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Oser partir.

<Fishermen port, Golfo Aranci-OT>

 

 

                                                                                                              “…I care to be remembered about a juridical conception of love, and about the science of thinking (i.e.  the unconscious).”

Giacomo B. Contri, cited : ‘A tutti i Soci della Società Amici del Pensiero’ - December 16, 2021.

 

 

 

How can be caught back that bond of relationship to which the unconscious offers the only practicable way, also if swamped by a multiple, and otherwise misleading, interpretation[1] ?

Here it is why any simplicity is then the convenient result of a complex, but not compulsory long, individual work.

 

                                     Marina Bilotta Membretti, Cernusco sul Naviglio - December 19, 2021

 

[1] A same sentence can in the meantime say ‘To leave for a journey’ or on the opposite ‘to divide, to separate’ : here ‘Oser partir’ is in French language.

Up to me. 'Work' as a lemma.

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Freud explicitated ‘pulsion’ pointing : ‘push’ – ‘goal’ – ‘subject’ – ‘source’[1], but keeping silent on ‘work’ in lemma ‘subject’. Giacomo B. Contri has successfully introduced ‘work’ when referring to the individual jurisdiction which can finish what Freud left as implicit, at the end of his career.

I’d like for help Jacques Lacan, a laborious analytical assiduous man, able to put upside down the freudian thinking, as no one of followers and formal heirs of Freud could do : Lacan put each one of us in front of the ruinous fall of pleasure principle when that meets the reality of life, throwing the psychoanalysis itself into confusion.

When introducing ‘work’ from the freudian ‘subject’, Giacomo B. Contri has, on the other hand, shown the vitality of thinking and then of ‘unconscious’ – revolutionary discover by Freud, not yet overcome – and that is quite acceptable and fair enough as one gets deep and deep into freudian textes.[2]

Jacques Lacan, as a seductive investigator of thinking, however got to a rush conclusion, when he substituted ‘jouissance’[3] to what Freud had been pointing also if without naming it except ‘pulsion’.

Giacomo B. Contri named the goal a ‘profit’, and ‘progress’, and this is what we are interested in, as a success in our own ‘work’ - we can’t deny – on partners work.

Freud named ‘push’ : Giacomo B. Contri has finished that in an ‘ex-citamento’ which cannot be generalized otherwise ‘banalizing’ one’s own thinking, and making that unuseful as regard as a cure is intended. Also ‘jouissance’ exposed the work of Lacan to an ‘ad-rogantia’ that no cure would be possible in psychopathology, and for children and babies[4] too.

My own conclusion is that no ‘primary panic’ does exist : panic is an individual jurisdiction, a formal right that each one of us can play whenever, and wherever we like.

That is also the reasonable thesis on which I could comment in my essay ‘Ereditare da un bambino. Perché no?’ (2014) the success Freud perfectly described bat couldn’t explain in his Case ‘The little Hans’. I realized an individual, and not deniable, competence in a child of less than five years when he excellently gave up his own zoofobia.

If ‘panic’ is - and correctly - an individual jurisdiction, that maybe opens to further opportunities in the cure – and not just ‘treatment’ – even for children and babies…”

 

                                                    Marina Bilotta Membretti, Cernusco sul Naviglio November 4, 2021

 

[1] The formula of a human law on nature : “When suckling, my mother has been calling me to be satisfied by means of an other subject”, in ‘Il pensiero di natura’, Giacomo B. Contri SIC Edizioni (1998) / pp.50-54 (‘Anticipazione. Preambolo’); pp. 195-197.

[2] ‘Pulsioni e loro destini’, S. Freud (1915) in “Scritti metapsicologici”, ‘Bollati Boringhieri editore’ (1978 e 2011) ‘Biblioteca’, pp. 27-52 : the original word Freud used, and then translated ‘pulsion’, was ‘trieb’. Freud did explicite an order of four items of ‘pulsion’ that is the same emerging from analytical work, i.e. from the view point of the analyzing subject : ‘push’, ‘goal’, subject’, ‘source’. During his,or her work, a patient could compose again in a new order : ‘push’, source’, subject’, ‘goal’.

[3] “…In what then the ‘unconscious’ would be more honoured rather than the defenses opposing in the subject, even succeeding and so that showing their reality? ...But I ask from where the peace is coming when realizing the ‘unconscious’ if that one is no more real than the conflict in which it stayed ? It’s sometimes that peace is infact a fallen peace…” Cited from : ‘La cosa freudiana. Senso di un ritorno a Freud’ in “Jacques Lacan. Scritti” by Giacomo B. Contri, Giulio Einaudi editore SpA (1974 e 2002) ‘Biblioteca Einaudi’ Vol. I - p.395.

[4] “Ereditare da un bambino. Perché no ?”, Marina Bilotta Membretti (2014) Isbn 978-88-91081-63-6 / Cap.3 ‘Il pensiero è economico, fin da bambino’, pp.27-32.

…ainsi que le diaspore.

  

Original painting by Gianni Russomando[1]. Rifer.: 0_5534108_125008.jpg  

 

 

 

…ainsi que la diaspore est la fleur : elle fait vivre, si seul est au soleil. 

