谈主们对于“监视”自身的天主式的热衷

让咱们毛糙看一下行为精彩上演的经管的特质， 这种激烈地倾向于针对无辜者更甚于受经管者的特质， 这种构因素阶段经管成果的特质一，那些在其后将在精彩上演中担任积极扮装的，它们我方必须率先盲从于精彩上演；限度， 囚徒们被收进圆形监狱就像，如杰耐特.赛朴尔指出，“是一种开幕式，而不是一种沐浴”： 在吸收上……暄和沐浴中的透澈清洁……被外科大夫透澈的探查……重新到脚的新衣……浸礼——更生——尊荣——庆典——自一个牧师那里：这个时刻将是令东谈主印象深远的。葬礼音乐，至少是奖饰诗，由风琴伴奏。

Let us take a brief look at the characteristic features of punishment qua spectacle， features dearly intended for the innocent rather than for the punished, features that constitute the stage effect of the punishment.Those who will later take an active part in the spectacle must first themselves be subjected to the spectacle; consequently, reception of prisoners into the panopticon prison resembles, as Janet Semple has remarked, "an initiation ceremony rather than a bath”:

On reception . . . thorough cleansing in a warm bath - thorough visitation by the surgeon.… Clothing new from top to toe. . . . Ablution - regeneration - solemnity - ceremony - form of prayer: the occasion would be impressive. Grave music . . . psalmody at least, with the organ.

囚徒们在圆形监狱里将戴上头具，面具的怪相抒发他们所犯罪的严重性： 囚徒将因此，如其所是， 将他们的罪恶搬上舞台。 他们“只在他们不得不濒临公众的眼睛”的情况下将戴上这些面具，那即是说， 在外面的珍爱者所插足的鲜明的服务时期，戴上头具。由于在这些情况下， 囚徒知谈他们要知道于公众的审视之下， 这种“不朽的讽刺，会实时加剧他们的麻痹不仁，临了妨碍他们的洗面革心。在统统其他情况下， 囚徒不会知谈他们是否被不雅察， 因为公众的审视将藏于他们的背后：偶尔的看望者将只被允许从一个中心的保证他们不被看到的远眺塔上不雅察囚犯。

Prisoners in the panopticon would wear masks, the grimaces of the masks expressing the gravity of their offences: the prisoners would thus， as it were， stage their own guilt. They would wear these masks on 'the only occasion on which their eyes will have to encounter the public eye’, that is, during the divine service attended by outside worshippers. Since on this occasion the prisoners would know that they were exposed to public gaze, this "perpetual pillory, could in time harden them and render them insensitive, ultimately impeding their reformation. On all other occasions, the prisoners would not know whether they were being watched, since the gaze of the public would be hidden from them: occasional visitors would only be allowed to look into the panopticon from a central inspection tower which would allow them to observe the prisoners while remaining invisible themselves.

通过面具 ， 犯罪将在不知道面容的玄虚的情形中被讽刺：同期， 这种 “掩饰”，尽管是“严肃的、畅通着的、有教导意旨的”，却普及了带给不雅众的教导意旨。这是为了无辜者的审视，——也即是说， 为了那些被退却了犯罪的东谈主们的审视，那些囚徒的罪恶在圆形监狱中被搬上了舞台。在上演经管的尽可能吓东谈主的精彩扮演时，咱们以致不错鉴戒到那些审讯的素养。 这是果真， 经管的审讯轨制是不刚正的，霸谈的， 但审讯者的技巧在出产最终的舞台成果时——他们使用尊荣的游行， 记号性的衣饰， 恐怖的场景， 等等——在边沁的眼里，“值得尊敬和效法远胜于被驳诘”。

Through the masks, then, guilt can be ‘pilloried in the abstract’ without exposing the face of the guilty: at the same time, this ‘masquerade’， which is nonetheless ‘serious, moving and instructive’， heightens the salutary impression on the spectators. It is for the gaze of the innocent - that is, for the gaze of those to be deterred from offences - that the guilt of the prisoners in the panopticon is staged.In staging the spectacle of punishment, which is intended to be as terrifying as possible, we can even draw upon the experience of the Inquisition. It is true that the Inquisition’s system of punishment was unjust and barbaric, but the skills displayed by the Inquisitors in producing the ultimate stage effect - their use of solemn processions, emblematic clothing, terrifying scenery, etc. - in Bentham’ eyes, ‘deserve rather to be admired and imitated than condemned’.

