Uma poética do desligamento: a contemporaneidade de Além do princípio do prazer / A poetics of disconnection: the contemporaneity of Beyond the pleasure principle / Una poética de la desconexión: la contemporaneidad de Más allá del principio del placer / Une poétique de la déconnexion: la contemporanéité de Au-delà du principe du plaisir

Em uma articulação entre psicanálise e arte, este trabalho toma a obra de Pedro Moraleida (1977-1999) como objeto transubjetivo que evoca a contemporaneidade do texto freudiano Além do princípio do prazer. A presença de imagens menos integradoras e de críticas desconstrutivas na obra mostra as forças de Tânatos, ainda que ligadas pela plasticidade. A participação do desligamento pulsional na sublimação é destacada não apenas na obra como também no reconhecimento da desfusão pulsional e de uma toxidez que pode interromper tanto o processo criativo quanto a vida do artista. Está presente a proposição de que a arte vasculha profundezas e convive com fortes intensidades pulsionais, mas ainda assim é capaz de fazer o sujeito sobreviver em objetos transnarcísicos.

This work, in an articulation between psychoanalysis and art, takes Pedro Moraleida's work (1977-1999) as a transubjective object that evokes the contemporaneity of Freud's Beyond the pleasure principle (1920). The presence, in the work, of less integrating images and of deconstructive criticisms, show the strengths of Tanatos even though linked by plasticity. The participation of drive disconnection in sublimation is highlighted in the artist's work as well as in the recognition both of drive diffusion and of a toxicity that can interrupt not only the creative process as well as the artist's life. In spite of this, one proposes that art searches depths and coexists with strong instinctive intensities, but is still capable of allowing the subject's survival in trans narcissistic objects.

El presente trabajo, en una articulación entre el psicoanálisis y el arte, toma el trabajo de Pedro Moraleida (1977-1999) como un objeto transubjetivo que evoca la contemporaneidad del texto freudiano Más allá del principio del placer (1920). La presencia de imágenes menos integradoras y críticas deconstructivas en el trabajo muestran las fuerzas de Tanatos aún cuando unidas por la plasticidad. La participación de la desconexión pulsional en la sublimación se destaca tanto en la obra como también en el reconocimiento de la disfunción pulsional y de una toxicidad que puede interrumpir no solo el proceso creativo sino también la vida del artista. A pesar de esto, está presente la proposición de que el arte busca las profundidades y coexiste con intensas intensidades pulsionales, pero que también es capaz de hacer que el sujeto sobreviva en objetos transnarcisistas.

Ce travail, dans une articulation entre la psychanalyse et l'art, prend l'œuvre de Pedro Moraleida (1977-1999) comme un objet transsubjectif qui évoque la contemporanéité du texte freudien Au-delà du principe du plaisir (1920). La présence d'images moins intégratrices et de critiques destructives dans l'œuvre montre les forces de Tanatos, même si liées par la plasticité. La participation de la déconnexion pulsionnelle à la sublimation est mise en évidence pas seulement dans l'œuvre, mais également dans la reconnaissance de la défusion pulsionnelle - désintrication - et d'une toxicité qui peut interrompre soit le processus créatif, soit aussi la vie de l'artiste. Malgré tout cela, on propose que l'art explore les profondeurs et coexiste avec de fortes intensités pulsionnelles, mais qui est tout de même capable de faire le sujet survivre dans des objets transnarcissiques.

Mais aquém do além do princípio de prazer: um retorno aos manuscritos / Before of the beyond the pleasure principle: a return to the manuscripts

Em homenagem ao centenário da primeira edição do Além do princípio de prazer (1920-2020), propomos neste artigo uma história documental do texto freudiano supracitado. Dois elementos serão priorizados aqui, o contexto editorial mais amplo em meio ao qual a obra foi publicada e os manuscritos que deram origem à versão final do texto. Ao cabo deste estudo, duas hipóteses serão sustentadas, a de que o Além do princípio de prazer foi concebido por Freud como um trabalho clínico com pretensões científicas e a de que ele foi escrito em um diálogo constante com outros psicanalistas e pesquisadores.

In tribute to the centenary of the first edition of Beyond the Pleasure Principle (1920-2020), we propose in this article a documental history of the Freudian text. Two elements will be prioritized here, the wider editorial context in which the work was published and the manuscripts that gave rise to the final version of the text. At the end of this study, two hypotheses will be sustained, that Beyond the Pleasure Principle was conceived by Freud as a clinical work with scientific pretensions and that it was written in a permanent dialogue with other psychoanalysts and researchers.