 

 

                         

                                  Marina Bilotta Membretti, Cernusco sul Naviglio October 17, 2021

 

 

[1] Gianni Russomando, biography : “I’m born in Vercelli (1956). Graduated at ‘Istituto di Belle Arti di Vercelli’, I can describe me as a simple ‘amanuense’ (medieval hand-painter). Far from expositions and competitions, it’s not a long time I’m on social media with a very personal aim : to give just a flash of quiet to anyone watching at my simple works.”

 

 

 

‘Raperonzolo’[1], by Grimm brothers.

Books to work on4.

 

“Raperonzolo, please show yourself,

Let hang your plait!”[2] 

Original painting by Gianni Russomando.[3]  Ref.: 0_5531894_125008.jpg

 

 

‘Raperonzolo’ is a story of daily life – and of work indeed – and is of interest to children, because is quite different to be swindled due to one’s own naivety or to be overwhelmed without any reason by dull-minded ones : a child infact doesn’t miss that one’s naivety can be corrected, in favour of a justice too, while perversion has to be recognized as early as possible so that to take a convenient distance from.

Then in this adult tale which children well understand, there is also space for the inscrutable frustration – which can lead to the most extreme consequences – of the persecutor[4], when he or she realizes to have been laughed at, as well as that industrious unceasing essential course by which anyone of us can go through our own life and even conquer again it when defeated, also if a child.

 

                                       Marina Bilotta Membretti, Cernusco sul Naviglio September 20, 2021

 

 

[1] ‘Raperonzolo’ is a tale from the collection “Grimm. Le fiabe del focolare”, Collana ‘I millenni’ (1951) ‘Giulio Einaudi editore’, Transl. Clara Bovero, ‘Introduzione’ by Giuseppe Cocchiara : that was offered in 1872 as Iacopo and Guglielmo Grimm would like, as an anthology of most popular German poem,s so different from classical poems of the period.

[2] “…When she was twelve, the witch locked her in a tower in the wood, without any ladder or door but a little window upward the wall. When the witch came in, she went just under the window and called : ‘Raperonzolo, show yourself/ let hang your plait!’ Raperonzolo had long and cute hair, thin as spun gold. When she heard the with calling, she untied her plaits, tied them again around a hinge of the window and they fell down for twenty ells length, and the witch could climb on the wall…”

[3] Gianni Russomando, biography : “I’m born in Vercelli (1956). Graduated at ‘Istituto di Belle Arti di Vercelli’, I can describe me as a simple ‘amanuense’ (medieval hand-painter). Far from expositions and competitions, it’s not a long time I’m on social media with a very personal aim : to give just a flash of quiet to anyone watching at my simple works.” 

[4] “Ah, wretched child! – Mrs Gothel, the magician shouted – what should I hear! I was sure to parting you from all the world, instead you tricked me!”, ‘Raperonzolo’ in “Grimm. Le fiabe del focolare”, Giulio Einaudi editore (1951) p.58

…children no more Children.

Screenshot by ‘Troppo napoletano’, (2016) director Gianluca Ansanelli. Ref.: 0_5526545_125008.jpg

 

A young psychologist, duly associated in a ‘Register’, wonders as he realized the support from a child, addressed to him as a new patient from parents and school : Ciro, the youngest guy, is then a formal Case – maybe not so isolated – of a ‘no assimilation’ to psychopathology. It’s a rare, precious intuition : as a matter of fact, we miss competence.

Marina Bilotta Membretti, Cernusco sul Naviglio July 7, 2021

Distinct-mindly.

Original painting by Gianni Russomando(1). Refer.: 0_5525651_125008.jpg

 

“Art works deeply influence me, especially literature and plastic arts, less often painting. I’ve been induced then to remain more time in front of them when I had the opportunity, with the personal aim to know them my way, that is to realize their own way to produce their effects. When I’m not be successful in that – as far as music is concerned, for example – I’m almost unable to feel pleasure at all…”[2]

Confident in his competent readers – and reading is infact an essential test for psychoanalysts – Freud here does distinguish between anything able to move humans as individuals also without evidency, and what can be easily got without further requirements as simply just enough to humans : Lacan named that ‘jouissance’ - joyful or alternatively melencholic - of which any neurosis is indefinitely thirsty as it excludes any logic – and, on the contrary, that satisfying conclusion, even beginning with a cultivation of that ‘jouissance’, but empowering it as clearly linked with logic itself.

Anything else is just weariness.

 

                                       Marina Bilotta Membretti, Cernusco sul Naviglio 19 giugno 2021

 

(1) Gianni Russomando, biography : “I’m born in Vercelli (1956). Graduated at ‘Istituto di Belle Arti di Vercelli’, I can describe me as a simple ‘amanuense’ (medieval hand-painter). Far from expositions and competitions, it’s not a long time I’m on social media with a very personal aim : to give just a flash of joyful to anyone watching at my simple works.” 

[2] “Il Mosè di Michelangelo”, Sigmund Freud (1914) ‘Premessa’ in Biblioteca Bollati Boringhieri 2020, pp.17-18

 

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