在主要用来行为对无辜者的一种告诫的经管的践诺中， 咱们必须收拢一切契机去幻觉化他们的审视：“不丧失任何契机地去跟眼睛话语”，边沁如是写谈。这么，对边沁来说，每一个组成刑法委员会的枢纽成员不是别的，而恰正是一种“剧院的司理”，他天然知谈，奈何去获取来自经管舞台的最大成果。

In the execution of punishment, which serves principally as an example for the innocent, we must seize every opportunity to fascinate their gaze: “lose no occasion of speaking to the eye”, writes Bentham. Thus, for Bentham, the key member of every well-composed committee of penal law is none other than 'the manager of a theatre’ who would, of course, know how to attain the greatest effect from the staging of punishment.

精彩扮演在莫得包括加诸要紧血腥的现实的晦气遭受就使得咱们赢得了巨大的非真实的晦气遭受。 这么， 为超越到经管对于其他东谈主们的最大成果， 莫得必要去使得受经管的个体遭受极度的、逾额的晦气。 不管何时一种加诸其他东谈主们的等量成果齐能通过愈加经济的轮番去已毕，每一种极度的果真经管是一种隧谈的亏蚀， 边沁说。一种果真经管， 果真遭受自身它不亦然一种完统统全的赘余？

The spectacle enables us to increase the magnitude of the apparent suffering without increasing the magnitude of the red suffering involved. Thus, to attain the greatest effect of punishment on others, it is not necessary to inflict additional, excessive pain on the punished individual.Whenever an equal effect of punishment on others can be achieved by more economical means, every additional real punishment is a pure loss, says Bentham. And real punishment, real suffering itself is it not also entirely superfluous?

传奇这是年青时的边沁

严格来说， 受经管的个体不值得经管的， 是凄沧；说他该死挨痛，并不比说他值得受到外科大夫的切割所带来的刺痛来得更不乖张： “莫得东谈主该死受到经管”， 边沁说谈。“当一个外科大夫切开一条腿，这是否是因为病东谈主值得这种刺痛？不， 它是因为腿可能因此收复。”此外，这与期待通过经管能够弥补犯罪自身一样乖张， 那即是说， 被经管的犯罪的真实的晦气可能带给受害者充分的骄贵。

Strictly speaking, the punished individual does not deserve punishment, that is, pain; it is no less absurd to say that he deserves pain than to say that he would deserve the smart of the surgeon’s cut if he were ill: No man deserves punishment’, says Bentham. 'When a surgeon cuts into a limb, is it because the patient has deserved the smart? No, but that the limb may be healed.Furthermore, it would be equally absurd to expect that it is possible to compensate for the offence itself through punishment, that is to say, that the real suffering of the punished offender could bring adequate satisfaction to the victim of the offence.

在犯罪的一边， 体验凄沧——不管有多恐怖——受害者齐注定是失望而活气足的：字据边沁， 通过经管（来弥补受害者的亏蚀）是不可能的，即通过犯罪的凄沧体验，通过他受到与受害者之前所受的伤害同等的晦气，来诱导产生与这种晦气同等的受害者的抖擞，是不可能的。可能这看起来像是，通过弗成经由得意的告诫也已毕社会平稳的现实，并弗成已毕任何东西。若是经管的主要筹备，对他者的震慑，不错通过非实质的经管来已毕（“这是服务于一切的名义的经管”），而若是现实的经管统统是填塞的，以致是袭击现实的（这是果真经管，是全部开顽笑），那么 它难谈弗成通过演义中的经管去已毕一种同等成果？在这种方式里，它可能不花一丝代价，不需要让受经管的个体就义我方的抖擞，就对社区的举座幸福作出孝敬。

At the sight of the offender experiencing pain - no matter how horrific - the victim is bound to be disappointed and dissatisfied: according to Bentham, it is impossible through punishment，i.e. through pain experienced by the punished offender, to induce in the injured party a pleasure equivalent to the pain he has suffered as the victim of the offence.It might seem, then, that nothing can be achieved through reality that cannot be achieved as well through appearance.If the principal object of punishment, the deterrence of others, can be achieved by means of appearances (“it is the apparent punishment that does all the service”)， and if reality is entirely superfluous and even obstructive (‘it is the real punishment that does all the mischief), is it not then possible to achieve the same effect through punishment ，through fiction? In'this way it would be possible to contribute to the overall happiness of the community without the slightest expense, without needing to sacrifice any of the punished individual’s happiness.

