As canções e seus destinos : a gaia ciência em música e em psicanálise

Abstract

This thesis is guided by the following question: what can the psychoanalyst learn from the singer and songwriter about interpretation? In each of the four articles that compose the thesis, I find a different way of answering to this question: (1) In the first article, I view the identificatory processes at stake among the youth within the hip-hop movement, from a viewpoint attentive to the role played by the voice in such processes. (2) In the second, I discuss the various facets of the Lacanian concept of lalangue with the aid of some songs of Brazilian urban popular music that illustrate some of the theoretic aspects at stake in this discussion, which I regard as central to the comprehension of the way in which psychoanalytic interpretation is conceived in the last years of Lacan’s teaching. (3) In the third, I analyze a passage of Television (Lacan, 1974/2003) in which the author refers to the joyous knowledge of medieval troubadours. In this analysis, I try to appreciate to which extent this poetic-musical knowledge is paradigmatic to psychoanalytic interpretation, as well as I try to recognize the connections of this knowledge with the art of Brazilian contemporary singers and songwriters, especially on two aspects: the opposition to the affect of sadness and the savoir-y-faire with lalangue. (4) In the fourth article, I refine the initial question and ask myself what the psychoanalyst can learn about interpretation from João Gilberto. The discussion in this last article proceeds towards recognizing, in many aspects of João Gilberto’s oeuvre and performance, reference points to an apprehension of what is at stake in psychoanalytic interpretation, in three main fronts: the work with the real of language; the experience of the end of analysis; the constitution of a style in the praxis of the psychoanalyst.