I B E N T H A M’S P A N O P T I C O N A N D O N T O L O G Y O F F I C T IO N S

边沁的环形监狱与演义本色论BY:米兰.博佐维克

SINO-TRANS:沁园春树 REV：章闻哲

诚然他主要的兴致在于说念德和政事玄学以及立法， 但这是通过环形监狱（或全景监视监狱。在本翻译使命中一概以“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紧要影响。这种环形监狱引起开阔公众留心是在1975年通过福轲闻明的著述《监视与合股：监狱的出身》和雅克-阿兰. 米勒灿艳耀概念著述《专制是莫得效的： 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暴露边沁不单是是一个伟大的玄学界限的校正者， 亦然，与J.S 米尔的不雅点相悖，一位伟大的玄学家。 《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，从来莫得东说念主在书店发现过它们）。《环形监狱》所关旨的不会跨越单纯的建筑学理念，迄今为止遍及的文本中并无一例也曾意识到描写这种新的赢得头脑战胜头脑的模式。这种力量的领有者是“探员者”，它是无形的，却无处不在。一个十足玄色的点，十足披露在环形监狱强光的照射下。

张开剩余97%

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谋略体面前两个附件中，呕精心血，且无尽无休，在一定进程上蓝本谋略全透明的环形监狱监视室变得不透明，理念本人也不可实践。

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.

在出乎预感的本色论的碎屑下，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，蓝本是从注脚到附录， 到别的主题文本的一再离题模样。大部分这些文本第一次行动遗稿出书是波林剪辑的八卷本的《本色论，逻辑，语言》，并非所有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，在一初始，老是从一个稍许不同的角度起头， 仿佛一种演义的明确的消亡是不可能一样。这也许是因为在边沁眼里，现实是不成问题的， 而且它的存在无可质疑，事情变得复杂是在一种不真实的，不存在的界限，比如演义界限。在边沁对演义本色论的策动中，很少对分别演义与现实发生兴致， 或者对演义本人发生兴致，而更多地探究演义作用于现实的形式。尽管两种主要的演义类型或者非现实的实体--编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，后一种显着是因为它们不存在的事实。“本色论碎屑”主要症结的是编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症结在于某种现实--环形监狱--通过一种十足不现实的事物，也等于一种幻想的非实体，抓续地存在。它是通过一种特殊的不存在，非实体在存在中保抓现实性--如若它想存在，现实本人就会解体。

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

照看的奇不雅

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独创东说念主而被挂念， 也许最好从望望成问题的演义怎样与违规与照看发生臆想初始。在说念德与立法原则的证据段落里，是对莱布尼茨“神正论”的热烈召魂， 边沁写说念：

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 照看是开顽笑： 所有照看在它自身中是焦急的。 在实用原则上， 如若它根底上应当被承认， 它只应当在它喜悦排斥一些较大的焦急的界限内被承认。这里， 边沁明晰地受到莱布尼茨焦急表面的影响 ，对莱布尼茨来说，天主允许说念德上的焦急是因为他知说念在异日的某些点上会发生一些对更大的善的饱读吹，一种倘使莫得现时的这种焦急，这种善就不会到来 。因此，比如说，天主允许第六种罪，因为他知说念这种罪行将对更伟大的事物发生作用：很显着 这种罪行将指令建立一个伟大的帝国，为东说念主类提供一个深重的榜样。如若这种罪行莫得发和一， 那么更好的善本人，也等于--这种伟大帝国， 行动深重的榜样--将不会产生；‘经过这个宇宙的最小的焦急已错失在其中’的一刻，将不再是这个宇宙。天主， 于是允许聪惠动物的罪行在这些罪行能导致和气发生在这个宇宙并最大可能地卓越焦急的进程上--那等于说，天主允许罪行发生，在一定进程上显着是因为这些恶能够导致一种在所有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。不异的原理莱布尼茨用来暴露三种焦急 中的一种存在，即罪行，被边沁用来暴露 罪行的照看。 咱们究竟通过照看赢得了什么？通过照看， 也等于在它自身中，罪-罚 破损了一些被照看的个体的景况，这么， 全部社区的景况就被减少了。其他的东说念主，那些”引起冒犯“的东说念主， 不同于违规者， 但与那些作恶相仿， 也等于说，致使在更猛进程上，其行动将减少社会全部景况。而通过退缩这种焦急，咱们如故波折地对最大数目上最大景况作出了孝顺。通过照看， 于是是通过阵一火被照看的个体的景况，咱们才对所有他者的最大的善，最大数目的最大景况作出了孝顺。这么，对莱布尼茨来说，正如与边沁一样，咱们是通过减少资历第一种顺次宇宙的焦急的风险来辛劳于于第二种顺次宇宙的更大的善。但是，如若对莱布尼茨和边沁来说，罪是焦急，那么，对边沁来说它同期亦然焦急的罪的照看。