举个例子， 一座建筑可能从外面看被建得很像是环形监狱， 偶尔的尖叫， 不是囚徒的尖叫， 而是特意为了那种筹备而受雇的东谈主们发出的尖叫，它不错从里面被听到。而同期别的东谈主以为是犯罪正在因为他们的步履而受到经管，而真相只是，根柢无东谈主信得过地受到经管。第二种纪律的善，因此不错在莫得条目任何“第一纪律的狠毒”之下被出产。

For example, a building could be constructed resembling the panopticon from the outside; occasional screams, not of prisoners, but of people hired specifically for that purpose, could be heard from within. While the others would think that the offenders were being punished for their deeds, in truth, nobody at all would really be suffering punishment. A ‘good of the second order’ could then be produced without requiring any ‘evil of the first order’.

自从功利主义的促进畅通止于谬论或幻想，或较着，止于一种名义步履，即它自身并非是一种现实的效应——毛糙说，通过演义——是统统反出产的， 就像罗斯.哈里森合计， “最好的，即最容易的， 最照实的， 最经济的赢得经管得意的方式，是通过真实的事物。即， 真实的环形监狱。边沁之反对无字据的演义的使用，是因为它孕育了对真相的不尊重；演义只是在它们不可或缺时才是可摄取的。关联词， 即便咱们要开辟一座信得过 的环形监狱， 即便咱们因此 将通过现实来出产告诫的得意咱们依然弗成统统幸免依赖演义。 这是因为环形监狱， 现实自身， 照旧建造得像一种演义。由于真实的环形监狱要赢得它外部的筹备（珍视无辜者被侵略）——而这种客不雅性的需求进步了对囚徒的处理， 在一定进度上就像无辜者的数目进步了囚徒的数目。——它必须天然率先赢得它里面的筹备：它必须珍视囚徒犯罪。但以什么来珍视囚徒犯罪，以什么来爱戴环形监狱里面的构造，并赐与真实事物以里面的一致性，说确凿的，除了演义，别无它物。

Since the promotion of Benthamite ends through fallacy or illusion, or, more precisely, through an appearance which is not itself an effect of reality - in a word, through fiction - is actually counter-productive， as Ross Harrison puts it， ‘the best， that is the easiest, surest, cheapest way of achieving the appearance of punishment, is by having the real things i.e. the real panopticon. Bentham’s objection to the unwarranted use of fictions is that it fosters disrespect for truth; fictions are only acceptable when they are indispensable.However, even if we were to build a real panopticon, and even if we thus were to produce the appearance by means of reality, we still could not entirely avoid relying on fiction. This is because the panopticon, reality itself, is already structured like a fiction. For the real panopticon to achieve its external objective (the deterrence of the innocent from offending) - and this objective outweighs the processing of prisoners to the same extent as the number of the innocent exceeds the number of prisoners - it must of course first achieve its internal objective: it must deter the prisoners themselves from transgressing. But what deters the prisoners from transgressing， what sustains the panopticon in its internal structure, and lends the real thing its internal consistency, is, in fact, nothing other than a fiction.

尽管环形监狱通过出产一种经由现实的得意珍视无辜者犯罪，以便这种现实能够从根柢上出产这么一种得意， 它却必须通过另一种得意来保管， 即非现实的收效，而是演义的作用来保管。若是咱们要从现实移除这种捏造性（演义）的影响， 咱们将丧失现实自身。

Although the panopticon deters the innocent from committing offences by producing an appearance through reality, in order for this reality to be able to produce such an appearance at all, it must itself be sustained by another appearance， one that is not the effect of reality, but that is itself a fiction. If we were to remove this fiction from reality, we would lose reality itself.

