A voz e a invocação para musicar a vida: ressonâncias entre música e psicanálise

• Autor(a) principal: Azevedo, Renata Mattos de
• Data de Publicação: 2011
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/14550
• topic: Psychoanalysis; Music; Voice; Invocatory drive; Real; Voz; Pulsão invocante; Real; Psicanálise e música; CNPQ::CIENCIAS HUMANAS::PSICOLOGIA::TRATAMENTO E PREVENCAO PSICOLOGICA

The articulation between the psychoanalysis and the music, specifically the one resultant from the paradigm of Arnold Schönberg, which was renewed by John Cage, is emblematic to reflect about the constitution of the subject in the theories of Sigmund Freud and Jacques Lacan as well as to think about the clinical listening, the analytical act as a poetic act, and the driven writing of the subject as an answer to the invocation of the voice. The moment of emergence of the subject involves the aspect of the musicality of the language, which allows the act of speaking. The subject is born in a point in which the significant (symbolic) writes in the real of the body two aspects of the language: the musicality (continuity) and the speech (discontinuity in movement). This point writes and creates an emptiness in the subject that pulses and will always pulse. If the real shouts chaotically, it is possible to sing and to music the life with the creation of singular notes, effect of the desiring movement as well as the writing of the driven circuit made by the invocante drive, in the musical score that is already given by the Other and in relation to the encounters with pieces of the real. The music has the ability to withdraw the subject form a deafness from his/her own desire, convoking him/her to recreate the language through his/her acts. The paradigm of Schönberg gives us to listen a savoir-faire with the object voice in which the equivocatory dimension (of equivocation and invocation) of the language can reappear by a new direction. The transmission of a savoir-faire with the object voice produced by this paradigm can be seen as a radicalization of the effect of truth from the real, borromeanically resounding on the symbolic and the imaginary, invoking the originary moment of the subject, of a beginning to always restart, which can be listened as the invocation to music the life in a ethic, esthetic and poetic way. Therefore, we can support, with Lacan, a clinical practice oriented to overcome the repetition of the same in order to establish the creation of a new significant. In other words, the psychoanalysis can be understood as an invocante practice in which the subject can, with enthusiasm, music his/her life.