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， 照看自身是较少倾向于对被照看的东说念主（即有罪的东说念主）而设，而更倾向于为每个无罪的东说念主（即无辜的东说念主）而设：当边沁衡量促改的价值与建设一种警戒范式的价值——行动照看的两种主要的方针——他明晰地为后者站队：警戒范式的诞生价值跨越了校正， ‘在无辜者与被定罪的比例下’。此外， 对照看的所有方针来说， 警戒‘最重要的是卓越比拟’。促改针对的是一种可比拟 的少量量的个体——那即是说，针对那些如故被冒犯的——而一种警戒范式的诞生则是针对所有那些‘披露在冒犯的劝诱下’的东说念主，后者的数目凭证边沁的不雅点， 单纯是“组成几个政事社团的全部个体——换句话说， 所有东说念主类’。

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， 照看率先是一种精彩的扮演：在照看轨制不是针对被照看的个体，而是针对全体他者的界限内，照看的施行是一种精彩的扮演。 照看中精彩的扮演的维度 因此发源于照看本人的威慑表面。 这是一种只为照看（或者，换言之， 不言而喻的照看）的理念，实践上演呈于精神之中；照看自身（真实的照看）并不比使得那种理念发生具有更进一步的行动。昭彰的照看，因此 ，其所有的服务， 我合计皆是在警戒的形式里， 这是主要的方针。而确切照看（照看的施行）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，什么是照看？遇到凄沧的体验或者景况的丧失。 边沁所消亡 的照看其凿枘不入因此不言而喻，它针对的是所有他者，而不是被照看的东说念主：在照看中，唯有被照看的个体（也等于照看轨制并未盘算针对的个体），那位受到厄运的东说念主，同期，通过独一的外部的显象，照看行动加诸所有他者（那些照看轨制意图针对的对象）。这的趣味指的是，那种显象（不言而喻的照看， 显着的厄运遇到）卓越现实（实践的照看，实践的遇到），不论何时无辜者跨越一位时。照看的主要方针， 对无辜者的威慑，因此是通过显象本人来达成的，那等于说，通过在无辜的大脑中提倡照看表面。关键的问题于是酿成： 这些显象是如何创建的？

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?

在照看中这种精彩的扮演维度依于那边？在照看平分阶段进行的是什么？边沁在此主要所感情的所以最小的确切厄运遇到来达成最大的名义上的（非实质的）遇到，那即是说， 在他者那里以最小的厄运遇到来达成照看的最大后果。由于它只是对其他东说念主的名义的照看，即加诸于其大脑的照看，这是莫得必要为了增多对其他东说念主的照看后果， 去用‘绝顶的确切照看’补充实践的照看——同等后果的加诸其他东说念主的照看后果不错通过‘别的更深重的妙技’,即通过分阶段的‘不同于照看本人的尊严性， 以及它的施行’。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’.

全景监视监狱的各样遐想图式不一而终，体现了东说念主们对于“监视”本人的天主式的热衷

让咱们通俗看一下行动精彩上演的照看的特色， 这种热烈地倾向于针对无辜者更甚于受照看者的特色， 这种构因素阶段照看后果的特色一，那些在自后将在精彩上演中担任积极变装的，它们我方必须率先遵命于精彩上演；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……暖热沐浴中的透彻清洁……被外科大夫透彻的探查……重新到脚的新衣……浸礼——新生——尊严——典礼——自一个牧师那里：这个时刻将是令东说念主印象真切的。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违规的严重性： 囚徒将因此，如其所是， 将他们的罪行搬上舞台。 他们“只在他们不得不面临公众的眼睛”的情况下将戴上这些面具，那等于说， 在外面的顾惜者所插足的纯净的服务期间，戴上头具。由于在这些情况下， 囚徒知说念他们要披露于公众的注视之下， 这种“不灭的挖苦，会实时加剧他们的麻痹不仁，临了妨碍他们的闻过则喜。在所有其他情况下， 囚徒不会知说念他们是否被不雅察， 因为公众的注视将藏于他们的背后：偶尔的探听者将只被允许从一个中心的保证他们不被看到的遥望塔上不雅察囚犯。

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 ， 作恶将在不披出样子的详细的情形中被挖苦：同期， 这种 “掩饰”，尽管是“严肃的、阐明着的、有解释趣味的”，却进步了带给不雅众的解释趣味。这是为了无辜者的注视，——也等于说， 为了那些被辞谢了违规的东说念主们的注视，那些囚徒的罪行在圆形监狱中被搬上了舞台。在上演照看的尽可能吓东说念主的精彩扮演时，咱们致使不错模仿到那些审讯的造就。 这是确切， 照看的审讯轨制是不公说念的，历害的， 但审讯者的工夫在分娩最终的舞台后果时——他们使用尊严的游行， 象征性的衣饰， 恐怖的场景， 等等——在边沁的眼里，“值得尊敬和师法远胜于被指责”。

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’.

