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Entrusted.

 

Original painting by Gianni Russomando[1].

 

 

 

“Beware of despising one of these little ones…” Mt 18, 6-10

 

 

 

What does connect “Law, Science, Trust”[2], headwords otherwise in a loose order ?

We know about unconscious just when sanctioning – and quite rightly then – our conscience and a few of her awkward expressions.

It is just in the sanction, alert and never depressed, that unconscious is turning out as ‘science of thinking’ and conscience cannot ignore that : amnesias infact are only of conscience[3], while unconscious is free and does intervene indeed recovering that essential connection, put out of use by the faint - or forgetfulness - of our conscience.

It is still an urged thinking, or unconscious, to recognize a start up by an other one, otherwise said imputability of that urging which makes of any affection an unavoidable judgement, which most of the time has been diverted however, or silenced : and we have to say that, as the years go by, the temptation to dilute everything we were beginning to understand since newborns, is less and less resistable.

But, as the science of thinking goes hand in hand with the reliability on someone else who begun,  starting the affection of whom is so becoming his, or her partner, when one of the two deviates the sanction banalizing that affection, the competence of a healthy and cared for[4]  thinking can dispense with anguish.

 

Marina Bilotta Membretti - Cernusco sul Naviglio March 1, 2022

 

 

[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.”

[2] ‘Tre capitoli’, Giacomo B. Contri ‘Contributo 7 gennaio 2022’ - Simposio ‘Amore’ 2021-2022 www.giacomocontri.it

[3] https://www.tutorsalus.net/index.php/it/economia-1-talento-di-pensiero/214-musicofilia-oliver-sacks

[4] ‘Il difensore della salute. Una categoria e le sue varietà professionali (psicoanalisi e altre)’- Docum. pubblico Dott. Giacomo B. Contri 25 marzo 2013 ai sensi della legge 14 gennaio 2013 n.4

A successful patient[1].

 

 [1] Trains leaving - Central Station Milan.

 

 

Not so easy a novelist – even if successful as Agatha Christie[2] was – can release him, or herself, through the sole punctual identification also when excellently written, of the thought of someone else with whom he, or she, does keep unsolved conflicts. Why then ?

‘The mistery of the Blue Train’[3] is a tale by Agatha Christie, well interesting since the title, which is infact the crossroads of two different interpretations, where the more profitable could even refer to the author herself : but in vain, as anyone can read in the course. ‘The Blue Train’ was, first of all, the romantic luxury ‘Côte d’Azur’ train which, going down from Calais was passing also by Paris :  but in the English language ‘blue’ is not just a colour, is also the affect of excruciating and unsatisfied desperate jealousy.

To that unsolved affect Hercule Poirot, the detective made up by the fantasy of Agatha Christie, ascribes the greater part of crimes, and serial too also when committed by a woman : so that the romantic ‘The Blue Train’[4] is – for English readers only – also the ‘melencholy’ train where nothing can divert from murderous intents too.

In her novel, Agatha has been sliding in the risky pleasure of the victim, which the genre could allow but the life really not, as any revenge does literally transfer the victim in the same previous position of the persecutor : so that the original tale doesn’t persuade the reader, due to its  unlikely twists. We can add also that Agatha Christie never tried to come into an analytical work notwithstanding she could know enough about.

We wonder then that right a movie version[5] - sometimes criticized when the unavoidable shortness neglects complicated details of a novel – gets instead to perform a brilliant and crucial direction, making of someone – maybe involved into an analytical work – a successful man, or woman, i.e. come to the goal without the shortness of breath caused by impatience and rush : as,  on the other hand, Agatha Christie was not at all, notwithstanding her large audience.

To let fall that ‘melencholia’ to which the ‘mass psychology’ – or ‘group psychology’ - does submit, in favour then of a defense avoiding the homicide and using the sanction[6] is, as a matter of fact, not a clerical ability, neither ‘natural’ nor spontaneous at all.

Here is why get to conclude one’s own thinking[7] well before concluding life, is really a talent by an undoubtedly successful patient.

Marina Bilotta Membretti - Cernusco sul Naviglio February 11, 2022

 

[1] I’ve found well said by Maria Delia Contri, psychoanalist intervened last January 15 at Symposium ‘Amore’ as per a proposal by Giacomo B. Contri, president of Association ‘Studium Cartello – Il lavoro psicoanalitico’ in Milan : the psychoanalist indicated that ‘notable passage to the Law’ which is the ‘real Trust in social bond’ and goal ‘of any claimed analysis’.  

[2] Agatha Christie (1890-1976) was a British writer, since today appreciated and translated. She was also contemporary of Sigmund Freud, whose works were published in English language by ‘Hogarth Press’, owned by Leonard and Virginia Woolf.

[3] The novel, published by Agatha Christie in 1928, precedes of a few years the publication of the most famous ‘Murder on the Orient Express’ (1934) with an apparent more limpid plot.

[4] Left the first time in 1922 from Calais, on French side of the Channel, the luxury and romantic ‘Train bleu’ went through the ‘Côte d’Azure’ for more than fifty years, passing by Paris up to Sanremo in Italy.

[5] ‘The Mystery of the Blue Train’, directed by Hettie Mc Donald (2005)

[6] ‘Il difensore della salute. Una categoria e le sue varietà professionali (psicoanalisi e altre)’- Docum. pubblico Dott. Giacomo B. Contri 25 marzo 2013 ai sensi legge 14 gennaio 2013 n.4

[7] “…So that three are my concluding items : Law, Science, Trust”, cit. in “Tre capitoli”, by Giacomo B.Contri ‘Contributo 7 gennaio 2022’ to the Symposium ‘Amore’ for ‘Studium Cartello – Il lavoro psicoanalitico’.

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.

You tube:

 

 

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 le 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