三 环形监狱中的演义

Ill F IC T IO N IN T H E P A N O P T IC O N

让咱们目下检讨 在什么进度上环形监狱，行为一种联系刑法的机构， 在它里面的结构中， 是一种舞台成果，一部演义。 字据 边沁， 在环形监狱中“捕快的不言而喻的无所不在”是与“他的真实呈现的形式一端”一谈。这较着是捕快的得意的用于爱戴监狱纪律，退却囚犯弥留的无所不在。这些相背的事物——真实的呈现/ 得意的无处不在；真实的经管/得意的经管；真实的受罪/得意的受罪——在条目比拟。按照边沁， 无辜者和囚徒通过得意，均被退却了弥留——前者通过得意的经管，后者通过捕快的得意的无所不在。关联词得意与现实之间的关系，在两种情况中是重迭的。

Let us now examine to what extent the panopticon, as a penal institution, is, in its internal structure, a stage effect, a fiction.According to Bentham, in the panopticon prison "the apparent

omnipresence of the inspector” is combined with 'the extreme facility of his real presence’. It is precisely the inspector’s apparent omnipresence that sustains perfect discipline in the panopticon, that deters the prisoners themselves from transgressing.The oppositions - real presence/apparent omnipresence, real punishment/ apparent punishment and real suffering/apparent - invite comparison. According to Bentham， both the innocent and the prisoners are deterred through appearance - the former through apparent punishment, and the latter through the inspector’s apparent omnipresence. The relation between appearance and reality is not, however, the same in both cases.

咱们照旧看到， 对边沁来说， 得意在经管中与现实关系： 在经管中， 得意是通过真实的事物真实的经管由无辜者的大脑所创造的。 得意被最大化， 自从真实的事物照旧提前最小化；真实的经管， 真实的受罪， 照旧因为它在它自身中是狠毒 的而被最小化，这不是因为它辅导了得意的出产， 或者，换句话说， 不是因为它可能在无辜者的头脑中以真实的经管出产经管的理念，真实的经管或者受罪，统统能够出产, 就像它我方的得意的名义的经管或受罪。

We have already seen how, for Bentham, appearance is related to reality in punishment: in punishment, the appearance is created in the innocent’s mind by the real thing, by real punishment. The appearance is maximized, since the real thing has previously been minimized; real punishment, real suffering, has been minimized because it is in itself evil, and not because it hinders the production of the appearance, or, in other words, not because it would be impossible to produce the idea of punishment in the minds of the innocent with real punishment. Real punishment or suffering is perfectly capable of producing, as its own appearance’s apparent punishment or suffering.

关联词，在别的成对的反义词组下， 真实的呈现/ 得意的无所不在，得意与现实之间的关系基本上是不同的。 让咱们看一下边沁的说法。 监督者允许他我方在监狱的任何所在被看到的时刻， 他在那些看到他的眼里丧失了无所不在的属性： 那些看到他的， 天然，能够 告诉他们是否他的眼睛在直视他们；那些看到他的因此能够 看到他们莫得被看到。 在这个例子里， 捕快者名义上的无所不在只是被保留在那些莫得看到他的东谈主的眼睛里： 因为他们莫得在环形监狱的任何所在看到他， 他们很较着弗成看到他们的不被看到；与此一致的是， 他们假定他在他的责任地点从他可能事实上不雅察他们的所在，无处不在， 当他我方保握不被看见时。

With the other pair of opposites, real presence/ apparent omnipresence，however， the relation between appearance and reality is fundamentally different. Let us see what Bentham says. The moment the inspector allows himself to be seen anywhere in the panopticon he loses his omnipresence in the eyes of those who see him: those who see him, can, of course, tell whether his eyes are directed toward them; those who see him thus can see that they are not being seen. In this case， the inspector’s apparent omnipresence is preserved only in the eyes of those who do not see him: since they do not see him anywhere in the panopticon, they clearly cannot see that they are not being seen; accordingly, they assume that he is present elsewhere in his station， from whence he may in fact be watching them， while he himself remains invisible.