在主要用来行动对无辜者的一种警戒的照看的施行中， 咱们必须收拢一切契机去幻觉化他们的注视：“不丧失任何契机地去跟眼睛言语”，边沁如是写说念。这么，对边沁来说，每一个组成刑法委员会的关键成员不是别的，而恰正是一种“剧院的司理”，他天然知说念，怎样去获取来自照看舞台的最大后果。

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紧要血腥的实践的厄运遇到就使得咱们赢得了巨大的非真实的厄运遇到。 这么， 为特出到照看对于其他东说念主们的最大后果， 莫得必要去使得受照看的个体遇到绝顶的、逾额的厄运。 不论何时一种加诸其他东说念主们的等量后果皆能通过愈加经济的方法去达成，每一种绝顶的确切照看是一种纯正的逝世， 边沁说。一种确切照看， 确切遇到本人它不亦然一种完十足全的赘余？

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?

神话这是年青时的边沁

严格来说， 受照看的个体不值得照看的， 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： “莫得东说念主该死受到照看”， 边沁说说念。“当一个外科大夫切开一条腿，这是否是因为病东说念主值得这种刺痛？不， 它是因为腿可能因此收复。”此外，这与期待通过照看能够弥补违规本人一样乖张， 那等于说， 被照看的作恶的真实的厄运可能带给受害者充分的知足。

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.

在作恶的一边， 体验凄沧——不管有多恐怖——受害者皆注定是失望而不舒心的：凭证边沁， 通过照看（来弥补受害者的逝世）是不可能的，即通过作恶的凄沧体验，通过他受到与受害者之前所受的伤害同等的厄运，来斥地产生与这种厄运同等的受害者的景况，是不可能的。可能这看起来像是，通过不行经由局面的警戒也达成社会迁延的现实，并不行达成任何东西。如若照看的主要方针，对他者的震慑，不错通过非实质的照看来达成（“这是服务于一切的名义的照看”），而如若现实的照看十足是过剩的，致使是闭塞现实的（这是确切照看，是全部开顽笑），那么 它难说念不行通过演义中的照看去达成一种同等后果？在这种形式里，它可能不花一丝代价，不需要让受照看的个体阵一火我方的景况，就对社区的举座幸福作出孝顺。

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， 而是特别为了那种方针而受雇的东说念主们发出的尖叫，它不错从里面被听到。而同期别的东说念主以为是作恶正在因为他们的行动而受到照看，而真相只是，根底无东说念主确切地受到照看。第二种顺次的善，因此不错在莫得条目任何“第一顺次的焦急”之下被分娩。

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阐明止于谬论或幻想，或显着，止于一种名义行动，即它本人并非是一种现实的效应——通俗说，通过演义——是十足反分娩的， 就像罗斯.哈里森合计， “最好的，即最容易的， 最确乎的， 最经济的赢得照看局面的形式，是通过真实的事物。即， 真实的环形监狱。边沁之反对无凭证的演义的使用，是因为它滋长了对真相的不尊重；演义只是在它们不可或缺时才是可接管的。然则， 即便咱们要建立一座确切 的环形监狱， 即便咱们因此 将通过现实来分娩警戒的局面咱们依然不行十足幸免依赖演义。 这是因为环形监狱， 现实本人， 如故建造得像一种演义。由于真实的环形监狱要赢得它外部的方针（退缩无辜者被侵扰）——而这种客不雅性的需求跨越了对囚徒的处理， 在一定进程上就像无辜者的数目跨越了囚徒的数目。——它必须天然率先赢得它里面的方针：它必须退缩囚徒违规。但以什么来退缩囚徒违规，以什么来爱护环形监狱里面的构造，并给以真实事物以里面的一致性，说实在的，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.

尽管环形监狱通过分娩一种经由现实的局面退缩无辜者违规，以便这种现实能够从根底上分娩这么一种局面， 它却必须通过另一种局面来保管， 即非现实的成效，而是演义的作用来保管。如若咱们要从现实移除这种编造性（演义）的影响， 咱们将丧失现实本人。

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

让咱们面前查验 在什么进程上环形监狱，行动一种臆想刑法的机构， 在它里面的结构中， 是一种舞台后果，一部演义。 凭证 边沁， 在环形监狱中“探员的不言而喻的无所不在”是与“他的真实呈现的步骤一端”整个。这显着是探员的局面的用于爱护监狱规律，辞谢囚犯热切的无所不在。这些相悖的事物——真实的呈现/ 局面的无处不在；真实的照看/局面的照看；真实的耐劳/局面的耐劳——在条目比拟。按照边沁， 无辜者和囚徒通过局面，均被辞谢了热切——前者通过局面的照看，后者通过探员的局面的无所不在。然则局面与现实之间的关系，在两种情况中是重复的。

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.

