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‘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

 

“Musicophilia”(1) , Oliver Sacks.

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

 

Just a step in the puzzle : an introduction to TutorSalus.net

 

 

 https://youtu.be/ZS6muBIjvpg 

“My name is Marina Bilotta Membretti. I’m graduated in Economics and I work in industry since forty years. I’m editor of www.tutorsalus.net which in Latin language is who cares of one’s own well-being, primary human safeguard, but so often removed.

TutorSalus.net is also an European registered brand for online publishing. I’d like to share the empowerment for individuals, and then society, of a proper and primary safeguard, that is a proper sanction – rewarding or not – to any offer we receive : it seems difficult among people all over the times, and expecially in authoritarian communities, as cultural habits freeze any sanction – beginning from the new-born babies – and feed resentful gradges up to encouraging aggression and violence. We can then see profitable to get in touch with people who are successful in keeping each other able to evaluate and communicate their own thinking really, to whom offering, and not just in words.

Digital culture can even improve ‘ad hoc’ sanctions, but after amending an ancient mistake. It’s not just a responsibility for institutions, as any slightest relation can be corrupted when the urge for pleasure does compel a conservative, or on the opposite, a rising reaction instead of favouring a well thought solution.”

 

                                         Bilotta Membretti, Cernusco sul Naviglio 19 marzo 2021

 

A turning point, and an overturning.

“Kant with Sade”[1], by Jacques Lacan.

 

Original painting by Stefano Frassetto[2].

 

 

The unconscious Freud opened does conceive ‘memory’ rather than ‘imagination’[3] : here it is the most interesting conclusion Lacan offers to Freud and maybe hinge of his own analytical resumption, as the conscience has been built on thinking representations, instead of being a constituent of human nature, and the ‘object’ itself being built[4] and not set up.

“Kant with Sade” was published seven years after the “Seminar on ‘The stolen letter’” where Jacques Lacan was noting that maybe, as Freud did put forward, a ‘repetition automatism’ could be present, in which – still by Lacan – the language would bring in the possibility of subtraction[5] up to the betraying of memory[6].

Any not allowed discomfort of a betrayed memory does open to the disease[7] and Lacan can well assert : “You are well in evil or, if you like, the eternal feminine cannot draw upward…”[8], where ‘feminine’ is not ‘female’ and the despising sound does beat the hearing though written, so burying any individual difference beginning to sexes[9].

Just a simple subtraction to our memory – in the very accounting terms, other than economical – is then a real lie, or better a ‘slander’[10] – says Lacan – towards our own memory, maybe not yet distinguished or singled out : but that opens to a generalized untruthful thinking, as ‘de Sade’ can propose ‘a republic’ where ‘the slander’ is rising to virtue. On the other hand, can we ask naive peple for making a judgement ?

“Let us limit ourselves to come back, just to assert his prospect, to the theory by which de Sade has established the kingdom of his own principle. The one of human rights. That is : no one man, due to the sole fact he cannot at all be property, or prerogative of another man or woman, could therefore demand to suspend the right of anyone to enjoy himself – or herself - each one to his own, or her, liking.”[11]

“(Kant’s – editor’s note) moral law is not then representing the desire when, not the subject but the object  fails ?”[12]

“It emerges that sadic people deny the life of people themselves.“[13]

A memory betrayed, lost his or her own sense of direction, can go mad : so that is asking for a pilot, even if outside and unrelated. And here it is the overturning by ‘de Sade’, which Kant theory made practicable indeed, turning at that point[14].

“…Non bisogna dire piuttosto che il sadico rigetta nell’Altro il dolore di esistere, ma senza vedere che per questa via egli si muta in un ‘oggetto eterno’… ?”[15]  

“In Sade we can see a test, crucial in our eyes, when he rejects the death penalty… Sade then stopped here, just where the desire link with the (individual – editor’s note) law… The apology of crime only pushes him to confess just sideways the Law. The Supreme Being has been re-established in the Evil”.[16] So what ?

But here Lacan lets that any imprudent reader can venture among the brambles of a deadly research, going away – even dizzily but as he himself, or she herself likes – from that ‘fundamental link from memory to (individual – editor’s note) law’ which the ‘removal’ denies, and denies.

 

                                Marina Bilotta Membretti, Cernusco sul Naviglio - February 12, 2021

 

[1] “This writing had to serve as a preface to ‘La Philosophie dans le boudoir’. It has been appearing in the magazine ‘Critique’ (n.191, April 1963), like a report of the edition of works by Sade to whom was addressed. Ed. du Cercle du Livre Précieux, 1963, 15 voll”, in “Kant con Sade” p.764 in ‘Jacques Lacan. Scritti’ Vol.II, a cura di Giacomo B. Contri Giulio Einaudi editore s.p.a. 1974 e 2002, ‘Biblioteca Einaudi’. Titolo originale : ‘Écrits’ (1966) ‘Éditions du Seuil’, Paris.

