Economics, talent of thinking

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.

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.”

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

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

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

How to distinguish psychotherapies from psychoanalysis.

Original painting by Stefano Frassetto (2)

“…And well before my thinking, hesitating when coming into times and shapes, could identify my home putting side by side circumstances, he – my body – already was remembering for each one of them the model of bed, where the doors stayed, to where the windows were looking at, the presence of a corridor…”(3)

It was an exciting intuition, in Proust, but suddenly slipped into a melencholic description and then seducing, i.e. without any real lack – or, in freudian terms without any ‘mourning’ : but exciting is still that memory of inhabitated spaces, maybe his experienced volumes and the presence of that experience first of all in our night dreams, and elsewhere.

When listening at music, for example is its rithm able to move something that our mind, not just our body, could have sometimes removed ? That is why music become a specific, deep emotional experience, even tested  to amnesia and dementia (4).

Amnesias infact are specific for conscient thinking, while unconscious can’t suffer from them : and also his competence still remains in catching reality, even just a flash as the lack of only a past time is what the patients claim (5).

In moving diseases too, patients claim to be submitted to some obscure authomatism, without realizing who is the author for that : it can be seen as a paradox but learning a few musical sequences involving the body can make a good distance from the repetitivity of unintentional movements and check them. (6)

By a different way from night dream – as there aren’t any clear masking of our oneiric activity – music, or what a musical hearing moves in a subject, shows a hidden powerful reality that conscience can’t explain, confirming then the insufficience of the traditional term ‘destiny’.

A musical rithm can sweep away any mask to our unconscious, while conscience believes to separate and keep silent : but the coming back to surface that unconscious can act, as indefinitely going on to rule the body itself, suddenly happens as far as music is concerned. “Power of music, both as a  joy and a catharsis, has to get to you suddenly…” (7) To do what, then ?

Why geting suddenly to someone?

Freud, who could play piano and liked Mozart, tried to compare musical hearing experience with the visible ones (8): “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, i.e. 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…”

It is a conspicuous text on individual authority, when thinking happens to be exposed to debilitation, i.e. a separation between emotion and intellectual : but Freud had already abandoned hypnosis as he did learn by the neurologist Charcot in neurosis treatment, because Freud believed it a way submit the patient.

Taking distance from psychotherapies – which prove to be umpowerful in front of an unpredictable but induced aggressivity of unconscious – psychoanalysis would definitely be oriented as “…an alternative for claim, ‘sui iuris’ e non ‘iuris’” (9). 

Just three years before, in 1910, Freud accepted to meet the musician and composer Gustav Mahler, who was at that time seriously distressed. Mahler claimed that conversation with Freud, but also retracted a number of times their meeting : the ‘First Symphonia’ of 1889, maybe his most representative work known as ‘The Titan’, does get a risky and cruel meeting with the deep anxiety, which psychoanalysis avoids at all as a working method, by assuming any means available.

“Thanks to unconscious our body does experience new ways, that is new items… Analytical work is proposed to each subject as the opportunity for unconscious – made to be successful but previously failured – to be chosen again by the subject to be successful at last”. (10)

                                        Marina Bilotta Membretti, Cernusco sul Naviglio April 23, 2021

[1] Oliver Sacks (1933-2015) has been physician and teacher of ‘Neurology and Psychiatry’ at University in U.S.A. He issued  ‘Risvegli’ (1973), ‘L’uomo che scambiò sua moglie per un cappello’ (1985), ‘Musicofilia’ (2007) and others. ‘Ogni cosa al suo posto’ (2019) has been edited after his death. 

[2] Stefano Frassetto is born in Turin in 1968. After his degree in Architecture at ‘Politecnico’ he begun as graphic novelist for local magazines. In the ‘90s he edited in France, on ‘Le Réverbère’ and on ‘Libération’ : then he created ‘Ippo’ for ‘Il Giornalino’ and then the stripe ‘35MQ’ for the swiss magazine ‘20 Minuti’. In 2000 he came into ‘La Stampa’ newspaper as portraitist for cultural page and the insert ‘Tuttolibri’, then for the weekly ‘Origami’. Today he works also for the swiss magazine ‘Le Temps’.

[3] ‘Alla ricerca del tempo perduto. I/ Dalla parte di Swann’, Marcel Proust (1913) by L.De Maria - Oscar Mondadori 2017, Translat. by G. Raboni, p.6 

[4]‘Musicofilia’, Oliver Sacks (2009) Adelphi Edizioni Spa, pp.357-358.

[5] ‘Musicofilia’, Oliver Sacks (2009) Adelphi Edizioni Spa, pp.241-244.

[6] ‘Musicofilia’, Oliver Sacks (2009) Adelphi Edizioni Spa, p.287; p. 324-325.

[7] ‘Musicofilia’, Oliver Sacks (2009) Adelphi Edizioni Spa, p.377 

[8] ‘Il Mosè di Michelangelo’, Sigmund Freud (1913), ‘Premessa’ pp.17-18/ Biblioteca Bollati Boringhieri 1976. 

[9] ‘Lavoro dell’inconscio e lavoro psicoanalitico’, Giacomo B. Contri (1985) Ed. SIPIEL Milano, Collana ‘SIC - Il lavoro psicoanalitico’, p.12

[10] ‘Lavoro dell’inconscio e lavoro psicoanalitico’, Giacomo B. Contri (1985) Ed. SIPIEL Milano, Collana ‘SIC-  Il lavoro psicoanalitico’, p.28