Pulsão de destruição ­ o disruptivo em ação ­ entre o tanático e o criativo: repercussões na pandemia e no racismo do dia a dia de nossas vidas / Destruction drive ­ the disruptive in action ­ between the tanatic and the creative: repercussions in day by day of pandemic and racismo of our lives / Pulsión de destrucción - lo disruptivo en acción - entre lo tanático y lo creativo: repercusiones en la pandemia y en el racismo diarios de nuestras vidas

O presente trabalho parte da ideia de caracterizar o disruptivo no pensamento freudiano. Como ponto de partida, toma o trabalho de 1914, À guisa de introdução ao narcisismo, por reconhecer nele um momento primeiro de ruptura na teoria pulsional vigente: libido do Eu versus libido objetal. Durante o trajeto, sinaliza marcas desse processo e direciona-se para o disruptivo que se instala em termos metapsicológicos, com maior consistência, com o advento da pulsão de morte. A pulsão de destruição, como agente do disruptivo em sua relação com Eros, desenhará caminhos que permitem vislumbrar destinos tanáticos ou criativos. Com essa concepção metapsicológica como indicador, busca-se refletir a respeito da interação entre o disruptivo da pandemia viral e o disruptivo da virulência do racismo e seus desdobramentos criativos na efetivação, pelo coletivo da humanidade, de posturas antirracistas. Tal contexto alberga uma interrogação pontual: como a pandemia, em seu efeito disruptivo, está relacionada com a percepção em toda a sua sensorialidade, em grande escala, de norte a sul, daquilo que mantinha-se parcialmente silencioso e invisível, o racismo? (AU)

The present article begins from the idea of characterize the disruptive in the freudian's thoughts. Is takes as a starter point the work of 1914, On narcissism: an introduction, for recognize it as a first moment of rupture in the current drive theory: self libido versus object libido. In this path, it signals marks of this process and orientate to the disruptive that develops in metapsychological terms, with great consistency, with the advent of the death drive. The destruction drive, as a disruptive agent, in its relation with Eros, will draw paths that allow glimpse its tanatic fate or criative fate. From this metapsychological conception, as an indicator, seeks to reflect the interaction between the disruptive in the viral pandemic and the disruptive in the racism virulence, and its criatives developments in the effectuation of anti-racist postures, by the humanity collective. Context that holds an punctual interrogation: how the pandemic, with its disruptive effect, is related with the perception in all its sensoriality, in big scale, from north to south, with what was, in part, silence and inivisible: the racism? (AU)

El objetivo inicial del presente trabajo es caracterizar lo disruptivo en el pensamiento freudiano. Se toma como punto de partida el célebre texto de 1914 Introducción del narcisismo por reconocer en él un primer momento de ruptura en la teoría pulsional vigente hasta ese momento, que distinguía la libido del Yo y la libido de objeto. En ese recorrido, se irán señalando marcas de dicho proceso orientándose hacia lo disruptivo, que se instalará con mayor consistencia, en términos metapsicológicos, con el advenimiento de la pulsión de muerte. La pulsión de destrucción, como agente de lo disruptivo, en su relación con Eros, trazará caminos que permiten vislumbrar sus destinos tanáticos o creativos. Tomando esa concepción metapsicológica como indicador, busco reflejar la interacción entre lo disruptivo de la pandemia viral y lo disruptivo de la virulencia del racismo, así como sus desdoblamientos creativos en la adopción de posturas antirracistas por parte del colectivo humano. En este contexto se plantea una interrogación puntual: ¿cómo la pandemia, con su efecto disruptivo, está relacionada con la percepción en toda su sensorialidad, en gran escala, de norte a sur, de aquello que, en parte, se mantenía silencioso e invisible, el racismo?