Ferenczi e Freud para além do princípio do prazer: a construção das hipóteses, o debate e algumas derivações clínicas / Ferenczi and Freud beyond the pleasure principle: the construction of hypotheses, the debate and some clinical derivations / Ferenczi y Freud más allá del principio del placer: la construcción de hipótesis, el debate y algunas derivaciones clínicas / Ferenczi et Freud au-delà du principe du plaisir: la construction des hypothèses, le débat et quelques dérivations cliniques

Neste artigo pretendemos demonstrar, a partir da análise da obra de Sándor Ferenczi e de sua correspondência com Freud, como certas ideias propostas em Além do princípio do prazer prolongaram, por um lado, hipóteses antecipadas pelo psicanalista húngaro e, por outro, lhe forneceram importantes subsídios para seus derradeiros avanços clínicos.

In this article we intend to demonstrate, from the analysis of Sándor Ferenczi's work and his correspondence with Freud, as certain ideas proposed in "Beyond the pleasure principle" on the one hand, prolong hypotheses that were anticipated by the Hungarian psychoanalyst and, on the other hand, they provided him with important subsidies for his ultimate clinical advances.

En este artículo pretendemos demostrar, a partir del análisis del trabajo de Sándor Ferenczi, su trabajo y su correspondencia con Freud, cómo ciertas ideas propuestas en "Más allá del principio del placer", por un lado, prolongan las hipótesis anticipadas por el psicoanalista húngaro. Y, por otro lado, le proporcionaron importantes subsidios para sus propuestas clínicas finales.

Dans cet article, nous voulons démontrer, à partir de l'analyse du travail de Sándor Ferenczi et de sa correspondance avec Freud, comment certaines idées proposées dans « Au-delà du principe du plaisir ¼ ont prolongé, d'une part, les hypothèses anticipées par le psychanalyste hongrois et, d'autre part, elles lui ont fourni des subsides importants pour ses avancements cliniques ultimes.

The role of repetition in narcissism and self-sacrifice: A Freudian Kleinian reflection on the person's foundational love of the other.

Through reexamination of Freud's thinking on the "compulsion to repeat", including detailed study of his Beyond the Pleasure Principle (1920), this paper brings to the fore a central tension in Freud's thinking on the roles narcissism and love in his foundational view of the person. While Freud conceptualizes the person as self-serving, aiming primarily to maximize personal satisfaction in accordance with the "pleasure principle," he develops an alternative view of the person as primarily loving, desiring to truly encounter the other and reality, even if painful, and guilty when he fails to do so (largely because of conflicting narcissistic/destructive aims). This basic loving desire is associated with Eros and the life instincts, which, counter to what is commonly thought, is what Freud ultimately posits as lying beyond the pleasure principle. From this perspective, narcissistic pleasures become associated with death. The paper goes on to show how while Freud struggled to conceptually ground the view of the person as contending with his desire to love and inevitable inner obstacles to it, Kleinian psychoanalysis takes this view as basic and develops it further. One significant development finds expression in ideas on how the desire to love is not only non-narcissistic, but, rather, is self-sacrificing. Clinical implications are noted.

The Mark, the Thing, and the Object: On What Commands Repetition in Freud and Lacan.

In Logique du Fantasme, Lacan argues that the compulsion to repeat does not obey the same discharge logic as homeostatic processes. Repetition installs a realm that is categorically different from the one related to homeostatic pleasure seeking, a properly subjective one, one in which the mark "stands for," "takes the place of," what we have ventured to call "an event," and what only in the movement of return, in what Lacan calls a "thinking of repetition," confirms and ever reconfirms this point of no return, which is also a qualitative cut and a structural loss. The kind of "standing for" Lacan intends here with the concept of repetition is certainly not something like an image or a faithful description. No, what Lacan wishes to stress is that this mark is situated at another level, at another place, it is "entstellt," and as such, it is punctually impinging upon the bodily dynamics without rendering the event, without having an external meta-point of view, but cutting across registers according to a logics that is not the homeostatic memory logics. This paper elaborates on this distinction on the basis of a confrontation with what Freud says about the pleasure principle and its beyond in Beyond the Pleasure Principle, and also takes inspiration from Freud's Project for a Scientific Psychology. We argue that Lacan's theory of enjoyment takes up and generalizes what Freud was after in Beyond the Pleasure Principle with the Wiederholungszwang, and pushes Freud's thoughts to a more articulated point: to the point where a subject is considered to speak only when it has allowed the other, through discourse, to have impacted and cut into his bodily pleasure dynamics.