 

[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] “The repetition automatism (Wiederholungszwang) – notwithstanding its notion in that work is addressed to meet a few paradoxes in the clinic, like the dreams in the traumatic neurosis or the negative therapeutic reaction – couldn’t be conceived as an addition, even crowning, the whole doctrinal building. Here it is Freud inaugural discovery : that is a conceiving memory envolving one’s own unconscious.”, p.42 “Il Seminario su ‘La lettera rubata’” in ‘Jacques Lacan. Scritti’ Vol.I, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974 e 2002).

 

[4] “Some voice phenomena, particularly those ones in psychosis, have precisely this aspect of the ‘object’…” p.772 in “Kant con Sade”, in ‘Jacques Lacan. Scritti’ Vol.II, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974, 2002).

 

[5] “We can see here again (in ‘Critica alla Ragion pratica’ di Kant – editor’s note) what can lead Kant to express regret that no intuition can offer a phenomenal object to the experience of the moral law. We agree that along all the ‘Critica’ this object does escape. But you can hit it in the trace left by the relentless coherence Kant is using in demonstrating its escaping…”, p.767 in “Kant con Sade”, in ‘Jacques Lacan. Scritti’ Vol.II, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974, 2002).

 

[6] “…A structure, even if still transparent to its data, shows then the fundamental link of memory with (individua - editor’s note) law”, p.45 “Il Seminario su ‘La lettera rubata’” in ‘Jacques Lacan. Scritti’ Vol.I, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974, 2002).

 

[7] “ ‘La Filosofia nel boudoir’ (‘Marchese de Sade’ – editor’s note) arrives eight years after the ‘Critica della ragion pratica’ (Immanuel Kant – editor’s note)… We can say that the vigour of factum comes from the saying proposing its  rule to the jouissance, unusual in terms of law in the habit of Kant, as that is asking itself as a rule. Let us state the saying : ‘I’ve the right to enjoy your body, anyone can tell me, and that right I’ll exercise without any limit can stop me in the caprice of the collections I can have the pleasure of satisfying’. Here it is the rule to which they pretend to submit everyone will, as little as a society can make it effective with their restrictions…”, p.765 - 768 in “Kant con Sade”, ‘Jacques Lacan. Scritti’ Vol.II, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974, 2002).

 

[8] p.765 and a little further, p.788 “…the work never offers to us the success of a seduction where its spectre could as well find a crowning : the one (seduction – editor’s note) to which the victim… would agree with his/her torturer, or would enlist on his/her side due to a burst in the approval.”in “Kant con Sade”, in ‘Jacques Lacan. Scritti’ Vol.II, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974, 2002).

 

[9] ‘La questione economica del masochismo’, S.Freud (1924) OSF Bollati Boringhieri (2012) Vol.10 p.7-8 : “I’ve named it ‘feminine’ even if many of its elements defers to childhood life…”

 

[10] “From Sade’s point of view you are anyway on the same side, good and bad; the insults couldn’t change anything… You need a firm heart to follow Sade when he extols slander, first article of the morality to be established in his republic”, p.788 in “Kant con Sade”, in ‘Jacques Lacan. Scritti’ Vol.II, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974, 2002).

 

[11] p.770 in “Kant con Sade”, in ‘Jacques Lacan. Scritti’ Vol.II, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974, 2002).

 

[12] p.781 in “Kant con Sade”, in ‘Jacques Lacan. Scritti’ Vol.II, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974, 2002).

 

[13] p.778 in “Kant con Sade”, in ‘Jacques Lacan. Scritti’ Vol.II, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974, 2002).

 

[14] “If Freud could assert ‘his’ principle of pleasure without even caring to outline what distinguishes it from its function in the tradizional ethics, … echoing to the undisputed prejudice of two millennia, to remember the appeal prearrangingthe creature to his/her benefit with psychology which enrols itself in a few myths of indulgence, we can only be grateful to the slipping rising, through the XIX century, of the item of ‘happiness in evil’. Here Sade is the inaugural step of an overturning of which, strange as it may seem if we compare it to the coldness of the man, Kant is the turning point and, as far as we know, never identified before.”, p.764-765 in “Kant con Sade”, in ‘Jacques Lacan. Scritti’ Vol.II, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974, 2002).

 

[15] p.778 in “Kant con Sade”, in ‘Jacques Lacan. Scritti’ Vol.II, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974, 2002).

 

[16] p.790 in “Kant con Sade”, in ‘Jacques Lacan. Scritti’ Vol.II, a cura di Giacomo B. Contri/ ‘Biblioteca Einaudi’ - Giulio Einaudi editore s.p.a. (1974, 2002).