Eros y Tánatos / Eros and thanatos

Eros and Thanatos, respectively, love and death, are universal subjects in which human beings have been interested since the beginning of history and also probably, their access to language. The greatest philosophers, poets and novelists have focused on these subjects in their reflections and/or their own development. Fully conscious of the lack of moderation of the task proposed, the author intends to make a modest contribution to these two concepts and what they represent, inspired by two sources: classical myths, on the one hand, and the work of some poets and thinkers, mainly Plato, Goethe and Rilke, on the other hand. Eros or love In most ancient Greek myths, eros is considered as one of the great constitutive and constituent principles of the universe, as the irresistible force allowing the continuity of life in human beings and animals, in the earth and in the waters. But eros is also a god and his legend shows us some essential features of love: 1. Love is involuntary, it occurs, it happens, like a disease. Eros had the mission of punishing Psyche for her beauty, thus avenging the jealous Aphrodite, his mother. And however, it was enough for him to look upon her only once to become impassioned by her. But this passion goes together with its opposite, liberty, because love always carries implicit a choice. 2. Love, unlike friendship, which is slowly shaped, appears in a sudden way, represented by the arrows used by Eros (Cupid) to inflame lovers' hearts. Safo described this phenomenon of suddenness superbly. 3. The myth also teaches us the exclusive character of love. This feature separates love from erotism. Some verses by the poet Gonzalo Rojas are quoted to illustrate what he calls <> to exclusiveness. 4. Another characteristic of love inferred from the myth is transgression, which almost always accompanies it. Eros did not have the right to fall in love with a mortal woman and, however, he is not able to withdraw from the feeling invading him. Great loves in the history of literature, such as Romeo and Juliet, Werther or Anna Karenina, are essentially presented in a background of transgression. 5. In mythical narrative there are two other elements, though not essential, which are worthy of interest in this context: that Psyche, the beautiful woman in love, be the representative of the human soul, and that one of her attributes be curiosity. The subject of eros cannot be approached without mentioning <> by Plato. From this memorable text the author underlines part of the content of two of the speeches, the one by Aristophanes and the one by Socrates. From the myth of the androgyne, narrated by the former, at least three teachings are deduced: first, that the strength of eros would derive from the nostalgia felt by the lover for the loved one, or vice versa, since in a remote past their bodies would have been merged, to be violently separated by Zeus in some moment; second, love would consist of a search and eventual recognition of that <>; and third, this recognition would occur through a symbolon, a sort of countersign that humans gave each other on the moment of being separated. Thanatos or death The etymological root of the word thanatos is tha and it is curious that the only other Greek word with the same root is thalamon, the nuptial chamber. The thalamon is the place of the house where the wife lives, and it is the most central room but also the darkest. Thanatos or death appears, then, related on the one hand to darkness and confinement, and on the other hand, to woman and love. The love and death context is illustrated by a beautiful poem by Gonzalo Rojas, simply named <>. In the realm of psychology and psychiatry, Sabine Spiel rein, but particularly Sigmund Freud, counterposed the death impulse or instinct (Todestrieb) to a life instinct. However, philosophers like Hegel and Heidegger have conceived death as an essential part of life. Heidegger even states that it is the most proper possibility of human existence. In order to deepen the context of love (or life) and death, this author proceeds to analyze the famous poem by Goethe <> (Blessed longing), inspired by the love of the butterfly for the flame, which will mean its death. It is here where Goethe postulates his famous principle of Stirb-werde (dying and becoming). But who has taught us the most about the harmony between life and death is the Prague-born German poet, Rainer Maria Rilke, particularly in his famous Duino Elegies and in his requiems. Before analyzing some of these poems, the author quotes a letter written by Rilke to his editor in Polish, where he affirms, among other things, the following: <>. In the elegies the poet teaches us regarding our subject: first, that the human being is the only being in the universe aware of death, because neither animals nor gods know it; second, that awareness of death is the origin of anxiety, but at the same time, what gives meaning to life; third, that the mission of the human being in life is twofold: <> to things, that is to say, to make them be born from nothingness, and then <> them from their mortality, from death, to make them <>, that is to say, making them eternal. Now, if the mission of human being in relation to the things is to name and to save them, with respect to him/herself, his/her task will be <>. In sum, thanatos does not mean destruction nor is the source of all our misfortunes, but an essential part of life itself. As ethimology taught us, thanatos has a common origin with thalamon, that place in the house where the mother and wife lives. It is perhaps the darkest, but at the same time the most central part of the house. Human life can be conceived as the way from this center and back to it.