监督者的得意的无所不在和他的真实的呈现之间关系，于是如下： 监督者越少信得过的出现， 他就越是在得意上无所不在；或者，更了了的是， 监督者较着 在得意上无所不在，在他不信得过地呈现的时期。因为知道在囚犯眼睛下的时刻，对他来说足以丧失他名义上的无所不在。 这里，于是，得意老是退却现实。

The relation between the inspector’s apparent omnipresence and his real presence is then as follows: the less the inspector is really present, the more he is apparently omnipresent; or, more precisely, the inspector is apparently omnipresent precisely insofar as he is not really present. since a momentary exposure to the eyes of the prisoners is sufficient for him to lose his apparent omnipresence. Here, then, appearance precludes reality.

环形监狱因此 不是时时的监狱。 在其中看护行为一种规则尽可能表现地把他我方知道于囚徒的眼睛之下，因为他知谈囚徒的纪律依赖于他真实的现身。时时监狱一般呈现的图景如下： 当看护不在调查， 囚徒们天然散漫地走来走去，但一当他出目下视野内， 他们就会因为他的审视而扮演责任、纪律和纪律。 关联词， 在边沁的环形监狱里， 真相是相背的；只消捕快者不在视野之内，囚徒们就卖力地服务；只消他一出现，他们舞台扮演就会酿成它本来的花式：无纪律性、 芜乱。因此， 在环形监狱内，监督者尽可能少地出目下囚徒眼里，他统统威力，源起于他的不现身。或者，更了了地说， “他的隐身无处不在”。

The panopticon is thus not an ordinary prison, in which the warden as a rule exposes himself to the eyes of the prisoners as much as possible precisely because he knows that the discipline of the prisoners depends on his real presence. Ordinary prisons generally present the following image: when the warden is not around, the prisoners naturally laze about, but, the moment he comes into sight, they stage work, order and discipline for his gaze. In Bentham’s panopticon prison, however, the opposite is true; prisoners work dutifully as long as the inspector is not in view; in his presence, they stage, as it were, indiscipline, idleness and disorder. Thus, in the panopticon, the inspector exposes himself to the eyes of the prisoners as little as possible: all of his power over the prisoners derives from his invisibility， or more precisely， his ‘invisible omnipresence’。

监督者的真实的现身， 于是弗成在囚徒脑海里像真实的经管在无辜者的脑海里出产经管的理念一样出产他之“无所不在”的理念。而真实的经管统统能够出产，行为它自身的得意， 经管的理念， ，独一的能够出产无所不在这种理念的事物或现实，就像它我方的得意一样，是天主。

The inspector’s real presence，then， cannot produce the idea of his omnipresence in the minds of the prisoners in the same way as real punishment produced the idea of punishment in the minds of the innocent. While real punishment is perfectly capable of producing, as its own appearance, the idea of punishment, the only real thing or reality capable of producing the idea of omnipresence, as its own appearance, is God.

边沁我方的例子只是表现他的信念有多激烈，即敬佩唯有充分的得意是由真实的事物或现实自身所出产的，就像它自身的外不雅。换言之， 他成见是事物自身为其自身最充足的得意，它自身最充足的描述。就在他临死前不久， 他沟通为了不让徒弟想起他，他很通情面地莫得在他我方的墓碑上选拔嵌入一个肖像，一个半身泥像或者一个物化面具。大要， 他合计莫得什么能够比杰米.边沁我方更充分地描述杰米.边沁。一个特殊的事物唯有它我方智力够最充分地描述：因此，每件事物齐是它我方的偶像。那是一种利己的偶像。 与此一致，按照他的遗志， 他条目他的体格被剖解；他的徒弟们为了他的尸体剖解长入在一谈，凝听他临了的演说，为种由剖解师所传递的，对于尸体的用途的演说。之后，他们应当保存其尸体， 给他穿上战胜，将他的拐杖放在他的手中，替他戴好他的凉帽，让他坐在他往往坐的椅子上。 而事实上，边沁临了的愿望成真，他坐在玻璃棺材里，今天的东谈主们依旧不错看到他，在伦敦大学的学院大厅里， 述说他我方。

Bentham’s own example shows just how strong his belief was that the only adequate appearance is the one produced by the real thing or reality itself as its own appearance. In other words, he held that it is the thing itself that is its own most adequate appearancey its own most adequate representation. When, shortly before his death, he was considering what he could leave his disciples to remember him by, he understandably did not choose a portrait, a bust or a death-mask； rather, he must have concluded that there is nothing that could represent Jeremy Bentham more adequately than Jeremy Bentham himself. A particular thing can most adequately be represented only by itself: therefore, each thing should be its own icon, that is an auto-icon. Accordingly, in his will, he requested that his body be dissected; that his disciples gather for the dissection of his body and listen to a final oration， given by the anatomist who performed the dissection, on the utility of dissecting dead bodies; that they should then preserve the body, dress it in his clothes, put his walking stick in its hand and his straw hat on its head, and sit it on his usual chair. And indeed Bentham’s last wish came true. Thus, Bentham can still be seen today: he sits in a glass case in the hall of University College London, representing himself.

