ABSTRACT
O artigo aborda a relação entre a operação onírica de figuração plástica e a noção de figurabilidade na 11ª Conferência de introdução à psicanálise. Entendida como conversão dos pensamentos latentes do sonho em imagens, a operação supõe uma série de condições de possibilidade que Freud chama figurabilidade. Assim, considera-se, em primeiro lugar, o conceito de regressão e seus pressupostos metapsicológicos. Em segundo lugar, examina-se o papel das sensações e dos seus registros mnêmicos. Por último, indaga-se acerca da explicação freudiana da preeminência do visual sobre os outros tipos de sensações.
This paper examines the relationship between the dreamlike operation of plastic figuration and the notion of figurability in the 11th Conference of Introduction to Psychoanalysis. This operation, conceptualised as the conversion of the latent thoughts of dream into images, presupposes a series of conditions of possibility that Freud calls figurability. In this paper, we begin by discussing the concept of regression and its metapsychological assumptions. We then analyse the role of sensations and their memory registers. Finally, we explore the Freudian explanation of the pre-eminence of the visual over other types of sensations.
ABSTRACT
In this paper, I propose a psychoanalytic reading of some of the writings of Amelia Rosselli, a trilingual poet who, at the age of seven, lost her father Carlo, who was persecuted and murdered by Mussolini's regime. History and her history conflate into personal and collective trauma which defies human possibilities to work through and mourn. Rosselli's work testifies to such predicament of the human subject of the 20th century, his/her dislocation, alienation and internal irreconcilable divisions. In particular I examine Diary in three tongues, which is the most autobiographical of her works and a self-analytic piece, written after the conclusion of her second analysis. In the Diary, Rosselli employs textual strategies which convey the fragmentation and destructuring of language, where her traumatic experience resides as a wound inflicted to the symbolic order. I propose that her writings contain her unconscious memories in an estranged and melancholic language which becomes the crucible to express her impossible mourning, in a complex mixture of Eros and Thanatos which allowed her to survive psychically and to create a very personal experimental poetic discourse which made her a literary figure of international acclaim. My primary engagement will be with Freud's theory of mourning and melancholia and its successive elaboration by Kristeva, who maintains that the melancholic discourse finds its expression in the pre-verbal and infra-verbal aspects of language, which she calls 'semiotics', in dialectic articulation with its symbolic components. Drawing on literary texts, significant inferences can be made on the psychoanalytic listening to the prosodic aspects of language as the carrier of inchoate forms of representation of that which exceeds language: trauma, raw affects, mnemic traces, that is, the unrepresented and/or unrepresentable.