咱们如故看到， 对边沁来说， 局面在照看中与现实干系： 在照看中， 局面是通过真实的事物真实的照看由无辜者的大脑所创造的。 局面被最大化， 自从真实的事物如故提前最小化；真实的照看， 真实的耐劳， 如故因为它在它本人中是焦急 的而被最小化，这不是因为它提醒了局面的分娩， 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照看分娩照看的理念，真实的照看或者耐劳，十足能够分娩, 就像它我方的局面的名义的照看或耐劳。

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.

然则，在别的成对的反义词组下， 真实的呈现/ 局面的无所不在，局面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地点被看到的时刻， 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， 探员者名义上的无所不在只是被保留在那些莫得看到他的东说念主的眼睛里： 因为他们莫得在环形监狱的任何地点看到他， 他们很显着不行看到他们的不被看到；与此一致的是， 他们假定他在他的使命地点从他可能事实上不雅察他们的地点，无处不在， 当他我方保抓不被看见时。

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.

监督者的局面的无所不在和他的真实的呈现之间关系，于是如下： 监督者越少确切的出现， 他就越是在局面上无所不在；或者，更明晰的是， 监督者显着 在局面上无所不在，在他不确切地呈现的时期。因为披露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，局面老是辞谢现实。

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 不是粗鄙的监狱。 在其中守护行动一种轨则尽可能澄莹地把他我方披露于囚徒的眼睛之下，因为他知说念囚徒的规律依赖于他真实的现身。粗鄙监狱一般呈现的图景如下： 当守护不在梭巡， 囚徒们天然泄气地走来走去，但一当他出面前视野内， 他们就会因为他的注视而扮演使命、顺次和规律。 然则， 在边沁的环形监狱里， 真相是相悖的；只消探员者不在视野之内，囚徒们就卖力地工作；只消他一出现，他们舞台扮演就会酿成它本来的表情：无规律性、 交加。因此， 在环形监狱内，监督者尽可能少地出面前囚徒眼里，他所有威力，源起于他的不现身。或者，更明晰地说， “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， 于是不行在囚徒脑海里像真实的照看在无辜者的脑海里分娩照看的理念一样分娩他之“无所不在”的理念。而真实的照看十足能够分娩，行动它自身的局面， 照看的理念， ，独一的能够分娩无所不在这种理念的事物或现实，就像它我方的局面一样，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证据他的信念有多热烈，即深信唯有充分的局面是由真实的事物或现实本人所分娩的，就像它自身的外不雅。换言之， 他概念是事物本人为其自身最满盈的局面，它自身最满盈的描写。就在他临死前不久， 他探讨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写杰米.边沁。一个特殊的事物唯有它我方才调够最充分地描写：因此，每件事物皆是它我方的偶像。那是一种利己的偶像。 与此一致，按照他的遗志， 他条目他的肉体被剖解；他的徒弟们为了他的尸体剖解趋奉在整个，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， 给他穿上驯顺，将他的拐杖放在他的手中，替他戴好他的凉帽，让他坐在他连续坐的椅子上。 而事实上，边沁临了的愿望成真，他坐在玻璃棺材里，今天的东说念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.

一种怪诞的讪笑是，尸体的头部保存失败。——很显着 ，它可能是决定边沁的尸体是否充分地述说了边沁自身，边沁的肉体是否确切是一个利己的偶像的阿谁关键点——被保存的头部昭彰地不同于谢世的边沁的头。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。 这个讪笑不仅摆在这么的事实上，即边沁我方行动一个例子暴露真实的事物不一定要由它我方才调够充分地描写，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注意描写毛利东说念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纯净的属性： 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。 然则， 并无一种现实不错，就像分娩它我方的局面一样， 在囚徒的脑海里分娩对应的理念。而很显着， 这是因为辞谢囚徒热切的编造的变装，那等于说，环形监狱中的编造的变装，通过环形监狱，在退缩无辜者成为作恶这件典型事例上，根底上不同于演义中的变装。

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照看，通过被照看者的厄运，被退缩成为作恶， 环形监狱中的囚徒则通过天主的编造被辞谢违规。 因此天主的编造保管了环形监狱的宇宙。这种环形监狱中辞谢囚徒热切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动一种现实的反馈的外不雅，——通俗说，通过编造，进步了它。 在其中存在着边沁环形监狱后果的临了舞台：它创造了天主的编造，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