Eros y Tánatos, o el amor y la muerte, son temas universales que han preocupado al hombre desde los comienzos de la historia. Los más grandes filósofos, poetas y novelistas han puesto estos temas en el centro de su reflexión o desarrollo. El autor se propone hacer un modesto aporte a estos conceptos, inspirado en dos fuentes: los mitos clásicos, por una parte, y la obra de algunos poetas y pensadores, como Platón, Goethe y Rilke, por otra. Eros o el amor En los mitos griegos más antiguos, el eros es considerado como uno de los grandes principios constitutivos y constituyentes del universo. Pero al mismo tiempo es un dios y su leyenda nos muestra algunos rasgos esenciales del amor: 1. El amor es involuntario, ocurre, pasa, como una enfermedad. Eros tenía la misión de castigar a Psiquis por su belleza, para vengar así a la celosa Afrodita, su madre. Y sin embargo, le bastó mirarla una vez para caer encendido en el sentimiento amoroso. 2. El amor, a diferencia de la amistad -que se va forjando lentamente-, aparece en forma súbita, hecho representado en las flechas que emplea Eros o Cupido para encender el corazón de los amantes. 3. El mito nos enseña también el carácter exclusivo del amor. Este rasgo distancia al amor del erotismo. 4. Otra característica del amor que se desprende del mito es la trasgresión que casi siempre lo acompaña. Eros no tenía derecho de enamorarse de una mortal y, sin embargo, no es capaz de sustraerse al sentimiento que lo invade. 5. Hay otros dos elementos en el relato mítico que, aunque no esenciales, son de interés en este contexto: que Psiquis, la bella enamorada, sea la representante del alma humana y que uno de sus atributos sea la curiosidad. No se puede abordar el tema del eros sin mencionar <> de Platón. De este texto memorable, el autor destaca dos de los discursos, el de Aristófanes y el de Sócrates. Del primero se desprenden al menos tres enseñanzas: 1. Que la fuerza del eros derivaría de la añoranza que siente el amante por la amada, o viceversa, puesto que en un pasado remoto sus cuerpos habrían estado unidos, para ser violentamente separados por Zeus. 2. El amor consistiría en una búsqueda y eventual reconocimiento de esa <>. 3. Este reconocimiento ocurriría a través de un symbolon, una suerte de contraseña que nos dimos los humanos unos a otros antes de ser separados. Tánatos o la muerte La raíz etimológica de thanatos es tha y la única otra palabra griega con la misma raíz es thalamon, el tálamo nupcial. El thalamon es el lugar de la casa donde habita la esposa y es la habitación más central, pero también la más oscura. Thanatos o la muerte aparece vinculada entonces, por un lado, a la oscuridad y al encierro y, por otro, a la mujer y al amor. En el ámbito de la psicología y la psiquiatría, Sabine Spielrein y sobre todo Sigmund Freud contrapusieron, al instinto de vida, el impulso o instinto de muerte (Todestrieb). Sin embargo, filósofos como Hegel y Heidegger han concebido la muerte como parte esencial de la vida. En orden a profundizar el contexto vida (o amor) y muerte, el autor procede a analizar el famoso poema de Goethe, <> (<>), donde postula su famoso principio del Stirb-werde (muere para llegar a ser), poema inspirado en el amor de la mariposa por la llama, que significará su muerte. Pero quien más nos ha enseñado la armonía de la vida y de la muerte es el poeta Rainer Maria Rilke, particularmente en sus famosas Elegías del Duino y en sus réquiems. En las elegías, el poeta nos enseña al respecto: 1. Que el hombre es el único ser en el universo que tiene conciencia de la muerte. 2. Esa conciencia de la muerte es el origen de la angustia pero, al mismo tiempo, lo que le da sentido a la vida. 3. Que la misión del hombre en su vida es doble: <> de su caducidad, de la muerte, haciéndolas <>, es decir, eternizándolas. Ahora, si la misión del hombre con respecto a las cosas es nombrarlas y salvarlas, con respecto a sí mismo su tarea será <>. En suma, tánatos no significa destrucción ni tampoco es la fuente de todas nuestras desgracias, sino que es parte esencial de la vida misma. Como nos enseña la etimología, thanatos tiene el mismo origen que thalamon, el lugar de la casa donde habita la madre y esposa: quizás el más oscuro, pero también el más central. La vida humana es el camino desde y hacia ese centro.