一种怪诞的调侃是，尸体的头部保存失败。——很较着 ，它可能是决定边沁的尸体是否充分地述说了边沁自身，边沁的体格是否果真是一个利己的偶像的阿谁枢纽点——被保存的头部赫然地不同于辞世的边沁的头。由于边沁不再像他我方，因此也不再是他我方的偶像，他的头部不得不由一个蜡制的复成品来代替。 这个调侃不仅摆在这么的事实上，即边沁我方行为一个例子讲解真实的事物不一定要由它我方智力够充分地描述，而且摆在这件事实上： 剖解师应该查阅过一篇论文，那篇由边沁我方写的详备描述毛利东谈主的头部萎缩经过的论文。

A curious irony had it that the preservation of the body failed at the head - precisely the point by which it is possible to determine whether Bentham’s corpse adequately represents Bentham himself, whether Bentham’s body really is an auto-icon - the preserved head was markedly dissimilar to the head of the living Bentham. Since Bentham, then, no longer resembled himself and was no longer his own icon, his head had to be replaced by a wax replica. The irony of this lies not only in the fact that it was the example of Bentham himself that proved that the real thing is not necessarily its own most adequate representation, but also in the fact that the anatomist who performed the dissection could have consulted a treatise describing in detail the procedures of head-shrinking among the Maori， written by Bentham himself.

囚徒的眼里， 监督者也被赋予其他鲜明的属性： 离开无所不在的属性， 他亦然全视的， 无所不知，无所不可能的。 关联词， 并无一种现实不错，就像出产它我方的得意一样， 在囚徒的脑海里出产对应的理念。而很较着， 这是因为退却囚徒弥留的捏造的扮装，那即是说，环形监狱中的捏造的扮装，通过环形监狱，在珍视无辜者成为犯罪这件典型事例上，根柢上不同于演义中的扮装。

In the eyes of the prisoners, the inspector is also endowed with other divine attributes: apart from being omnipresent, he is also all seeing, omniscient and omnipotent. However, there is no reality that could produce, as its own appearance, the corresponding ideas in the minds of the prisoners. And it is precisely for this reason that the role of fiction in deterring the prisoners from transgressing, that is, the role of fiction in the panopticon, differs radically from the role of fiction in deterring the innocent from offences through the panopticon as an example.

由于囚徒的眼睛不得不在环形监狱中被搬上舞台的是现实自身。即：天主。而无辜者通过真实的经管，通过被经管者的晦气，被珍视成为犯罪， 环形监狱中的囚徒则通过天主的捏造被退却犯罪。 因此天主的捏造保管了环形监狱的宇宙。这种环形监狱中退却囚徒弥留的在功利主义一端是无可质疑的， 边沁我方通过谬论或瞎想，通过一种不是它自身行为一种现实的反应的外不雅，——毛糙说，通过捏造，普及了它。 在其中存在着边沁环形监狱成果的临了舞台：它创造了天主的捏造，包括他全部的属性。

What has to be staged in the panopticon for the gaze of the prisoners is reality itself, i.e. God. Whereas the innocent are deterred from offending by real punishment, by the real suffering of the punished， the prisoners in the panopticon are deterred from transgressing by the fiction o f God. It is therefore the fiction of God that sustains the universe of the panopticon. This deterrence of the prisoners in the panopticon from transgressing is unquestionably an example of the Benthamite end， which Bentham himself promotes through fallacy or illusion, through an appearance which is not itself an effect of reality - in a word, through fiction. And therein lies the ultimate stage effect of Bentham’s panopticon: it creates the fiction of God with all his attributes.

发布于：浙江省